September 15, 2020

Armando Salas, ASC, on Ozark season 3, his Emmy-nominated episode, shooting the series Mr. Mercedes, From Dusk Til Dawn, Strange Angel

Armando Salas, ASC was recently nominated for an Emmy for his work on Ozark season three. Ozark is intentionally lit and shot to be very blue and very dark, because all the characters are in the shadows, desperately hiding and scrambling to avoid exposure. Armando began working on Ozark during season two and was already a fan of the show. He worked closely with director and actor Jason Bateman and the other DP on the series, Ben Kutchins. On season three, Armando shot the last four episodes with director Alik Sakharov. (Find our interview with Alik Sakharov here.) This four hour block of the show was a lot like shooting a film, and required him to refer to a detailed shot list, make many notes and continuously refer back to the script. As a kid, Armando grew up in Miami and was drawn to cinematography as a teenager, when he started shooting skateboarding videos. He studied fine arts and did a graduate program for film school, starting off his career as a gaffer before transitioning fully into cinematography. Armando shot several indie features and worked on a few films in China before landing his first episodic show, From Dusk Till Dawn, based on the film by Robert Rodriguez. For the Stephen King series Mr. Mercedes, Armando had the opportunity to create the look of the show, traveling to locations and deciding how to shoot it. The show quickly transitions from from loose and handheld at first, to very smooth and formal framing once the vehicle arrives on the scene. On the CBS show Strange Angel, Armando shot the second season. In this case, the whole look of the show was meant to feel different from the first season, with different cameras, lenses, and lighting.

You can find Ozark season three streaming on Netflix.

Find Armando Salas:
Instagram: @cinesalas

Find out even more about this episode, with extensive show notes and links:

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December 24, 2019

Alik Sakharov, DP turned director, on Game of Thrones, House of Cards, The Sopranos, Ozark, and the director/DP relationship

Alik Sakharov shot many feature films and television series such as The Sopranos, Rome, and Game of Thrones before moving into the director’s chair. Alik feels cinematography, directing and writing must work together to create a story, and it’s difficult to separate one from the other. He is currently executive producer of the Netflix series The Witcher.

September 2, 2019

Director and Cinematographer Ellen Kuras, ASC: Talks Swoon, I Shot Andy Warhol, Eternal Sunshine of the Spotless Mind, Summer of Sam, Ozark, Wormwood, Catch-22 and more

Ellen Kuras believes that following your gut and listening to your inner voice makes you a great filmmaker. Ellen got her start shooting documentary and indy movies such as “Swoon,” “I Shot Andy Warhol” and “Personal Velocity,” plus several films with Spike Lee including “Bamboozled” and “Summer of Sam.” She discusses working with Michel Gondry, the unique challenges of shooting “Eternal Sunshine of the Spotless Mind,” working with documentarian Errol Morris on “Wormwood” and shooting the Netflix series “Ozark.” Ellen also directed and shot her documentary “The Betrayal-Nerakhoon,” which received an Academy Award nomination. Her current work includes directing some episodes of Hulu’s “Catch-22” and directing the Netflix series “Umbrella Academy.”

September 27, 2018

Ep 24 – Robert McLachlan, ASC, CSC – The cinematographer behind Game of Thrones, Westworld, Ray Donovan gives us stories from the set of “The Affair.”

The Cinematography Podcast Episode 24 – Robert McLachlan, ASC, CSC Director of Photography Robert Mclachlan ASC, CSC Host Illya Friedman sits down with cinematographer Robert McLachlan, ASC, CSC, on the set of Showtime’s The Affair. Robert talks about his illustrious career on shows such as Game of Thrones, Ray Donovan, Westworld, and even his early