August 27, 2025

Matthew Chuang: bringing an authentic look to Chief of War

The Cinematography Podcast Episode 322: Matthew Chuang, ACS

Chief of War is a historical drama series from Apple TV+ co-created by and starring Jason Momoa. The show features a primarily Pacific Islander cast speaking Hawaiian, and is the first program to tell the story of the brutal and unprecedented unification of the Hawaiian islands in the late 18th century.

Cinematographer Matthew Chuang, ACS shot episodes 1, 2, 5, 8 and 9 of Chief of War. He teamed up with director Justin Chon, his friend and collaborator on the indie film, Blue Bayou, to shoot episodes 1 and 2. Working with Chon, Matthew set the look of the show- a naturalistic, honest and real look, with few effects or stylized camera moves. They drew from films by director Terrence Malik, cinematographer John Toll and movies such as The Last of the Mohicans and Apocalypto. “It was a lot of fun because I had resources for the first time. The scale of the production was exciting,” says Matthew, who had never worked on a television show before, let alone an epic one like Chief of War. “We wanted to showcase Hawaii, the culture, the fighting style and costumes, but in a way that feels grounded and real.” Understanding the history and receiving guidance on cultural sensitivity was also important to the crew, who often engaged with the actors and local community to make sure it felt authentic. The crew shot in Hawaii for eight weeks before shifting to locations in New Zealand.

For Matthew, the ninth and final episode, directed by Jason Momoa, proved to be the most difficult. They filmed major battle scenes in the lava fields of Kalapana on Hawaii, while the Mauna Loa volcano erupted for the first time in more than three decades. The lava rocks were sharp, hot and offered no protection from the sun, and the battle as scripted went from daytime into night. Matthew had to carefully plan the shooting schedule around the time of day in the script, with the crew often starting at 3am to get shots going from night into day. It was Momoa’s directorial debut, and Matthew found him to be extremely knowledgeable. “Jason is very involved on the visual side,” explains Matthew. “He loves cameras. He loves the craft of shooting. He knows lighting as well, like the direction of the sun, especially with the show where we’re shooting a lot of times outdoors, a lot of time on location.”

Find Matthew Chuang: https://www.matthewchuang.com/
Instagram: @mattscope

See Chief of War on Apple TV+
Sponsored by Hot Rod Cameras: https://hotrodcameras.com/

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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August 21, 2025

Art of the one shot: Adolescence cinematographer Matt Lewis

The Cinematography Podcast Episode 321: Cinematographer Matt Lewis

In the limited Netflix series Adolescence, each episode unfolds as a single, uninterrupted take, a cinematic choice that immediately immerses viewers in the unfolding drama. This ambitious format was a deliberate artistic choice. Both cinematographer Matt Lewis and series director Philip Barantini had previously collaborated on the independent feature Boiling Point, which also followed the one-shot format. This shared experience allowed them to bring a unique intensity and almost voyeuristic quality to the new series. As Matt explains, “A one-shot creates intensity. It creates slight paranoia that something might happen because you’ve got this lack of editing. We managed to deploy that technique for Adolescence to make it feel like the camera just happened to be there. It was an inevitable floating force. You never feel like the camera is a filmmaker.”

The decision to film Adolescence in one continuous shot was a massive undertaking that required meticulous planning, from the writing stage to the final take. The series’ writers, Jack Thorne and Stephen Graham, crafted the script with this format in mind, allowing the story to flow seamlessly from one character to the next. The crew and cast treated each hour-long episode like a live theatrical performance, knowing that any mistake would require a complete reset. For Matt, the process was similar to choreographing a dance. The cast and crew had about 2 attempts per day to get each hour long episode right. Matt chose a single, lightweight DJI Ronin 4D camera that was passed between operators and even mounted on a drone for one episode, emphasizing the camera’s fluid, continuous motion. “It forces a kind of energy on set, which is really palpable when you’re there,” explains Matt. “I think that also translates into the piece. A true one shot wasn’t any sort of flex. We wanted to try and see if by stripping back and actually not having those opportunities to cut camera, it ends up focusing more on the story.”

To navigate the complex, unbroken shots, Matt relied on detailed preparation and his extensive experience. He used the application Shot Designer to meticulously map out the camera’s path, memorizing specific lines of dialogue as cues for each movement. Fortunately, the cast and crew had two weeks of rehearsals. Matt used his phone to shoot the rehearsal for reference, in order to plan the camera’s route and see what would work. The lighting was also an integral part of this intricate choreography. Every fixture was practically built into the set and controlled in sync with the camera’s journey through the scene. “Every step the camera takes is choreographed,” says Matt. “There was no room to work it out in the moment. But ultimately, we’re creating a route, a path through a place. So there’s only a certain way you can do that. If you start moving one piece, then you can’t get from that piece to the next one suddenly.”

The one-shot format in Adolescence ultimately served the story, creating a powerful and intimate viewing experience. By stripping away the ability to cut, Matt and the team were able to focus entirely on the narrative, allowing the raw energy and palpable tension of the set to translate directly to the screen.

Find Matt Lewis: Instagram: @mattlewisfilm
Matt Lewis is Emmy-nominated for episode 2 of Adolescence.
See Adolescence on Netflix.

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/

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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June 16, 2025

Color, light and menace: DP Kim Ji-yong, Squid Game season 2

As a huge fan of the original Squid Game, cinematographer Kim Ji-yong jumped at the opportunity to shape the visual language for the show’s second and third seasons. Ji-yong has masterfully evolved the show’s aesthetic, continuing to play with jarring camera perspectives. He uses disorienting low angles looking up and god-like high angles looking down to immerse the viewer in the drama. For him, color and light are the key to unlocking the show’s central theme: the tension between childlike innocence and deadly menace.

Squid Game Season 2 follows the first season’s winner, Seong Gi-hun, as he seeks revenge and tries to uncover the mystery behind the games. In the first episode, Gi-hun and his friends chase a recruiter through a subway and a park, a pursuit that ends in a tense game of Russian roulette. For this pivotal scene, Ji-yong wanted a look that was both realistic and expressionistic. He bathed the game in the glow of a red neon light from a nearby window, establishing a color motif that would echo throughout the season.

This powerful visual cue returns in other key episodes, most notably in a harrowing new voting scene where the players must once again decide their own fate. “When our main actor is facing a moment of choice, a moment of making a decision, I wanted to bring that red and blue light every time they faced that situation, just like earlier in the Russian roulette game,” Ji-yong explains.

The sheer scale of the sets presented unique lighting challenges, particularly the massive, white-walled dorm room filled with hundreds of extras. “I tried to cut off the spill to the white walls as much as I could,” Ji-yong says. “We also had stacks of beds so I could use some shadowy areas, so we had a little variety on the set.” All the room’s illumination came from a lighting grid above, making it feel as oppressive and controlled as the games themselves, which also served the actors. “I want them to feel as if they’re actually playing this game,” he notes.

To capture the chaos, Ji-yong relied on an intimate two-camera setup. One camera stayed close, capturing the raw emotion on the characters’ faces, while the other—often handheld—followed the action from the perspective of a frantic player. Though each episode was meticulously storyboarded and shot over 12 to 15 days, he finalized camera positions after blocking each scene, trusting his intuition to find the most impactful angles.

Ji-yong embraced the vibrant, candy-colored sets, finding creative energy in the contrast between their playful hues and the brutal violence of the games. He worked closely with the production designer, running camera tests to find the perfect shade of pink that would pop on screen. While not typically a fan of modern LED RGB lights, he found them essential for this project. The results are unforgettable, especially in the strobing, kaleidoscopic lighting of the “Mingle Game” featuring a carousel. “I have never used this much color in my career,” he laughs.

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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June 4, 2025

Christophe Nuyens on crafting the world of Andor: Season 2

The Cinematography Podcast Episode 313: Christophe Nuyens

A huge admirer of the Star Wars movie Rogue One, cinematographer Christophe Nuyens, SBC embraced the opportunity to serve as director of photography for the first six episodes of Andor Season 2. Christophe focused on expanding Andor’s universe, meticulously crafting distinct visual identities for each world. He leaned into naturalistic lighting and a dynamic use of color to evoke a range of moods. “This show has so many different worlds and sets and every world has a different look,” he says. “Mina-rau was sunny, Chandrila was quite shiny and chic. Then you had Ghorman, which was darker and like a town in the mountains with blue light all the time. So we had all our different sets and it was really nice to play with those things to create all those little different moods.”

Christophe was committed to giving the world of Andor a tangible sense of reality. The sets were expansive, with ample room for the camera to move around and explore. Practical effects were used when possible to enhance authenticity, complemented by the strategic use of LED video wall panels for realistic backdrops, such as the depiction of rain falling outside a Coruscant apartment window. Christophe approached the lighting design as if shooting on location. In collaboration with director Ariel Kleiman, he adopted a philosophy of minimal camera movement, completing scenes with few shots and concise coverage. Subtle lighting cues, lens flares and camera moves smoothly transitioned each scene into the next.

One of the most memorable sequences in Andor Season 2 is the wedding of characters Leida Mothma and Stekan Sculdun. The event is not just a lavish affair but a crucial narrative beat in Mon Mothma’s (Genevieve O’Reilly) journey, underpinning a complex emotional and political storyline. Following the ceremony, guests dance together in a huge celebration, a sequence that presented a unique and enjoyable challenge for Christophe. He wanted to capture a nightclub atmosphere despite the daytime setting. “I end up with the idea of trying to tell a time-lapse story light-wise,” he explains. “In the beginning of the wedding, the sun is quite high. It’s bright outside the during the wedding. The sun is going lower and lower and lower, until the end when the sun is just on the horizon peeping inside and making it super flare-y. We didn’t have strobes or party lights, but it gave us something special to play with.” The intricate dance sequence, featuring numerous extras and two Steadicams weaving through the celebration to reflect Mon Mothma’s disorienting experience, required a full day of filming. (For dedicated Andor fans, an extended one-hour version of this captivating dance scene is available to watch on YouTube.)

Educated at film school in Brussels, Christophe knew early on that cinematography was his calling. He values continuous learning as a cinematographer. “It’s important for me to keep evolving because the moment that I feel I’m doing something as a routine, then I want to do something else. I need to have the feeling that I’m learning every time and every director is different.”

Find Christophe Nuyens: Instagram: @christophenuyens

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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May 22, 2025

Jacques Jouffret, ASC: American Primeval’s frigid frontier

The Cinematography Podcast Episode 311: Jacques Jouffret, ASC

Netflix’s American Primeval plunges viewers into the harsh realities of a gritty, naturalistic Western winter. Cinematographer Jacques Jouffret, ASC, who shot all six episodes, collaborated closely with director Peter Berg to immerse the audience in the era’s unforgiving environment. “That was really a lot of hard work. Pete wanted the audience to feel the difficulty of living in that period,” says Jacques. “He wanted to feel the dirt, dust, grime and the ugliness of it and the violence of it. And I tried to get into that spirit. My job was to really make the audience feel that coldness, the chill that you are open to the elements.”

Jacques wanted the audience to feel the cold of American Primeval’s harsh winter setting, even as the production continued into summer. One of the most significant challenges was maintaining a consistently overcast sky, and there were few interior locations. During the wintertime, it was easy to shoot wider to get the overcast sky, but the weather was constantly changing. Dutch angles worked not only as a stylistic choice, but also to help hide the sky when it wasn’t overcast enough. The crew would strategically shoot close, shoot in the shade, or block the sky with silks.

Portraying visceral realism is an important element of Jacques and Berg’s collaborations. They have worked together before on films such as Novocaine and Mile 22. “That’s one thing that I love working with Pete,” he shares. “You’re making the audience feel that this is real, you are watching something that is right there and I’m able to suspend that disbelief. And so that’s really always the approach, to make it as real as we can. And yet I’m giving it some style to present more of the emotion, more of the mood, the atmosphere, and where I want the audience to be.”

To achieve a blend of raw reality and stylistic emotional depth on American Primeval, Jacques adopted a focused visual strategy, inspired by the legendary director Stanley Kubrick. Kubrick would choose just four or five strong visual ideas, and then repeat them over and over for visual impact.

For the series, Jacques established his own core visual tenets:

Expansive vistas: Super wide shots to take in the vastness of the Western scenery

Dynamic Dutch angles: Wide and close dutch camera angles to increase the feeling of discomfort and danger, while still including visuals critical to the story

Intimate compression: Lenses with long focal lengths that compress the image, allowing the audience to be with the character in the moment

Juxtaposition of extremes: A deliberate contrast between wide, long shots with everything in focus, contrasted with close-ups on the actors with a wide angle lens. This created a visual language emphasizing the harsh environment, and Jacques avoided medium shots.

Find Jacques Jouffret: https://www.jacquesjouffret.com/

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/

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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April 23, 2025

Special: Hacks DP Adam Bricker, Live Podcast in Las Vegas

Special: Adam Bricker, ASC

Cinematographer Adam Bricker, ASC chats with Illya at our live podcast event hosted by the Broadcast Education Association at NAB Las Vegas. Adam discusses his early career and education, his breakthrough role as the DP of Chef’s Table on Netflix, and his work as the sole cinematographer on all four seasons of the Max TV show, Hacks.

Adam enjoys shifting between the documentary style of Chef’s Table and the narrative scripted comedy of Hacks. “I want my documentary work to be like a movie, and I want my movies to feel more like documentaries,” he says. “So I think that they’re obviously different muscles. I’ve been lucky to do a season of Hacks, and then spend the summer traveling with my friends and shooting Chef’s Table and then going back to Hacks.”

You can watch the current season of Hacks on Max, and the new season of Chef’s Table: Legends will be on Netflix April 28.

Find Adam Bricker: Instagram @realadambricker

Hear our previous episode with Adam Bricker from 2021. https://www.camnoir.com/ep133/

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/

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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April 2, 2025

Daredevil: Born Again DPs Hillary Spera and Pedro Millán

Daredevil: Born Again cinematographers Hillary Fyfe Spera and Pedro Gómez Millán were both admirers of the original Daredevil on Netflix. As the lead cinematographer on the new series, Hillary wanted to bring something new to the look of the story. “The goal was to evolve it, to bring it to a more cinematic realm,” she says. This vision was achieved through the use of anamorphic lenses, lending a more elevated and cinematic feel. Influenced by 1970s cinema, particularly The French Connection, they established a strong visual reference point.

Production, initially launched in 2022, was interrupted by the writers’ strike. This hiatus allowed the showrunners to reassess the existing footage. Upon resumption, the production underwent rewrites and the addition of new material. Hillary was the DP for episodes 1, 2, 3, 6, 7, 8, and 9, while Pedro shot episodes 4 and 5 and additional photography. Their collaborative approach was essential to maintaining a cohesive visual style. “We didn’t want every episode to look the same,” says Pedro, “so what can we do to make it better? It’s about being a team player and executing that one single vision that everybody’s on board for.”

A key challenge was visually representing Daredevil’s heightened senses due to his blindness. Hillary explains, “One of our challenges that we collaborated on was the sensory stuff. We’re trying to represent a visual thing that’s not visual, so it was fun to put our heads together and see what worked and what didn’t work.” Consistent communication was facilitated by a shared camera crew, ensuring a unified visual approach across episodes. The process kept the production dynamic and engaging.

To define the visual world of Daredevil: Born Again, both DPs employed a range of cinematic techniques. Color transitioned from a desaturated palette to increased saturation as the narrative progressed, with a heightened use of red to signify Matt Murdock’s return to his Daredevil persona. These choices were meticulously planned in collaboration with the production designer.

Hard lighting was strategically used to emphasize that there was nowhere to hide in the courtroom settings. Pedro enjoyed using hard light on Fisk/Kingpin, noting, “Let’s take the hard light and make it interesting, especially because these two actors can take it. It goes with the character and the story. He’s in the spotlight as the New York City mayor.”

Camera movement in the show was also carefully considered. Matt Murdock’s world is depicted with handheld shots, conveying a sense of immediacy, while Fisk’s world is characterized by locked-down shots, dollies, and wide-angle close-ups, reflecting his power and control. Hillary chose to use many long zooms throughout the show. “We called them ‘doom zooms,’” she explains. “This impending doom that’s happening in the first season, it’s all relentlessly crushing down. And so the zooms are doing the same thing- they’re pushing in and targeting one thing.”

You can see Daredevil: Born Again on Disney+
Find Hillary Fyfe Spera: Instagram @hillaryspera
Find Pedro Gomez Millan: Instagram @pedrogmillan

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/

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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February 26, 2025

2025 Academy Awards nominations with Jenelle Riley, Variety

Long-time friend and colleague Jenelle Riley of Variety magazine chats with Ben and Illya for our SIXTH annual Oscar nominations special. With a focus on cinematography, they discuss what they liked, what will win, what should win, and their favorite movies of the year that may not have been recognized.

They discuss this year’s nominations, the BAFTAs as a predictor for this year’s Oscars, the ASC Awards nominees, and a little about last year’s nominee and winner, Hoyte Van Hoytema, for Oppenheimer. Both Alice Brooks for Wicked and Stéphane Fontaine for Conclave were not nominated this awards season, but were nominated for ASC Awards. Ed Lachman, cinematographer of Maria, won the ASC Award this year. Ben, Jenelle and Illya agree that Drew Daniels for Anora and Benjamin Kracun for The Substance were also cinematographers who deserve recognition for their work.

Academy Award nominees for Best Cinematography this year are:

Lol Crawley, The Brutalist

Greig Fraser, Dune Part 2

Paul Guilhaume, Emilia Pérez

Ed Lachman, Maria

Jarin Blaschke, Nosferatu

Find Jenelle Riley on Facebook, Instagram, Blue Sky, X: @jenelleriley
and Variety: https://variety.com/

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/

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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February 19, 2025

Paul Guilhaume, AFC: opera and realism in Emilia Pérez

Emilia Pérez is about a Mexican cartel leader, Manitas Del Monte (Karla Sofía Gascón) who hires a lawyer (Zoe Saldaña) to help him disappear, undergo gender affirming surgery, and transition into a woman. But even as Emilia Pérez, she is unable to fully leave her dark criminal past behind. Director Jacques Audiard saw the film as a unique blend of gritty drama like Amores Perros and an opera. He approached cinematographer Paul Guilhaume, AFC to collaborate on his vision.

With a combination of operatic grandeur, gritty realism, and dynamic camerawork, Paul Guilhaume has been nominated for an Academy Award for his visually stunning cinematography in Emilia Pérez. Paul was impressed with the story arc when he received the script for the movie. “There is something a bit like a classic drama or a very classic structure of a play,” he explains. “The actions of the past come back, and the darkness comes back in the film at the end.” This dramatic structure, combined with the operatic elements, presented a unique challenge. Audiard initially conceived Emilia Pérez as a five-act musical stage play before deciding to film it. The theatrical influence is apparent in the film’s structure and visual approach.

The drama unfolds during the musical numbers, revealing information about the story. All of the musical numbers were written into the script and became a thread interwoven throughout the film. Paul used a variety of styles to shoot each music scene. He chose classic shot-reverse-shot for intimate moments, to stylized, modern music video techniques and grand, classic musical visuals for moments of heightened movement and energy. Months of preparation and rehearsal allowed the actors to meticulously block and choreograph the dance scenes in tandem with the Steadicam, resulting in seamless integration of movement and camera.

In Emilia Pérez, the camera is always in motion, matching the pacing of the music. “Jacques has an aesthetic of movement, the camera is almost never still,” says Paul. “There’s something in motion in each and every frame that’s not photographic composition, but cinematographic composition. Your eye is always in motion, taking you from one shot to the next.” The film’s visual tone shifts as Emilia’s past catches up with her. Paul responded to the shift with higher contrast, theatrical lighting, bringing up the darks with black walls and using an infrared camera.

Despite the film’s ambitious scope, it began as a small, independent production with a limited budget before being picked up by Netflix. This constraint led to the decision to shoot digitally with a Sony Venice, a choice that ultimately saved time and money. Paul and Audiard focused on crafting memorable moments, striving to create one key image per scene to build a lasting “visual memory” for the audience.

Emilia Pérez is on Netflix.

Find Paul Guilhaume: Instagram: @paul_guilhaume

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

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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February 6, 2025

Pierre Gill, CSC: lighting the darkness in Dune: Prophecy

Dune: Prophecy, the six-episode prequel series to the Dune films, now streaming on Max, delves into the origins of the Bene Gesserit. The series is set 10,000 years before the events of the movies. Bringing this ancient future to life was just one of the challenges faced by cinematographer Pierre Gill, CSC, a veteran of science fiction and period pieces alike.

Pierre, who has a deep affinity for the sci-fi genre, sees it as a close cousin to historical dramas. “It’s like another type of period piece,” he explains, citing the importance of costumes, lighting, and set design in creating an immersive world. His experience in science fiction is extensive, having served as additional and second unit cinematographer on Denis Villeneuve’s Dune, Arrival, and Blade Runner 2049.

This prior experience proved invaluable for Dune: Prophecy. “On Dune: Prophecy, the challenge is there’s not really a lot of light source in the concept of the universe,” Pierre notes. The goal was to respect the established aesthetic of Villeneuve’s Dune, avoiding an overabundance of typical sci-fi lighting. During his initial interview for the series, Pierre emphasized his understanding of the Dune look, a perspective informed by his work on the first film. He felt the series should align with the films, potentially even enhancing viewers’ appreciation of the cinematic universe. However, Pierre was also determined to bring his own artistic vision to the project. “At the same time,” he admits, “it’s difficult because as a cinematographer, I don’t want to recreate what Greig Fraser, the master, did. I don’t want to copy him.”

Pierre’s approach for Prophecy involved strong, wide shots with splashes of bold color. After extensive lens and camera testing, Pierre chose to shoot with the Arri Alexa 35. He also used two Steadicams to maximize efficiency during the action-packed shoot. Pierre favored a centered camera, even in close-ups, and faced the significant hurdle of lighting the massive sets. Time constraints limited pre-lighting opportunities, forcing Pierre to find innovative solutions. He employed mobile softboxes and book lighting to sculpt the actors’ faces, creating soft bounce light. The presence of ceilings on some of the sets allowed for lower camera angles and the inclusion of more background detail. He was also able to use many practical lighting sources throughout the set.

Dune: Prophecy has been picked up for a second season and Pierre is excited to explore the Dune universe further. “Season 2 will be even more powerful, I think,” he predicts.

You can see Dune: Prophecy on Max. https://www.max.com/shows/dune-prophecy-2024/57660b16-a32a-476f-89da-3302ac379e91

Find Pierre Gill: Instagram @pierregill_dp

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/

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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