June 12, 2026

Smoke, spotlights, Silicon Valley secrets in The Audacity

The Audacity DP Richard Rutkowski, ASC made Vancouver look like Palo Alto, used lens filters instead of special effects to create wildfires, and dramatized the themes of the show with spotlights and framing.

Podcast highlights include:
-How Richard and his crew made Vancouver look convincingly like Silicon Valley and why establishing a sense of place was a creative priority from day one.
-Why glass filtration is still one of the most powerful tools in a DP’s kit.
-Richard breaks down exactly how he built the show’s haunting wildfire look using physical filters in camera, with minimal reliance on post.
-His philosophy of handheld as intimacy, choreographing the camera to follow the actor so that performance drives the frame.
-How visual motifs like frame-within-a-frame compositions and strategic spotlight placement were purposeful to the show’s themes, rather than being visually inventive for its own sake.

Find Richard Rutkowski: http://see-no-evil.net/
Instagram: @richardrutkowskidp
The Audacity is streaming now on AMC+
Hear our previous episode with Richard Rutkowski on Masters of the Air. https://www.camnoir.com/ep255/

SHOW RUNDOWN:
02:02 Close focus
22:27-01:11:32 Richard Rutkowski interview
01:11:45 Short ends
01:19:14 Wrap up/Credits

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

June 5, 2026

Shooting in the dark: the making of Spider Noir

Cinematographers Darren Tiernan, ISC and Peter Deming, ASC are the DPs of Spider Noir, the new MGM Plus and Amazon Prime series starring Nicolas Cage as the hard-boiled 1930s New York detective version of Spider-Man. The character is based on Marvel Comics featuring Spiderman Noir, and first introduced in Spider-Man: Into the Spider-Verse. Tiernan and Deming created a series that looks like a classic film noir using vintage lights, custom LUTs and a “noir vocabulary.”

We dive into:
-How the production created a dual release simultaneously in both black and white and color.
-Lead DP Darran Tiernan worked for months on LUT development and a workflow that kept every department aligned on both versions from day one. Monitors on set showed what the scenes would look like in black and white.
-Why both Darren and Peter used old tungsten lights with Fresnel lenses instead of LEDs whenever possible. Not out of nostalgia, but out of necessity for getting the hard light that defines film noir.
-How rigorous preparation, from shot decks before the first meeting to photo boards and green screens on location, allowed creative freedom to take risks in the moment when the cameras were rolling.
-Why the goal was never to recreate classic noir but to absorb its philosophy of shadow, composition and expressionistic light and apply it to this specific story. That distinction is what makes Spider Noir feel fresh rather than like a period piece.

Find Darran Tiernan: https://darrantiernan.net/
Instagram: @dazt

Find Peter Deming: Instagram @peter_deming

Spider Noir is now streaming on MGM Plus and Amazon Prime.

SHOW RUNDOWN:

03:10 Close Focus
14:42-01:06:55 Darran Tiernan interview
01:06:58-01:39:36 Peter Deming interview
01:40:40 Short ends
01:53:43 Wrap up/Credits

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