January 24, 2026

DP Michael Bauman on One Battle After Another’s improv style

The Cinematography Podcast Episode 342: Michael Bauman

Cinematographer Michael Bauman recently earned an Academy Award nomination for Best Cinematography for his work on One Battle After Another. Before becoming a cinematographer, Bauman spent years as a gaffer, working under legends like Robert Elswit, Janusz Kaminski, and the late Harris Savides. This mentorship gave him a masterclass in diverse visual languages and on-set problem-solving. After serving as a gaffer for director Paul Thomas Anderson on several projects, Bauman stepped into the DP role for the features Phantom Thread and Licorice Pizza.

The decision to shoot One Battle After Another in VistaVision was Anderson’s idea. Known for his commitment to celluloid, Anderson prefers old-school techniques: watching dailies on developed negative and editing with physical film. VistaVision offered a larger negative and higher resolution than standard 35mm without the massive footprint of IMAX.

The challenge, however, was mobility. Historically used for stationary visual effects shots, the VistaVision camera is notoriously bulky. Anderson wanted the opposite: a dynamic, handheld, and Steadicam-heavy aesthetic. “The language of this entire movie is camera movement,” says Bauman. “How do you take this format—with a viewing system that comes off the top at 45 degrees—and turn it into something that can capture the story the way he wants?”

Putting an experienced team together was key for the endeavor. They had to be capable of troubleshooting in remote locations far from the safety of LA or New York hubs. Their goal wasn’t perfection, but character. “In the digital world we soak in now, it’s all about a pristine image,” Bauman notes. “Blacks are super rich, whites are super crisp. We wanted to take this ‘Kobe beef’ format and turn it into a McDonald’s hamburger—in the best way possible.”

The visual identity was further refined by referencing 1970s cinema, specifically The French Connection. Bauman studied the texture and color palettes of that era to emulate its “loose and rough” style. True to form, Anderson pushed to avoid modern LED lighting, preferring tungsten sources whenever space allowed. As a former gaffer, Bauman was happy to accommodate.

Perhaps the greatest hurdle was the improvisational nature of the production. Anderson enjoys letting the actors improvise or even reshoot later. He doesn’t use storyboards or do pre-vis, so even complex scenes had to be worked out in pre-production or on the day. “Every day was just like, you had to get comfortable with the uncomfortable,” comments Bauman. “I knew we were doing stuff in a good spot when I was really questioning all of it. We had to embrace all these happy accidents. It’s free jazz all day long. It’s exciting now, but at the time I was stressed as hell!”

This spontaneity extended to the film’s climax. The spectacular car chase wasn’t fully scripted until the location manager discovered a road with rolling hills on the Arizona border. After a week of testing the VistaVision rigs on pursuit vehicles, the crew spent seven days capturing the sequence. Although it was in the wide-open desert, the characters chased each other over the undulating terrain, which allowed enough suspense to build before the spectacular conclusion.

See One Battle After Another in theaters and streaming on HBO Max

Find Michael Bauman: Instagram @baumanlights

Check out Michael’s lighting companies, LiteGear and Lux Lighting.

Support Ben’s short film, The Ultimate Breakup! https://www.kickstarter.com/projects/theultimatebreakup/the-ultimate-breakup-short-film?ref=nav_search&result=project&term=the%20ultimate%20breakup&total_hits=2

The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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In Cinematography Podcast, Latest Posts, Podcast Episodes

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January 16, 2026

Amy Vincent, ASC on the visual heart of Song Sung Blue

The Cinematography Podcast Episode 342: Amy Vincent, ASC

Cinematographer Amy Vincent, ASC feels like she’s reached the place where she wants to be, working on the kinds of films she likes. Vincent and director Craig Brewer have collaborated on several music-forward films, including Hustle & Flow, Black Snake Moan, and a Footloose remake in 2011. Throughout the years, Vincent and Brewer have created a shared cinematic language built on deep trust.

Their latest collaboration, Song Sung Blue, is a biopic about a Neil Diamond tribute band. Craig Brewer had seen the original documentary Song Sung Blue at a film festival, and knew that he wanted to adapt the story of Mike and Claire Sardina, who formed a Neil Diamond tribute band called Lightning and Thunder. To bring their world to life, Vincent’s primary mission was to protect Brewer’s instinctual, writer-driven process.

While many modern productions retreat to the controlled environment of a soundstage, Song Sung Blue leaned into the grit of reality. The film was shot entirely on practical locations in New Jersey, doubling for Milwaukee. Vincent admits she was initially reluctant to embrace the cramped quarters of real homes, but the shot design was quickly informed by the limited space. Pre-production tests on location with period light fixtures and wood paneling on the actors’ hair and makeup also gave the entire production team a chance to see the film’s vision come to life.

For the film’s musical sequences in bars and on stage, Vincent made a deliberate technical choice to embrace the performance lighting. By choosing a 1.85:1 aspect ratio, the lighting fixtures themselves could be part of the composition. Rather than hiding the sources, she embraced lens flares and visible fixtures, treating the lighting as a character in the performance spaces. This added an authentic “stage” texture to the Lightning and Thunder shows.

The visual language of the film was born long before the first day of principal photography. Vincent was present during the actors’ vocal recordings and rehearsals, watching how leads Hugh Jackman and Kate Hudson interacted. She points to “Play Me,” a scene where the characters sit back-to-back on a piano bench after they first meet, as a product of this observation. “That all started for me by watching the actors physically moving and singing in those initial rehearsals.” By the time they reached the set, the camera movement was already a natural extension of their physical performances.

For Vincent, Song Sung Blue is a project where the technical execution perfectly aligns with a narrative she believes in. “Craig is aligned with the idea of telling stories about people who dream beyond their means,” she says. “I always love that. It’s something I hope I get to continue doing.”

See Song Sung Blue in theaters and streaming on VOD.

Find Amy Vincent: Instagram @amyvvincent

Hear our previous interview with Amy Vincent: https://www.camnoir.com/ep259/

SHOW RUNDOWN:

01:45 Close Focus

08:30-58:38 Amy Vincent Interview

59:45 Short ends

01:09:15 Wrap up/Credits

Support Ben’s short film, The Ultimate Breakup! https://www.kickstarter.com/projects/theultimatebreakup/the-ultimate-breakup-short-film?ref=nav_search&result=project&term=the%20ultimate%20breakup&total_hits=2

The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Blue Sky: @thecinepod.bsky.social

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

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