January 10, 2026

Caleb Heymann: the cinematic playground of Stranger Things

The Cinematography Podcast Episode 341: Caleb Heymann

Cinematographer Caleb Heymann has been a key architect of the Stranger Things aesthetic since the tail end of Season 3. After starting as a second unit DP, Heymann was promoted to lead cinematographer for the blockbuster Season 4, and now its fifth and final season. The crew dedicated a full year to filming Season 5, spanning from January through December 2024. While the desert dreamscape was captured on location in New Mexico, the bulk of production remained in Atlanta.

Seasons 4 and 5 traverse a variety of locations, each requiring vastly different palettes. Heymann views each environment within the Stranger Things universe as a “cinematic playground.” To ground the show’s supernatural elements, the production leans heavily on location shooting and in-camera effects. “There are definitely certain anachronistic visual elements that we wanted to pay homage to,” says Heymann. “The lightning can be a little over the top. It intentionally rides that line between expressive and theatrical. But I think we try to not overdo it, because everything in front of the camera is already taking you there.”

The production constantly balanced both digital and physical effects. “We always try to push it and see what we can get in camera. The art department does an incredible job and builds us huge sets,” says Heymann. Creating the Upside Down was a monumental task for the art department, who must redress nearly every location for night shoots. The iconic vines, for instance, are physically constructed by “nether technicians.” To make the dimension’s signature hellish glow, the crew often used practical red lighting on set rather than relying solely on post-production color grading.

Heymann and the Duffer brothers selected a different camera system for each season, choosing cameras that best fit the story’s needs. For Season 5, Heymann needed a distinct visual motif to represent Will’s “trance state” and the POV of the demogorgons and demo dogs. He stacked two center-spot diopters, which blended the image while losing focus at the edges. To heighten the disorientation, the team shook the camera manually and with a camera shaker on a Technocrane.

“It was absolutely a dream experience already being a fan of the show to be able to come in and join this group of awesome people who work on it and to ultimately get to work with the Duffers,” says Heymann. “I learned a lot from them, just in their attention to detail and sensitivity to camera movement. And they’re always about pushing everybody to do their best work.”

See Stranger Things Season 5 streaming on Netflix.

Find Caleb Heymann: https://www.calebheymann.com/
Instagram @calebheymann

SHOW RUNDOWN:

01:53 Close Focus
06:45-01:00:06 Caleb Heymann interview
01:01:10 Short ends
01:08:39 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
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Blue Sky: @thecinepod.bsky.social

July 27, 2022

Marcel The Shell With Shoes On cinematographers Bianca Cline and Eric Adkins

Marcel The Shell With Shoes On began in 2010 as a series of stop-motion shorts written and directed by Dean Fleischer-Camp and actor Jenny Slate, who also does the voice of Marcel. It’s a “documentary” about Marcel, who’s a hermit crab shell with one googly eye and doll shoes. What makes both the shorts and the film so charming is hearing Marcel’s funny, optimistic witticisms and seeing how he uses real full-sized human objects in his miniature life, such as a piece of lint on a thread as a pet, using a spoon to catapult onto shelves, and putting honey on his shoes to walk up a wall. For the full length film, Fleischer-Camp, Slate and screenwriter Nick Paley expanded the story to include Marcel’s grandmother Connie. The two live in the house alone, but they used to be part of a whole shell community. With the help of Dean, Marcel’s documentarian, Marcel goes on a quest to find the rest of his family and friends.

As a live-action and stop-motion movie, Marcel The Shell was extremely complicated to shoot. DP Bianca Cline, who has a documentary background, shot the principal photography on location so that cinematographer Eric Adkins, an experienced stop-motion DP, could use her footage as background plates for the stop-motion. Then, all of the stop-motion portions and live action portions were composited together into a seamless film. Eric was on set and took extensive notes, photos and measurements during the live action portion, since creating realistic, fool-the-eye stop-motion is extremely technical. All of Bianca’s documentary footage was edited and animatics created before Eric’s job as the stop-motion DP began, with puppeteers using interchangeable shell models of Marcel and Connie.

Bianca tried to approach the film as if Marcel was a real living character. Once she began shooting, the voices and music were already fully recorded and finished along with extensive storyboards, so it helped to have a clear blueprint. She could find the best locations within the house and use naturalistic lighting for each scene. An important part of the story is to emphasize that Marcel is very small in a big world. Bianca wanted him to always be placed next to things that made him look small, and she often used one of the Marcel models as a reference. The team took care to make everything look effortless, as if they just showed up with a camera. As with a real documentary, Bianca wanted it to seem slightly imperfect with handheld movement and a little bit of jolting motion once in awhile. They were constantly brainstorming and problem solving together with the production designer, VFX supervisor and animation director on set.

For Eric, the most complex scenes to replicate in stop-motion were the driving portions, shot with GoPros mounted inside the car, as Marcel gets driven around looking for his family. All the lighting in stop motion is strictly controlled on a set, so using flickering and moving light in scenes is rare. But complex problems just inspire Eric to find more creative solutions, and he enjoyed the challenge of making sure that the stop-motion shadows matched the movements of the real car.

Find Bianca Cline: https://www.biancaclinedp.com/
Instagram @biancaclinedp

Find Eric Adkins: Instagram @eradop

Marcel The Shell With Shoes On is currently playing in theaters and is proving to be another indie hit for A24.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep176/

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

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

July 20, 2022

Cinematographer Paula Huidobro on CODA, Pam & Tommy, Physical

Our returning guest is Paula Huidobro, who has been very busy the past few years shooting the 2022 Best Picture winning film CODA, the Hulu series Pam & Tommy, and the AppleTV+ series Physical, just to name a few.

Paula and CODA director Siân Heder knew each other as grad students at AFI, and have worked together on four other projects including the film Tallulah and the show Little America. For Paula, shooting CODA was definitely a different process. There were interpreters for each of the actors on set, and most shots had to be framed as medium shots so that their hands could be seen while they were talking. There could be few over the shoulder shots, or someone saying lines with their back to the other person. Siân Heder and Paula wanted to make sure that a deaf person watching the movie could understand exactly what the actors were saying. CODA is set in a New England fishing village, and Paula found it was a very visual environment to shoot, and extra challenging going out on a fishing boat in the ocean.

The Hulu show Pam & Tommy is about the 1990’s stolen sex tape of Pamela Anderson and Tommy Lee. Paula served as DP for every episode of the 8-part series, and she watched Pamela’s film Barb Wire and Tommy’s Mötley Crüe performances for the references. It was hard work to shoot every single episode- she felt she never had enough prep time with the director, location scouting or script. She enjoyed working with director Craig Gillespie (I, Tonya, Cruella) who also was the pilot director on Physical. He wanted to give complete freedom to the actors to move within the scene, so Paula would light the whole space and would start with her camera all the way wide, then push in for a close up. It was like a dance between the actors and they would explore the scene as they filmed it. Paula would shoot in nearly one take then just pick up whatever was missing. Pam & Tommy has a very aggressive style, using a lot of shots pushing in closer and closer, as the release of the sex tape and the fallout for Pamela’s career becomes an unstoppable freight train. It also has elements of humor and absurdity, and Paula enjoyed the novelty of shooting scenes with Tommy’s talking penis (an animatronic). Pam & Tommy had an excellent makeup and prosthetics department, and actors Lily James and Sebastian Stan are made up to be remarkable likenesses of Pamela Anderson and Tommy Lee. Paula found the makeup to be so good that it wasn’t difficult to light the actors. Most of all, Paula and each of the directors wanted to be thoughtful in how they portrayed Pamela Anderson and how her world and entire career had been shattered by illegally releasing this tape.

Physical explores the troubled interior life of Sheila Rubin, an extremely unhappy 1980’s suburban housewife with an eating disorder. But once she finds aerobics, things begin to change for her. Paula finds Physical to be a very dark show, but she really likes how they portray Sheila’s inner thoughts. The character almost always says one thing but in her mind she’s thinking dark thoughts about herself or someone else. Paula would hold shots on actor Rose Byrne a bit longer so that later, her inner thoughts are added in voiceover. The show has great production design- a mix of drab and dark 70’s interiors with big splashes of 80’s color saturation on the set, especially during the workout scenes. Paula enjoyed being able to do some fun and playful things with lighting and camera work for the aerobics sequences.

Find Paula Huidobro: https://www.paulahuidobro.com/
Instagram @paulahuidobro

CODA is streaming on AppleTV+. Physical Season 2 is currently streaming on AppleTV+. You can find Pam & Tommy, a limited series, on Hulu.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep175/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by DZOFilm: https://www.dzofilm.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

November 9, 2021

Jay Rosenblatt, independent filmmaker, artist and professor on being a jury member of CamerImage

Our host Illya Friedman had the opportunity to speak to one of his former film instructors, Jay Rosenblatt at CamerImage back in 2019. Jay taught Super 8 Filmmaking at San Francisco State University and has made over 30 short films. As a member of the jury for the Energa CamerImage film festival in Poland for the past several years, Jay looks for innovative storytelling in the films they screen.

Jay’s latest short film is When We Were Bullies, which premiered at the 2021 Sundance Film Festival and will be screening at CamerImage next week.

The 2021 CamerImage film festival begins in Torun, Poland next week.

Find Jay Rosenblatt: https://www.jayrosenblattfilms.com/

WIN an autographed copy of Directing Great Television by last week’s guest, director Dan Attias! Follow us on Instagram @thecinepod and comment on our post for this episode!

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep147/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/
Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8

Sponsored by DZOFilm: https://www.dzofilm.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz