June 8, 2023

Jimmy Kimmel Live! cinematographer George Feucht

We finally welcome George Feucht, friend of the Cinepod and frequent collaborator of Ben Rock’s. George has shot many of Ben’s directorial projects, such as the web series, 20 Seconds To Live and the short film, Future Boyfriend.

Cinematographer George Feucht grew up in a small town in Wisconsin, where the closest movie theater was about 20 miles away. Working on high school and local theater productions gave George an education in lighting. He also learned photography, getting a job as a photo journalist for the local newspaper. Once George enrolled in USC film school, he learned about storytelling and set etiquette. He realized that becoming a cinematographer brought all of these skills together.

After college, George began working as an electrician and cameraman for home improvement and reality TV shows. He enjoyed working on reality shows because it’s challenging work- setting up and lighting shots, yet with little to no control over the unscripted action. He then made his first feature, Dance of the Dead with his friend, director Greg Bishop. They worked together again on a horror feature called Siren.

George began working on Jimmy Kimmel Live! shooting comedy bits such as “Mean Tweets” outside the studio for the field department. They often have to shoot the sketches on the same day the show airs. George says the secret to working so fast is to have a great team, with great producers who figure out all the logistics. The writers are also incredible, coming up with something brilliant that can be done in a very limited timeframe, often with very famous A-list actors. It’s an unpredictable and challenging job that changes every day, but George enjoys being a part of making something funny. For the improvised, man on the street comedy bits, he has to pull his own focus and try to get the comedy timing right. Everyone on the crew feels like a family, and George enjoys watching Jimmy working during the rehearsals.

Jimmy Kimmel Live! is dark for now because of the writer’s strike. Fortunately, George has been able to stay employed shooting commercials.

Jimmy Kimmel Live! airs every weeknight on ABC.

Find George Feucht: https://www.georgefeucht.com/
Instagram: @georgefeucht

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

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May 31, 2023

Ted Lasso cinematographers David Rom and Vanessa Whyte

The show Ted Lasso has truly become a feel-good TV phenomenon for Apple TV+. With tons of new subscribers after its premiere in 2020, it saved the brand-new streaming service and was Apple TV+’s top comedy in 50 countries. Ted Lasso seemed to tap into what many people needed during the pandemic. It’s a positive and uplifting show about Ted, a fish out of water determined to spread joy and inspire confidence while coaching the AFC Richmond football (soccer) team in England.

Cinematographer David Rom has been shooting Ted Lasso since the pilot. He and co-creator/star Jason Sudeikis worked out the look of the show together with the production designers. They wanted to find a look that was clean, bright and saturated, but not look like a network comedy. It was a challenge to make so many offices and locker rooms look interesting because they had to be lit from above. David and director Tom Marshall used the sports films Moneyball and I, Tonya as references for the pilot episode. David chose to shoot with the ARRI Alexa LF with Tokina lenses to get the big, colorful look. The show frequently uses a single camera, handheld approach even though they often need several cameras to cover the action. Many of the scenes are rewritten, changed or improvised in the moment, so both David and fellow cinematographer Vanessa Whyte have to be ready to think on their feet.

DOP Vanessa Whyte joined Ted Lasso in season 2. As the seasons of the show have progressed and the characters deepen, the look of Ted Lasso has also progressed, with room for experimentation in a few episodes. For example, in the episode “Beard After Hours,” Vanessa got to have fun with more psychedelic and dreamlike camera work as Coach Beard parties his way around London after a team loss. Vanessa also found that each season has a lot of episodes that refer back and tie in to previous episodes. With help from the show’s DIT, she would reference these previous scenes, in order to match up the shots and storylines neatly. She finds that the fans of Ted Lasso notice and appreciate when they’re able to recognize a callback.

Ted Lasso IS about football, and for all of the football sequences, the show has a special second unit for shooting the games. David and Vanessa use a large crew to shoot on the field, with many extra cameras. The crew is not allowed to shoot on any actual football pitches, and all of the stadiums where the games are played are recreated with computer graphics, and a CGI crowd. Most of the practices and games are actually shot on the Hayes and Yeading Football Club pitch. A few small greenscreens are strategically placed on the field and behind the goals, and the CGI team does their magic to turn it into a stadium.

For both David and Vanessa, shooting in the UK can be a nightmare with the unpredictable British weather. Vanessa says that it’s definitely part of the training for any European cinematographer. The weather regularly shifts from clouds to sun to clouds and rain. They always need to build in more time to shoot, and have plenty of lights as backup with color grading in post to correct for drastic light and shadow changes. After season 1, the crew built a set instead of using a real location for Rebecca’s office, since it was so difficult to control the lighting in the south-facing windows.

Ted Lasso is streaming on AppleTV+.

Find David Rom: http://www.davidrom.com/
Instagram: @davidrom_dop

Find Vanessa Whyte: https://www.vanessawhyte.com/
Instagram: @noodlle

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

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May 24, 2023

Evil Dead Rise cinematographer David Garbett

New Zealand cinematographer David Garbett has shot more versions of the Evil Dead franchise than any other cinematographer. These include the series Ash vs. Evil Dead and the latest movie, Evil Dead Rise. Dave has enjoyed working on Evil Dead because it’s been a fun, creative, and over-the-top experience.

Evil Dead Rise director Lee Cronin felt that after 10 years, the movie needed a different setting. The action takes place on the top floor of a Los Angeles apartment building. Dave felt a responsibility to get the tone just right since Evil Dead is loved around the world. Evil Dead Rise is witty, but it is more of a straight up horror movie compared to the other Evil Dead films, starring Bruce Campbell. It definitely doesn’t skimp on the blood and gore.

Dave thinks that the essential comedic aspect of Evil Dead is a huge part of the dynamic between director Sam Raimi and Bruce Campbell. He had the amazing experience of working with both of them on the series, Ash vs Evil Dead. The show is like a gory cartoon, with lots of humor and a huge performance by Bruce Campbell as Ash. One of the aspects of shooting Ash vs Evil Dead that Dave loved was getting the script every week and thinking, what the hell kind of bizarre situation am I going to find myself in this week? For the series, Dave got to use many of the low-angle, fast moving “evil force” POV shots. Every time they needed an “evil force” shot, it required a lot of thought and logistics preparation to figure out how to maneuver the camera. They would use many different techniques to get the right look and speed- the evil force has a fast-moving energy and intensity. Dave captured the “force” with the camera mounted on a variety of tools: a gimbal, a pipe, a remote controlled car, a techno crane and also just physically running handheld to give an organic nature to the movement.

When Dave began going to film school in Auckland, he realized that he was drawn to a career as a director of photography, because you can be both technical and artistic. Dave’s timing was good, because the film industry in New Zealand was just ramping up. The movies Once Were Warriors and The Piano were being made there, followed by Heavenly Creatures and The Frighteners. Soon after, Peter Jackson put New Zealand on the map with The Lord of the Rings movies, which brought an incredible amount of work and visibility to the film scene in New Zealand.

Dave also shot several episodes of the Netflix series, Sweet Tooth. Season two of Sweet Tooth is currently streaming.

Evil Dead Rise is currently playing in theaters.

Find Dave Garbett: http://www.davidgarbett.com/
Instagram: @jarbaye

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

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YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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May 17, 2023

Dead Ringers cinematographer Laura Merians Gonçalves

Cinematographer Laura Merians Gonçalves was extremely intrigued to work on the new Prime Video series, Dead Ringers. The show is based on the 1988 David Cronenberg movie, which starred Jeremy Irons as twin gynecologists. When she read the script for the series, Laura thought changing the genders of the twins to female gave the show more interest. She liked that over six episodes, they could explore a deeper, more complicated story about women. Laura shot the bulk of the series, episodes three, four, five and six.

Both Laura and DP Jody Lee Lipes, who shot episodes one and two, worked closely together to share ideas and find the look of the show. There is a restraint to the color palette, with the exception of red as a theme- just as in the movie. They used red scrubs and even red latex gloves in the operating rooms. The style of the show is very stark and elegant, making it easier to cleanly insert the twinning shots.

The biggest challenge for Dead Ringers was ensuring that the twinning for actor Rachel Weisz was seamless and convincing. Jody had previous experience shooting twin shots with VFX supervisor Eric Pascarelli on the HBO series I Know This Much Is True. For Dead Ringers, the twinning shots were done with the assistance of an old motion control camera system that actually used floppy disk drives. Anything involving twinning was discussed in advance and carefully planned and blocked. A body double, Kitty Hawthorne, was also essential for the twinning effect to work. Rachel would do rehearsals and then takes for side A, with Kitty miming the other twin. Then they would switch and do side B, with Kitty now mimicking the A side twin. The motion control camera exactly synched the camera so that the scene could be composited seamlessly together in post.

Laura found that with the real-time movie magic they were able to create, it was easy to forget that actor Rachel Weisz was actually just one person. She is a huge fan of motion control and doing things technically in camera, rather than relying on special effects in post. The actor can be invested in their performance as their character and they don’t have to have a face replacement or deep fake special effect.

Dead Ringers is currently streaming on Prime Video.

Find Laura Merians Gonçalves: https://lauramerians.com/
Instagram: @lauramelodygoncalves

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

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YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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May 10, 2023

Cinematographer Xavier Dolléans, AFC on the Peacock series, Mrs. Davis

Cinematographer Xavier Dolléans has worked extensively in France on films, commercials, music videos and the award-winning French series, Germinal. The Peacock show Mrs. Davis marks his move into working on more U.S. based productions. Xavier was the DP for the Spain unit of the show. He enjoys working in narrative storytelling, where he can tell longer stories and find a look that creates the rhythm of the story.

Mrs. Davis is a humorous, dramatic and action-packed science fiction show about a powerful artificial intelligence known as Mrs. Davis. The algorithm has taken control of most people’s every day lives, and they worship Mrs. Davis with cultlike devotion. An unconventional nun, Sister Simone, has made a deal with the AI to find and destroy the Holy Grail in return for it destroying itself.

Xavier began five weeks of prep in Spain for Mrs. Davis, which takes place across the globe. The production shot in several different parts of Spain to stand in for other countries, such as Scotland. The northern part of Spain looked enough like Scotland and was far less cold and rainy. Xavier worked with a mix of American and Spanish crew. The production used U.S. production standards, with very little overlap between departments, but with European labor rules of working just 8-10 hours per day.

When Xavier first read the script for Mrs. Davis, he could understand what was happening in each scene, but the overarching story was extremely complex, exciting and unpredictable. He enjoyed the depth of the story which is only revealed a tiny bit at a time. Xavier was able to give hints with camera framing and movement of what is really happening or what a character is thinking. A camera move can reveal a lot in each episode, and all of the visuals were intentional and carefully shotlisted. Xavier and cinematographer Joe Anderson used Caldwell anamorphic lenses, which created the flare and bokeh they were looking for.

Xavier began his career in filmmaking working in visual effects. He had the opportunity to spend time on set as an assistant director, and discovered he liked the job of DOP because it combined the technical with the artistic point of view of the story. Xavier sees filmmaking as a lifestyle for the mind and the body. It’s important to stay educated and up-to-date on new systems and techniques, and to keep your body healthy and well rested so you’re in the best condition for the job.

Find Xavier Dolléans: http://www.xavierdolleans.com/
Instagram: @xavier_dolleans

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

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May 3, 2023

Comedian and director W. Kamau Bell on the new HBO documentary, 1000% Me: Growing Up Mixed

Comedian and director W. Kamau Bell has been a fan of documentaries as much as a fan of comedy. As a kid, he would sit down with his mom and watch documentaries on PBS, since there were only a few broadcast TV channels when he was growing up. He came of age at a time when lots of documentary filmmakers were putting themselves on screen and telling personal stories. For Kamau, it’s always about looking at the material and the story you want to tell.  As a comedian, he’s skilled at bringing humor into more serious subjects. But there is a clear difference between something personal that happened to him that he can joke about in his standup act vs. something with more nuance and depth that can be explored as a longer-form project.

1000% Me: Growing Up Mixed is very personal to Kamau, since his children are mixed race. He wanted to talk to his three daughters about their identity and experiences, something they discussed often in their household. He also included interviews with his wife, mother and mother in law. The production team cast several other kids in the San Francisco Bay Area, including friends of his daughters, to expand the focus of the documentary further. The intention was to keep it lyrical and light, and temper any intense or heavy topics with humor when possible. On set, Kamau made sure the kids were as comfortable as possible and that the cameras were always framed at their level so they could look him straight in the eye. The set was a rented house that they intentionally decorated to feel homey and welcoming, and Kamau made the children feel at ease by showing them the cameras and equipment first. The parents interviewed in the documentary found that the project led to them having deeper conversations about their racial identities with other family members. HBO and the producers decided to keep the edited time of 1000% Me: Growing Up Mixed down to just one hour, so that families could sit and watch it together.

Kamau thinks 1000% Me: Growing Up Mixed is just the beginning of what could become a bigger project. He would love other directors to talk to kids in different parts of the country, because there’s lots of kids out there with different experiences than those in the very liberal and diverse Bay Area.

1000% Me: Growing Up Mixed is currently available on HBOMax.

Find W. Kamau Bell: http://www.wkamaubell.com/
Instagram & Twitter: @wkamaubell

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

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April 27, 2023

David “Gribs” Gribble, ACS on his long career and films Cadillac Man, The World’s Fastest Indian, The Quest, Jesse Stone

David “Gribs” Gribble grew up in Brisbane, AU and began studying photography at night school. He became a photo assistant, moved to Sydney, and found a job at a local film studio making commercials and low-budget movies. At the time, in the 1970’s and ’80’s, Australia was experiencing a resurgence of its cinema, known as the Australian New Wave. The government provided tax incentives for ordinary people to invest in movies, and established the Australian Film, Television and Radio School. The country’s film industry was jump started, and the genre known as Ozploitation was born.

Gribs learned camera operating on the job. His first feature film was The Man From Hong Kong, followed by the Aussie cult classic race movie, Running On Empty. The film Monkey Grip won some awards, and Gribs was asked to shoot his first American movie, Off Limits, starring Willem Dafoe and Gregory Hines. He thinks that working with American actors was different than working with Australian actors- the Americans seemed to be more prone to distraction and sensitive about their appearance. Gribs learned to “light faces, not places” since that’s where the dialog comes from, and flattering actors by telling them how great they look in a particular spot, to give them tools to make themselves look better on screen. He also learned that in lighting, it’s better to work with a broad brush and shoot before you’re ready- as a cinematographer, don’t indulge yourself too much.

The movie Cadillac Man was challenging to shoot for a few reasons. The movie takes place almost entirely in one location- at the car dealership. Gribs had to combat flat lighting up against the walls of the office, as well as dealing with reflections from shiny cars and large windows. Director Roger Donaldson shot take after take, because actor Robin Williams was constantly improvising off script. Gribs found him extremely funny, and says there was so much extra footage of Williams that was cut out, it could probably make another movie.

Gribs also discusses working with Anthony Hopkins on The World’s Fastest Indian, Jean-Claude Van Damme on The Quest and shooting the Jesse Stone movies starring Tom Selleck.

Find David Gribble: Instagram @gribshott

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
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YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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February 16, 2022

Catch The Fair One director Josef Kubota Wladyka and actor/screenwriter Kali Reis

Catch the Fair One is about Kaylee “K.O.” Uppashaw, a mixed Indigenous boxer who is searching for her sister, Weeta, who has been missing for two years. K.O. sets off on a dark and dangerous journey as she willingly allows herself to be exploited by a sex trafficking ring to find out what happened to her sister. Catch the Fair One is the second feature for Josef Kubota Wladyka, who has also directed episodes of Narcos, Fear the Walking Dead and The Terror. It’s the acting debut for Kali Reis, who is an Indigenous/Cape Verdean world champion boxer and activist for missing and murdered Indigenous women of North America.

Josef met Kali through a friend’s boxing gym. Watching her train and box helped Josef form an idea for the story of Catch the Fair One and he wanted a collaborative partner who could help shine a light on the issue of missing and murdered Indigenous women. With such dark subject matter, Kali and Josef knew they wanted the film to be a thriller, with themes of pain, loss, and regret that intentionally draws the audience in. Kali enjoyed being a part of the creative writing process. Though she had never written a script before, she feels she drew on her ancestors’ tradition of storytelling and it felt natural. Kali was able to write her own character, building Kaylee from the ground up. Josef and Kali shoot a lot of rough footage, working out different character and script ideas. Kali also trained at an acting boot camp to help her learn acting and character work. Josef felt fortunate to work with Darren Aronofsky, who came on board as executive producer, and he gave Josef feedback on the movie to help bring it into focus.

Find Kali Reis: Instagram: @ko_ndnbxr
Twitter: @KO_Reis86

Catch The Fair One opened February 11th in theaters and on demand. https://www.catchthefairone.movie/

Learn more about Murdered and Missing Indigenous Women: https://www.nativewomenswilderness.org/mmiw

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep159/

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

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February 9, 2022

Academy award winning cinematographer Linus Sandgren, FSF, ASC on No Time To Die and Don’t Look Up

Acclaimed cinematographer Linus Sandgren just happens to have two Oscar nominated films out right now- the new James Bond movie, No Time to Die and the Adam McKay satire, Don’t Look Up. Both films are extremely different from each other, and Linus was excited to work on both. Linus says that working on a Bond film is about creating a heightened reality, escapist adventure that romanticizes action and espionage. Don’t Look Up is also about creating a type of heightened reality, but in an absurd, satirical way that tells the truth.

Linus was very excited to shoot No Time to Die with director Cary Joji Fukunaga. Linus always tries to find a story and script that he hasn’t done before, and it was a new challenge for him to take on a film with so much action. They focused on making it their own Bond, rather than looking at previous James Bond films. No Time to Die even begins differently from past Bond films- instead of an action set piece, Linus and Fukunaga chose to create a horror movie feeling in the opening. For the opening sequences of No Time to Die, Linus set the creepy tone, choosing monochromatic grays and icy blue skies, and a very isolated location. By contrast, the very next action sequence featuring Bond is full of harsh bright sun washed in yellows and browns. For every film Linus shoots, he likes to have keywords for the emotions in the script to guide him in prep for different scenes, such as horror, grief, loss, humor, etc. and decides how to address those emotions visually. Linus and Fukunaga also discussed the expectations of a Bond film: an entertaining action-packed joyride, but still have No Time To Die act as a final chapter wrapping up Daniel Craig’s arc as James Bond.

Don’t Look Up is a disaster-movie satire film directed by Adam McKay. Linus felt the script was terrific and horrific at the same time, and it was clear to him that McKay wanted to comment on how people’s personal and political agendas cause them to ignore glaring problems, such as climate change, and hijack the actual solution that could save lives. Linus felt like it was an important and hilarious film to shoot. He decided that the visuals should feel like a political thriller, because the comedy and satire would come through in the writing. Linus would dolly in to create tension, use longer zooms to compress the shots, then go close up with a macro lens in order to get right on a character’s eyes. The shoot required a lot of extras, which was made even more challenging with COVID protocols. Linus had to be creative to figure out how to shoot with fewer extras, using longer lenses so the physical distancing wouldn’t be as apparent, and they often re-used the same actors in different scenes since they were in a quarantine bubble together.

Find Linus Sandgren: Instagram @linussandgren_dp

You can purchase and stream No Time to Die on AppleTV, Amazon, Vudu, or your preferred service. Don’t Look Up is available on Netflix.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep158/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Sponsored by Arri: https://www.arrirental.com/en

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

By Illya Friedman

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February 2, 2022

Cinematographers Daniel Grant, CSC and Steve Cosens, CSC on shooting the series Station Eleven on HBOMax

Station Eleven is an HBOMax series based on the book by Emily St. John Mandel. The story focuses on several characters who are survivors of a devastating flu pandemic that wipes out most of the human population, completely collapsing modern civilization. The series mixes together the storylines of characters whose past and present timelines interconnect, weaving together the time during the pandemic, the days and months afterward, and then how the characters have adapted twenty years into the future. Art, music and theater have thrived in a small band of actors and musicians known as the Traveling Symphony. Kirsten, played by Mackenzie Davis, is the main character and a lead actor in the Traveling Symphony, going from settlement to settlement performing Shakespeare. Each community still remains under threat of hostile invaders, and a dangerous cult whose beliefs are based on a story from a graphic novel written before the pandemic appears to be on the rise.

Daniel Grant, CSC and Steve Cosens, CSC, both Canadian cinematographers, were hired as DPs for four episodes apiece for Station Eleven. They were happy to know that they’d be working closely together because they were familiar with each other’s work and comfortable with each other’s aesthetic. Executive producer Hiro Murai directed the first block of episodes- Episodes 1 and 3- with Christian Sprenger as the director of photography, and they established the initial look of the show. Murai and Sprenger shot two episodes in Chicago as COVID hit, and then production shut down for several months. Daniel and Steve were brought on to shoot the next blocks in Toronto, Canada, which felt weird and surreal as they developed the look and feel of a fictional post-pandemic world, while living through a real global pandemic.

As Daniel and Steve began prep, they were able to contribute their own ideas for the look and feel of Year 20 in Station Eleven’s post-pandemic world. Steve noted that the pacing of the show was very deliberate, and they would purposefully let shots hold for several beats. Each shot was nicely framed and the lighting was very naturalistic and organic- it was not a slick show with fast edits. With less humans around, they wanted to depict the earth returning to the natural world in the future, instead of the typical post-apocalyptic barren scorched landscape look. They wanted Station Eleven to feel positive and life-affirming, although still fraught with potential dangers.

Since the main storyline follows a roving band of theatrical performers, the show was always on the move with many different locations, and Daniel and Steve had to fuse the challenges of the logistics with the creative. Many episodes required different seasons or the same location dressed for different years. The hardest episodes and locations to shoot took place at the airport, set during Station Eleven’s pre-pandemic and then twenty years after the pandemic. The two cinematographers stayed in close contact and were true collaborators, sharing information and communicating to make it easier for each other as they switched off shooting in the airport location. Steve and Daniel would often have early morning phone calls to constantly feed each other information about the shoot day, and would watch each other’s dailies to match each other’s shots.

Find Daniel Grant: https://www.danielgrantdp.com/
Instagram: @danielgrant_dp

Find Steve Cosens: https://www.stevecosens.com/
Instagram: @cosenssteve

You can see all episodes of Station Eleven on HBOMax

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep157/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/
Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8

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

By Illya Friedman

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