March 15, 2023

Rye Lane director Raine Allen-Miller and DP Olan Collardy

Rye Lane is a charming, energetic and funny romantic film that follows Dom and Yas, both twentysomethings going through bad breakups. They meet at a friend’s art show and roam around South London, helping each other deal with their exes while having crazy adventures and restoring their faith in romance. The movie premiered at this year’s Sundance Film Festival, opened wide in the UK and is set to stream on Hulu March 31.

When she received the script for Rye Lane, direct Raine Allen-Miller knew she wanted to set the film in South London, a very vibrant, colorful place with lots of interesting characters. She loves movies by fellow British director Steve McQueen, and counts him as an influence on her work. Raine wanted her film to be funny and entertaining while still looking beautiful and “juicy” throughout. Rye Lane is Raine’s first feature, and she creates an energetic, colorful and happy world where, once Dom and Yas meet, they simply have fun together. It was important to her that Black people be captured in a way that’s positive, funny and goofy, and that people have a great time watching the film.

Cinematographer Olan Collardy grew up in Nigeria and later moved to South London, where he met Raine while working on commercials. He says that Raine brings a beautiful sandbox to play in, with her love of color and interest in creating a very energetic, stylized, modern look to the film. They worked together to ensure that the camera was always in the right place to play up the humor- if it wasn’t funny, it wasn’t functional. Olan used extremely wide anamorphic lenses to add a touch of the surreal to the shots. They were influenced by the British comedy Peep Show, getting very close on a wide lens while the actor looks slightly above the lens so they don’t break the fourth wall. Olan was influenced by Spike Lee’s Do The Right Thing, which is also very rich in color and about a very specific place.

Rye Lane is in theaters in the UK and will be streaming on Hulu on March 31.

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Greentree Creative: www.growwithgreentree.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

March 6, 2023

Oscar-nominated documentary Fire of Love director Sara Dosa, editors Erin Casper and Jocelyne Chaput

The documentary Fire of Love, directed by Sara Dosa, takes viewers on a mesmerizing journey into the world of volcanology. The film is centered around footage filmed by French volcanologists Maurice and Katia Krafft, who devoted their lives to studying volcanoes and capturing their stunning beauty. Fire of Love is an intimate look into the Kraffts’ personal and professional lives, as well as their ultimate fate, tragically lost to a volcanic eruption.

Director Sara Dosa and editors Jocelyne Chaput and Erin Casper created the story almost entirely from watching 250 hours of the Kraffts’ archival footage. Fortunately, the footage was in great shape and was fun and fascinating to look through. Sara knew that she wanted to focus on the relationship between Maurice and Katia, and their love affair both with volcanoes and each other. Sara, Jocelyne and Erin also collaborated on writing the script and narration. They wanted the amazing footage to speak for itself, and kept the story tight and intimate, filling in with narration, archival interviews and stylized animation rather than shooting current interviews with those who knew them. Sara was influenced by the look of French New Wave films as a guide for the documentary. It seemed a natural fit since Maurice Krafft’s footage of volcanoes from the late 1960’s and early 70’s also were influenced by the French New Wave.

Volcanologists Maurice and Katia Krafft shot most of the footage themselves on 16mm film, and proved to be good cinematographers. Katia was a talented artist as well, and photographed beautiful images of volcanoes that appeared in her books. Together, they captured some of the most stunning and rare footage of volcanoes, which continue to be used by scientists to better understand them today. Fire of Love is a beautiful tribute to the Kraffts and their legacy, and a reminder of the incredible power and beauty of the natural world.

Fire of Love is currently available on Hulu and Disney+ and is nominated for an Academy Award for Best Documentary Feature.

Sara Dosa won the 2023 DGA Award for Outstanding Directing for Fire of Love. Editors Erin Casper and Jocelyne Chaput have won an ACE Eddie award for their work on the film. 

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

January 4, 2023

Linus Sandgren, ASC, FSF on shooting Babylon with director Damien Chazelle

We welcome cinematographer Linus Sandgren, ASC, FSF for his third time on the podcast. On his latest film, Babylon, Linus was happy to work with director Damien Chazelle again. The two had previously collaborated on La La Land and First Man. In all of his films, Chazelle thinks musically, and camera movement is essential to his films instead of just relying on editing. Linus liked Babylon’s script- though it was long, it had many fast moving pieces, and the story was told in a refreshing, unconventional way. He thought of it as a 2.0 version of La La Land- it expressed Chazelle’s love of cinema, and despite some of the dark places the story goes, he felt an affection for the characters in Babylon. Like La La Land, Linus combined long takes with complicated camera moves, while also using handheld verité techniques they developed on First Man. To prep for the film, Linus and Chazelle watched several Los Angeles-period films together, such as Chinatown, There Will Be Blood, and Boogie Nights.

The movie combines absolutely maximalist wide shots to intimate closeups and tracking shots on specific characters, in order to keep the film emotional. One of the biggest and most spectacular scenes in Babylon is the 32-minute pre-title opening sequence, depicting a wild Bel Air party complete with revelers, cocaine, and an elephant. They shot it in the lobby of the Theatre at Ace Hotel in Los Angeles, crammed with hundreds of extras. Chazelle wanted a really high angle on the party, but they couldn’t fit a crane into the space, so Linus rigged a cable cam corner to corner from above to capture the action. They spent a long time blocking and rehearsing the party sequence, filming the overhead shots, then shot with a Steadicam through the party the second day.

Babylon is about the early days of cinema, when the silent movie era is transitioning to sound. The crew had to show the process of shooting film in the first days of “talkies” and the filmmaking equipment of the time had to be historically accurate. Though Linus didn’t use vintage film cameras on the movie, the production designer found film cameras to use as props and they were able to use old arclights that were fitted with HMIs so they actually worked on set.

Find Linus Sandgren: Instagram @linussandgren_dp
Babylon can be seen in theaters nationwide.

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

November 2, 2022

Checco Varese, ASC on his Emmy winning work for the Hulu series, Dopesick

This week we welcome Checco Varese, our friend of the podcast and 4th time guest!

The Hulu series Dopesick tells the complex story of the opioid epidemic through multiple points of view over its eight episode arc. Cinematographer Checco Varese, ASC shot every single episode, and recently earned his first Emmy award in 2022 for Outstanding Cinematography for a Limited or Anthology Series.

Checco decided to approach the story and its characters as a series of four concentric plot circles. At the center of Dopesick is the Appalachian mining town and the small town doctor (Michael Keaton) who serves the community there; then the prosecutors trying to nail Purdue Pharma; the pharmaceutical company reps who are riding high on drug sales; and finally the Sackler family, who knowingly misled everyone about the addictive nature of OxyContin. He met with showrunner Danny Strong and director of the first two episodes, Barry Levinson, to discuss the look of each section. For the small Appalachian town, Checco was influenced by the look of the film The Deer Hunter, and used the cool blues of winter light. The Insider was a reference for the storyline of the DEA and Virginia prosecutors, and they embraced the use of florescent lights and conference rooms. To symbolize the wealth and excess of the Sackler family and the Purdue Pharma sales people, Checco liked the bright colors and opulence of Eyes Wide Shut. Since it’s a character-driven story dramatizing true events, Checco knew that Dopesick was about being a fly on the wall, while keeping everything engaging and compelling, so he wanted to make sure that each film reference still felt subtle, natural and realistic.

Checco feels that lighting for film and television can be like poetry. Most of the mood and atmosphere is made with lighting, with the camera movements serving as the film’s punctuation marks: commas, exclamation points, or periods. As a cinematographer, Checco loves to go deep into the project and usually feels passionate about what he’s doing, so that his soul is on the screen. He’s had the opportunity to work with his wife, director Patricia Riggen, on several projects, and they also worked together on a few episodes of Dopesick. Checco says that when they’re on a show together, they get very absorbed in their work, and there’s no “off” switch, but he loves having that relationship with her. For Dopesick, he was excited to work on a series that was truthful and honest, and he enjoys telling important stories that matter.
Dopesick is currently on Hulu.

Find Checco Varese: https://checcovarese.com/wp/
Instagram: @checcovarese

Sponsored by Aputure: https://www.aputure.com/
Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

October 26, 2022

Cinematographer Eric Branco on the new Showtime series, Let The Right One In

The new Showtime series Let the Right One In expands on the ideas introduced in the now-classic 2008 Swedish horror movie and the American remake. A man, Mark Kane (Demián Bichir) and his tween daughter, Ellie (Madison Taylor Baez) move in to a New York City apartment, where she befriends the lonely, bullied boy down the hall. But she has a huge secret that her father helps her keep- she is a child vampire who must survive on blood and can’t go outside in the daytime. The series Let The Right One In explores the relationships and conflicts within families, the horror of vampires, and brings in new characters, crimes and mysteries to add layers to the story.

Cinematographer Eric Branco had seen the original Let The Right One In, shot by legendary DP Hoyte van Hoytema, as well as the American version, Let Me In, lensed by none other than Greig Fraser, and it remains one of Eric’s favorite movies. He was thrilled to have the opportunity to bring his own look and feel to the story and make it his own. Eric focused on the idea that for the young vampire girl, the indoors is safe and the outdoors is not, so the home features very warm light with lots of yellows, while outside is a shadowy, cool blue and green. He also played with the natural contrast of light between night and day. At night, it was important to play up the danger and horror elements with action taking place in shadows and tunnels, with yellow streetlights selectively showing bits and pieces, building suspense.

Let The Right One In is much wider in scope than the movies, featuring many other storylines and locations, which created its own challenges. Eric and the crew had to work within the time constraints for the child actors, especially at night. Planning, blocking and rehearsal became an essential part of some shoot days. When they were shooting the pilot, they had to wait until dark, during the summer solstice- the longest day of the year. That left them with about 2 ½ hours to shoot with the lead actress, Madison Taylor Baez. The most challenging day for Eric was when they did a night shoot at Coney Island with very limited time on the Wonder Wheel with the actors. He and the camera department planned extensively and strategically placed cameras all over to cover all of the action, after several scouts and extensive rehearsals before dark. Eric says that when you have to work with that many cameras and with so much riding on timing and coordination, it becomes more like a team sport and it feels amazing to pull it all off. Eric also likes to have an open, trusting relationship with the actors and let them have more freedom of movement within the frame to explore their characters and enhance their performances. Eric thinks the trust is built on the DP’s end, especially when you’re shooting something in an unconventional way like on Let The Right One In.

Let The Right One In is currently on Showtime. https://www.sho.com/let-the-right-one-in

Find Eric Branco- Instagram: @ericbranco
Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep189/
Hear Eric’s previous interview on The Cinepod: https://www.camnoir.com/ep95/

Sponsored by ARRI: https://www.arri.com/en
Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

September 14, 2022

Brendan Uegama, CSC on Moonshot, Riverdale, Truth Be Told, Child’s Play and Mike, the Hulu Mike Tyson dramatic series

Cinematographer Brendan Uegama, CSC enjoys shooting many different genres, from romantic comedies such as Moonshot, to horror movies such as Child’s Play (2019). He enjoys changing his approach to each project depending on the needs of the script. Brendan feels that a good filmmaker knows that the cinematographer is there to serve the story and builds trust with the DP to create the look and feel.

As a kid, Brendan was always into photography and art. He and some high school friends shot skate videos of themselves, and soon after he began making motocross videos. He knew then he wanted to get into film and went to film school in Vancouver, Canada and began working his way up.

Brendan shot 26 episodes of the CW series Riverdale, including every episode of season two. Being the DP for every chapter of the show meant prep time was very short, and Brendan relied on and trusted his team to do location scouts and work ahead. Riverdale was a great show to do that was fun, creative and led to many other projects for him, such as the show Chilling Adventures of Sabrina, and later, Moonshot.

The film Moonshot is a romantic comedy set in space, rather than just a science fiction movie. Mars has been terraformed and colonized and the two main characters are traveling to see their significant others, but fall for each other. Because of the science fiction aspect, everything was storyboarded out and had a decent amount of prep time, and much of Moonshot’s science fiction aspects were done with practical effects. Brendan knew where they needed to rely on visual effects ahead of time. The most challenging part of the film to shoot was the spacewalk scene, which involved extensive wirework and visual effects.

Brendan’s latest project, Mike, a dramatic biography series on Hulu about heavyweight boxer Mike Tyson, is currently streaming.

Find Brendan Uegama: https://www.brendanuegama.com/
Instagram: @brendanuegama_dp
Twitter: @brendanuegama

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep183/

Sponsored by DZOFilm: https://www.dzofilm.com/
Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

August 18, 2022

Girl Picture director Alli Haapasalo and cinematographer Jarmo Kiuru, FSC

Girl Picture is a Finnish film about the friendship between three young women as they experience the emotional ups and downs of life as they transition from teenagers to women. Director Alli Haapasalo felt the English title perfectly described the finite time of girls who are trying to figure out their own life’s picture and who are developing an identity as women through their friendship. The film follows the girls as they chat and hang out over a few nights together during the dark winter in Finland.

Sex, sexual identity and finding pleasure is also a theme in Girl Picture. It was important to Alli to depict the young women discussing and exploring their sexuality in mature ways rather than with shame or drama. So much of coming of age is not just about finding who you are, but what you want and need. In the sex scenes, Alli worked with an intimacy coordinator, chose not to show nudity and to portray the characters asking for consent in natural, casual ways.

Cinematographer Jarmo Kiuru had worked together with Alli on three previous projects. For Girl Picture, they wanted to find a way to bring the energy and movement of being a teenager, and also wanted a natural, documentary feel, so the film was shot entirely handheld. Jarmo also decided to shoot the movie in the 4:3 aspect ratio. He felt that 4:3 not only frames the face better, giving the film a more intimate feeling, but he also wanted to show how the world is limited by parents and other rules when you’re a teenager.

Girl Picture won the Outfest Grand Jury Award for Outstanding Performance in an International Narrative Feature and also won the World Cinema Audience Award at the 2022 Sundance Film Festival.

Girl Picture is in limited theatrical release and will be available to stream in the fall.

Find Alli Haapasalo: https://www.imdb.com/name/nm1641519/

Find Jarmo Kiuru: Facebook: https://www.facebook.com/DoPJarmoKiuru
Instagram & Twitter: @jarmokiuru

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep179/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

August 3, 2022

Jules O’Loughlin ASC, ACS on shooting the FX series The Old Man and Disney+ series Ms. Marvel

Australian cinematographer Jules O’Loughlin’s path to movie making was a long journey. After graduating from the prestigious AFTRS- Australian Film Television and Radio School- he worked steadily and shot a wide range of films and TV shows including the action movie The Hitman’s Bodyguard, the series Black Sails, the horror movie Krampus and the children’s film Come Away. His recent work on two series, The Old Man and Ms. Marvel, show off his ability to visually transport audiences to other worlds.

The FX action spy series The Old Man began shooting in the fall of 2019. Jeff Bridges plays Dan Chase, a retired CIA agent whose old enemies are still hunting him. The series is very well acted, with great dialog scenes between Bridges and John Lithgow. Jules believes that as a cinematographer, it’s important to tread softly, be respectful and give the actors space to work without technical distractions. Jules shot two episodes of the series, with a planned location shoot in Morocco which was standing in for Afghanistan. But in March of 2020 the entire production shut down because of the pandemic. After a few months, production resumed and the desert around Santa Clarita, CA became the Afghanistan location. Unfortunately, shortly after that, Jeff Bridges, who actually did a lot of the fight scenes himself, was diagnosed with lymphoma. Bridges’ stunt double stepped in and the VFX team used some digital face replacement for certain parts while he was undergoing treatment. Despite all the setbacks, The Old Man has been a hit and is coming back for a second season.

The Disney+ series Ms. Marvel is about young Pakistani-American teen Kamala Khan, who discovers she has super powers after putting on a magic bracelet. The show is energetic, vibrant and colorful, reflecting Kamala’s personality and South Asian culture. Jules and director Sharmeen Obaid-Chinoy knew they could create a slightly different look for episodes four and five, since they take place in the Pakistan city of Karachi. Obaid-Chinoy is an Oscar-winning documentary filmmaker, and she and Jules chose to use more handheld cameras to explore the story’s historic narrative as Kamala travels through time to learn more about her family’s past. Ms. Marvel has brought an enthusiastic younger audience who are responding to Kamala’s cultural identity. In Pakistan. Ms. Marvel is showing in movie theaters, since Disney+ is not available.

Jules is currently working on Percy Jackson and the Olympians for Disney+, which involves some new challenges using LED screens on the soundstage.

Find Jules O’Loughlin: https://www.julesoloughlin.com/
Instagram: @jules.oloughlin

The Old Man is on Hulu and Ms. Marvel is available on Disney+. Both shows are currently streaming all episodes.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep177/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

July 20, 2022

Cinematographer Paula Huidobro on CODA, Pam & Tommy, Physical

Our returning guest is Paula Huidobro, who has been very busy the past few years shooting the 2022 Best Picture winning film CODA, the Hulu series Pam & Tommy, and the AppleTV+ series Physical, just to name a few.

Paula and CODA director Siân Heder knew each other as grad students at AFI, and have worked together on four other projects including the film Tallulah and the show Little America. For Paula, shooting CODA was definitely a different process. There were interpreters for each of the actors on set, and most shots had to be framed as medium shots so that their hands could be seen while they were talking. There could be few over the shoulder shots, or someone saying lines with their back to the other person. Siân Heder and Paula wanted to make sure that a deaf person watching the movie could understand exactly what the actors were saying. CODA is set in a New England fishing village, and Paula found it was a very visual environment to shoot, and extra challenging going out on a fishing boat in the ocean.

The Hulu show Pam & Tommy is about the 1990’s stolen sex tape of Pamela Anderson and Tommy Lee. Paula served as DP for every episode of the 8-part series, and she watched Pamela’s film Barb Wire and Tommy’s Mötley Crüe performances for the references. It was hard work to shoot every single episode- she felt she never had enough prep time with the director, location scouting or script. She enjoyed working with director Craig Gillespie (I, Tonya, Cruella) who also was the pilot director on Physical. He wanted to give complete freedom to the actors to move within the scene, so Paula would light the whole space and would start with her camera all the way wide, then push in for a close up. It was like a dance between the actors and they would explore the scene as they filmed it. Paula would shoot in nearly one take then just pick up whatever was missing. Pam & Tommy has a very aggressive style, using a lot of shots pushing in closer and closer, as the release of the sex tape and the fallout for Pamela’s career becomes an unstoppable freight train. It also has elements of humor and absurdity, and Paula enjoyed the novelty of shooting scenes with Tommy’s talking penis (an animatronic). Pam & Tommy had an excellent makeup and prosthetics department, and actors Lily James and Sebastian Stan are made up to be remarkable likenesses of Pamela Anderson and Tommy Lee. Paula found the makeup to be so good that it wasn’t difficult to light the actors. Most of all, Paula and each of the directors wanted to be thoughtful in how they portrayed Pamela Anderson and how her world and entire career had been shattered by illegally releasing this tape.

Physical explores the troubled interior life of Sheila Rubin, an extremely unhappy 1980’s suburban housewife with an eating disorder. But once she finds aerobics, things begin to change for her. Paula finds Physical to be a very dark show, but she really likes how they portray Sheila’s inner thoughts. The character almost always says one thing but in her mind she’s thinking dark thoughts about herself or someone else. Paula would hold shots on actor Rose Byrne a bit longer so that later, her inner thoughts are added in voiceover. The show has great production design- a mix of drab and dark 70’s interiors with big splashes of 80’s color saturation on the set, especially during the workout scenes. Paula enjoyed being able to do some fun and playful things with lighting and camera work for the aerobics sequences.

Find Paula Huidobro: https://www.paulahuidobro.com/
Instagram @paulahuidobro

CODA is streaming on AppleTV+. Physical Season 2 is currently streaming on AppleTV+. You can find Pam & Tommy, a limited series, on Hulu.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep175/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by DZOFilm: https://www.dzofilm.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

July 13, 2022

Cinematographer Chris Teague on the Hulu series Only Murders in the Building

Cinematographer Chris Teague has shot many acclaimed television series and films such as Obvious Child, GLOW, Russian Doll and Mrs. America. His latest work is on the Hulu series, Only Murders in the Building, both Season One and Season Two, and he also directed episodes seven and eight of Season Two.

Only Murders in the Building has many different tones, ranging from funny to dark, dramatic and even scary. The show manages to strike a balance to keep the darkness from undermining the comedy. As the DP, Chris created a very cinematic and timeless look and feel for the show, which is mainly shot on sets that are meticulously built and planned. Each episode takes about 6 ½ days to shoot, and Chris and the crew are able to create visually interesting shots that feel very natural because of having such well built sets with excellent lighting. Actors Martin Short and Steve Martin have such a rapport, and their friend dynamic is baked into the script- the two actually don’t do very much improv or riffing. If they do come up with something, Martin and Short run the line changes through for the crew to see how they play. Chris has enjoyed coming back to work on a second season of the show, because he has a body of work to reference and the crew knows the look of the show really well.

As a kid, Chris made lots of short movies with friends growing up, and always loved photography and writing. It seemed a natural fit to go to film school and he decided to pursue cinematography full time after the film he shot, Obvious Child, went to Sundance in 2014.

Find Chris Teague: http://www.christeaguefilm.com
Instagram @_christeague

Only Murders in the Building Season 2 is currently airing on Hulu.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep174/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments