June 25, 2025

Adam Newport-Berra on capturing chaos in The Studio

The Cinematography Podcast Episode 316: Adam Newport-Berra

The Studio creators Seth Rogen and Evan Goldberg exploited every part of their knowledge and experience in the film industry to find the show’s humor. Cinematographer Adam Newport-Berra worked closely with Rogen and Goldberg to achieve the show’s signature style. They found the most dynamic ways to shoot scenes, with camera movements that immerse the audience in the characters’ anxiety and panic. “It meant moving with the characters, moving through spaces, and finding ways to just keep the momentum of a scene going,” Adam explains. “We made very strong decisions early in the process. We’re only gonna shoot with one camera, we’re gonna shoot every scene in one shot, we’re gonna shoot with one lens. It funnels down your choices and your options on set in a way that I think is really special. I think we make the most creative decisions when we’re limited.”

The Studio relies on nimble, handheld camera work on gimbals and magnetic rigs for its many one-shot takes. The crew avoided over-intellectualizing each scene, prioritizing a dynamic feel and incorporating homages to numerous films. “I think a lot of it really came down to the writing and the material,” says Adam. “Seth and Evan are very smart. They’ve been doing this for a long time. They know what they like and they leaned into that in the writing.”

While a script provided the foundation, many scenes were reworked on set. Rogen and Goldberg would collaborate with the actors to refine the rhythm and enhance the material. Actors frequently contributed lines and ideas, leading to on-the-spot script revisions. However, improvisation had to fit into the impeccable timing for both the acting and camera work, leaving little room for error. Some shots required 20 takes, with the initial few serving as warmups. “It was a very non-traditional way to make a show,” Adam notes, “but everyone’s firing on all cylinders, everyone’s bringing 100 percent.”

Rather than creating traditional shot lists, Rogen and Goldberg would work out complex camera moves with the crew directly on location. Often, they’d envision a desired shot and then structure the scene to organically lead to it. The crew and actors would block and rehearse scenes together and separately, allowing the story to unfold naturally.

For a show as dynamic as The Studio, Adam learned to keep the lighting as simple as possible. The lighting had to take a backseat to the camera movement, so typically, every episode relied on natural light. Adam trusted in modern camera sensor technology and the colorist to ensure the actors looked their best. But he did have opportunities to experiment with light and shadow in specific episodes, such as “The Missing Reel,” which embraced a film noir look, and “The Golden Globes,” which used stage lighting and uplighting on the tables.

“I think what works about this show was the fact that it does skewer itself, it is self-deprecating, it does show how absurd our life is and it was kind of refreshing to be able to talk about that publicly,” says Adam. “A lot of the people in my life don’t understand what I do, so it’s been fun to tell these stories and to show how absurd our profession is, the conflict between art and commerce, and how much we care about it.”

Find Adam Newport-Berra: https://adamnewportberra.com/
Instagram: @adamnewportberra

The Studio is on Apple TV+
Sponsored by Hot Rod Cameras: https://hotrodcameras.com/
Sponsored by Laowa by Venus Optics: https://www.venuslens.net/

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

.


0 comments

June 18, 2025

Stephen Murphy, BSC, ISC: embracing darkness in Say Nothing

The Cinematography Podcast Episode 315: Stephen Murphy

The FX and Hulu limited series Say Nothing is a historical drama that explores the harrowing period known as The Troubles in Northern Ireland, spanning four decades from the 1970s to the 1990s. The series delves into the complexities of the conflict, focusing on sisters Dolours and Marian Price and their part in the IRA. The sisters’ involvement in the 1972 abduction and murder of Jean McConville, a widowed mother of ten, is a devastating narrative in the show. Her disappearance, and her family’s decades-long search for answers, provides a heart-wrenching backdrop to the larger conflict.

Irish cinematographer Stephen Murphy, BSC, ISC worked on the final two episodes of the series. He’s earned a Best Cinematography BAFTA and IFTA nomination for his work on Say Nothing. “Say Nothing is a real story about the very real horrors of what happened in Ireland during The Troubles,” he says. “But I think in a modern context, given what’s going on in the rest of the world, it has a lot to say about the idea of romanticizing rebellion and how somebody could be interested or attracted to that, and slowly over time, fully come to realize the consequences of what they’re doing.”

Stephen has cultivated a reputation for his masterful use of darkness in his work, a key reason he was brought on board for the series’ conclusion. “A lot of the work I do is dark and it deals with darkness. I really like darkness more than I like the light probably,” he laughs. In the finale, Dolours Price finally reveals her role in Jean McConville’s disappearance. To depict the events of what happened that night, the crew was on a rural stretch of dirt road and dunes alongside the ocean. As a storm approached, Stephen had to change the lighting plan, relying instead on car headlights and flashlights to illuminate the scene. “It actually worked out far better than my original plan was going to. It was more truthful, it was probably darker, but I think it worked better for the story and better for the tone and the atmosphere,” he says.

When approaching emotionally resonant scenes, Stephen strives for a visual simplicity that guides the audience without distraction. “I think for me, it’s a question of figuring out a way to get out of the way of the camera and not try and impose anything overly stylistic on the scene,” he says. “I love visual simplicity. And I’m trying to present the scene in a way that is helping the audience focus on what’s important to the scene and not be distracted by unnecessary showmanship.”

Beyond Say Nothing, Stephen Murphy also served as director of photography for two episodes of the second season of The Tourist, the Netflix dark comedy starring Jamie Dornan as an amnesiac.

Find Stephen Murphy: https://www.stephen-murphy.com/
Instagram: @stephenmurphybsc

See Say Nothing on FX on Hulu
See The Tourist on Netflix

Hear our previous interview with Stephen Murphy: https://www.camnoir.com/ep303/

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

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

.


0 comments

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

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

June 12, 2025

Luke Cormack’s unseen magic on David Blaine: Do Not Attempt

The Cinematography Podcast Episode 314: Luke Cormack

For cinematographer Luke Cormack, filming the National Geographic series David Blaine: Do Not Attempt was an exercise in capturing the raw, unscripted moments of human connection and extraordinary feats. Luke leaned into his experience as a wildlife documentarian to patiently wait for the perfect, instinctual moments to unfold. The goal was not to capture polished performances, but the raw, visceral reactions from Blaine and the people he encountered on his global journey. “David’s not an actor or a host. We would have to create these ‘biospheres of spontaneity.’ So he can just get in there and be his most genuine self without you ever saying, ‘Oh, stop, David. Can you do that again?’ That just doesn’t work at all,” says Luke. “You have to constantly be looking for those little pieces of magic and those pieces of magic are usually when you’re setting something up or your eye isn’t on the ball.”

David Blaine: Do Not Attempt is not about magic, but about finding people in cultures around the world who perform real, extraordinary feats that look like magic. The series follows Blaine as he travels to nine countries, including Brazil, India, and Japan, and learns about their unique skills, lifting the veil behind those tricks. For the documentary crew, capturing this “magic” required a dedication to true verité techniques. This involved location scouting to determine optimal camera placements that would feel both intimate and unobtrusive. The producers also prepared the local performers for Blaine’s arrival, allowing for natural, unscripted interactions.

Luke’s strategy often involved a subtle deception. He would keep the cameras rolling long after a scene appeared to have wrapped, patiently waiting for the “in-between moments” that often yielded the most candid footage. “That true verité, I feel like that’s where we got all our nuggets. We’d often put everyone at ease as you actually pretend to stop filming,” he says. “When everyone thinks you’ve got the scene, you just keep rolling. And you kind of look away from the viewfinder a little bit, maybe relax your body language, and that’s usually when he’ll turn around and say something amazing.”

This philosophy of patient observation required the camera crew to be constantly vigilant, nimble, and able to blend into the background. The use of lower-profile Ronin 4D cameras was key to allowing the crew to navigate large crowds without drawing attention. To elevate the visual storytelling, Luke chose high-end prime and zoom lenses. He hired special crews for high-stakes sequences, such as filming with sharks underwater in South Africa or skydiving in the Arctic Circle.

The crew’s collaboration was often wordless, staying present and dedicated to capturing authentic interactions. They relied almost exclusively on natural light, repositioning themselves to find the most flattering illumination rather than directing the subjects. The unpredictable nature of Blaine’s performances in public spaces also meant that the crew had to be prepared for anything. “We traveled to nine different countries and a lot of it is crowd control,” Luke explains. “Like once you blow someone’s mind and they’re standing there with a group of 10, it becomes a group of 50 very quickly. And then you’re trying to get your shots and get in there and try and get the magic of it. But the whole time, you still have to keep your head on a swivel, have an exit strategy, realize that crowds can get dangerous really quickly, depending on where you are.”

This constant state of readiness, combined with a commitment to capturing authentic, unrehearsed moments, allowed Luke and his team to document the genuine wonder, fear, and awe that defines David Blaine: Do Not Attempt.

Find Luke Cormack: https://www.lukecormackfilms.com/
Instagram: luke_cormack

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

.


0 comments

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

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

May 28, 2025

The Last of Us Season 2 DPs Ksenia Sereda & Catherine Goldschmidt

The Cinematography Podcast Episode 312: Ksenia Sereda & Catherine Goldschmidt

Season 2 of HBO’s acclaimed series The Last of Us sees a shift not only in its narrative focus but also behind the camera, with cinematographers Ksenia Sereda and Catherine Goldschmidt, ASC, BSC, taking the visual reins. The season quickly evolves from Joel and Ellie’s shared journey into a harrowing exploration of Ellie’s relentless pursuit of revenge following Joel’s brutal death. This quest is deeply colored by her grief and rage, yet intricately woven with a burgeoning love story between her and Dina.

Ksenia, returning after her work on the celebrated first season, and Catherine, a new addition to the team, split cinematography duties. Ksenia helmed episodes 1, 3, 5, and 6, while Catherine was responsible for episodes 2, 4, and 7.

The opportunity to continue collaborating with showrunners Craig Mazin and Neil Druckmann was a welcome one for Ksenia. “For season 2, we wanted to push the look forward with how the characters develop,” she explains. “Not to reinvent the visual language but to think, what can we do better to help the characters and to tell the story, because it’s such a character-centered show. The main focus of it is following the characters you love and joining them on this big adventure.”

Ksenia developed a lookbook to maintain a holistic visual language, ensuring consistency across multiple directors and the entire crew. The video game The Last of Us was the blueprint for a distinct visual identity. It was important to preserve all the iconic visuals from the game, but unlike the video game, the television adaptation allowed for more character development and connection, with longer shots.

Season 2 introduces a host of new characters, storylines, and diverse color environments. Ksenia consciously avoided overly cool tones, opting for warmer colors, particularly for Ellie and Dina, to help the audience fall in love with them as their relationship develops. This warmth is also seen in the homey settlement of Jackson, a sanctuary carved out to evoke a sense of normalcy. In contrast, when Dina and Ellie journey to Seattle, the environment becomes green and lush.

Catherine Goldschmidt, ASC, BSC, stepped into this established world for Season 2. Her inaugural week plunged her directly into shooting the pivotal and harrowing Episode 2, which features Joel’s death. Catherine reviewed the corresponding cutscene from the game, treating it as a form of previsualization or storyboard, and then determined how to adapt it for television. “The video game acts as a reference, and there are some scenes in the scripts that are taken from the games, and there are some scenes that don’t exist and are new,” she says. “It’s about serving the show first and foremost, and still paying homage to the game.” Catherine also focused on grounding the lighting in realism, finding real world motivation for light sources that would authentically be available to characters in a post-apocalyptic setting. At times, she notes, “the lighting cues were even written into the script.”

For Episode 2, with its intense violence, Catherine knew the crew had to prioritize the actors’ performances, and respect the scenes that the actors wanted to shoot first. But most violent, brutal, and scary scenes in The Last of Us are balanced by moments of profound humanity, requiring careful attention to the characters’ emotional journeys. “I remember asking Craig and Neil, how are you guys planning to tackle that extreme violence?” Catherine recalls. “Craig just said, ‘Well we’re always trying to counterbalance it, it should always be a light and shade scenario.’”

Find Ksinia Sereda: Instagram: @ksiniasereda

Find Catherine Goldschmidt: Instagram: @cgdop

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

.


0 comments

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

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

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

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

November 6, 2024

Jules O’Loughlin: Balancing action and character in The Old Man Season 2

In The Old Man Season 2, former CIA operative Dan Chase (Jeff Bridges) is forced to confront his past when his nemesis, Afghan warlord Faraz Hamzad kidnaps his daughter, Emily (Alia Shawkat). Chase and his former FBI handler, Harold Harper (John Lithgow), must navigate a dangerous world of international espionage and deadly consequences to rescue Emily. The season explores themes of identity, loyalty, and the sacrifices made for family.

A key factor in bringing The Old Man Season 2 to life is the stunning cinematography of Jules O’Loughlin, ASC, ACS. He skillfully balances the show’s dramatic tone with visually striking imagery. Jules is drawn to projects that prioritize character-driven storytelling, and loved witnessing the performances of Jeff Bridges and John Lithgow, two iconic actors who bring depth and nuance to their roles. “Jeff Bridges is so lovable, and an awesome guy,” says Jules. “I got into this to be able to photograph a great actor doing their thing, and watching two great actors going toe to toe.”

Despite the show’s intense action sequences, Jules believes in the importance of grounding the story in reality. The production team meticulously researched historical details and cultural nuances to create an authentic world. “It’s got to feel real, it’s got to feel grounded when you walk in,” he says. “If you are true to the world that you’re building, then you can pretty much do anything.” His main guiding principle as a cinematographer is that overshooting is the enemy of style. A good cinematographer, and a good director, should be confident in their style and avoid “smotherage”- shooting a ton of different angles that probably won’t be used and aren’t needed.

Jules also was a cinematographer for Season 1, which began production in 2019. By 2020, due to the pandemic, the production stayed in the U.S. and shot in Santa Clarita, just north of Los Angeles, for the hills of Afghanistan. During Season 2, the production continued to use the Santa Clarita location. Color grading, using tobacco filters and finding the right LUT were important tools to make it look like Afghanistan. For a more authentic mountain backdrop, they used plate photography shot in the Sierra Nevadas to composite into the background.

Though the series is full of action, Jules did not want to sacrifice the storytelling with fast cuts and camera movements, since there is so much great acting on screen. He usually avoids excessive camera movements and flashy techniques, opting instead for a more restrained approach that allows the performances to shine. “Every time you cut away from the character, you’re losing the chance to connect with them,” he says. Action sequences, especially in episode 3, were meticulously planned, storyboarded and rehearsed. Each episode usually had two cameras, but the production used as many as five for a firefight sequence in an Afghan village.

Find Jules O’Loughlin: https://www.julesoloughlin.com/
Instagram: @jules.oloughlin

The Old Man Season 2 is streaming on Hulu

Hear our previous episode with Jules O’Loughlin: https://www.camnoir.com/ep177/

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

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

September 4, 2024

Creating the galaxy of The Acolyte: DP Chris Teague

The Disney+ series The Acolyte continues the saga of the Star Wars universe with a crime thriller. A former Jedi Padawan, Osha, reunites with her Jedi Master, Sol, to investigate a murder spree against their fellow Jedis. They uncover secrets from Osha’s past and must fight the dark sides of the Force.

Cinematographer Chris Teague has crafted stunning visuals for a variety of projects, from indie dramas like Obvious Child to critically acclaimed series like Russian Doll, GLOW, and Only Murders in the Building. He feels his style is constantly evolving. For the Star Wars series The Acolyte, Chris worked with saturated colors and key lighting, as though the illumination in many scenes was from a single source. He wanted to immerse viewers in the world of the series, without calling attention to the cinematography.

When approaching a project, Chris delves into the script and references, often discovering new insights along the way. “As you’re reading a script, as you’re looking at references, you have these little epiphanies, these little discoveries, but they’re always sort of partial discoveries,” Chris says. “And then hopefully, they evolve into something that’s specific to the project itself. The joy of filmmaking is to collaborate and combine all the creativity into something that feels cohesive.” He believes that these discoveries gradually evolve into a style specific to the project. As the lead DP, Chris established the look of the show over 6 months of prep. He split the episodes with fellow cinematographer James Friend, and they tested cameras and lenses together. Friend’s episodes took place in different locations so he was able to establish his own look for his episodes.

For The Acolyte, Chris worked closely with the production designer to create sets that were both practical and visually stunning, with multiple angles for the camera to explore. He and showrunner/director Leslye Headland also embraced the challenge of shooting in real locations, selling the scale of the Star Wars universe without relying heavily on blue screen. They did not use a volume stage at all, wanting it to look as close to what director George Lucas would do, with a visual style that was powerful but not overbearing. Several of the scenes in episodes four and five were filmed on location in Madeira, an island off the coast of Africa. Madeira offered lots of wild beauty, with incredible views from craggy bluffs. They did face some weather challenges while shooting there, with sweeps of fog and cloud that rolled into a full whiteout at times.

Beyond the visuals, Chris also focused on capturing the intricate stunt choreography and fight sequences in a way that would keep the audience engaged. His attention to detail ensured that these action-packed moments felt both exciting and integral to the storytelling. As a Star Wars fan, Chris was excited to be involved in The Acolyte. He says of the experience, “I can’t believe I’m in this room right now watching this happen. It really feels like you’re part of this creative process that people are going to fall in love with.”

Find Chris Teague: http://www.teaguefilmworks.com/home
Instagram: @_christeague

Listen to our previous interview with Chris Teague on Only Murders in the Building. https://www.camnoir.com/ep174/
Sponsored by Hot Rod Cameras www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments