Sundance Film Festival

September 26, 2025

Matty Libatique: the NY of Highest 2 Lowest, Caught Stealing

The Cinematography Podcast Episode 326: Matthew Libatique, ASC

Cinematographer Matty Libatique, ASC, has had a productive year. Shortly after moving to New York, he began work on Spike Lee’s film, Highest 2 Lowest. Immediately after wrapping that project, Matty prepped for Darren Aronofsky’s Caught Stealing, and then, following a short break, he collaborated with Bradley Cooper on Is This Thing On? (which releases in December.) He found it fascinating to explore New York City through the lenses of three distinct directors, feeling privileged to shoot three New York-centric movies back-to-back.

The New York depicted in Highest 2 Lowest and Caught Stealing are starkly different, depending on where people from different socioeconomic backgrounds live. Both films effectively convey the diverse realities of living there. “When you look at both films, separately, you have a feeling of New York, you feel like you’re living in New York inside of these films,” Matty explains. “And it’s because the directors live in New York and have grown up in New York.” During location scouting with both Lee and Aronofsky, Matty noted their deep familiarity and emotional attachment to where they chose to shoot. He feels that movies faking New York locations lack the inherent authenticity of shooting in the real city.

Highest 2 Lowest is a reinterpretation of the Akira Kurosawa classic, High and Low. Matty used High and Low as an influence, even though Lee was not making a direct adaptation. He found the Kurosawa film helped him see the hierarchy between the affluent and the poor, and the literal rise to the top of a hill by the wealthy industrialist from his humble origins. These themes became the seed of his visual inspiration.

In Highest 2 Lowest, Denzel Washington’s record executive David King inhabits a high-rise, literally looking down on the world from a high vantage point. The film is intensely character-driven, and with a large ensemble cast, Matty often shot with two to three cameras per scene. The film used an actual exterior of the Olympia building in Dumbo, Brooklyn while the crew shot on a volume stage set for the interiors. Matty found shooting on the volume stage and working with Unreal Engine to create the background images for the penthouse set to be the most challenging aspect of the shoot. It demanded far more advance planning and preparation to perfect the background images than the production schedule allowed. He had to make early, calculated decisions and plan far in advance for shooting the plates that would be used as the backgrounds.

Spike Lee frequently incorporates various film formats in his movies, and Matty saw an opportunity to use both a 16mm and a new KODAK Super 8 film camera once the action in Highest 2 Lowest shifted outside the controlled apartment environment. He use both the 16mm and the Super 8 on the subway and in scenes of the Puerto Rican Day parade, also combining them with different film stocks. Lee cut between these distinct formats, which made a sense of heightened chaos. Matty says, “It was just an effort to create chaos, you know, and having the unmatched visual images cut together to sort of just mimic a chaos around this character.”

Caught Stealing recreates the New York City of the 1990s, with Martin Scorsese’s After Hours serving as a major reference. Matty felt that the character Hank Thompson (Austin Butler) needed a distinct look to articulate the story. He thought about the rust-red tint of the Lee Marvin film, Point Blank, and used a Camtec Color-Con2 to deliberately bleed red color into a few key scenes.

Even though Caught Stealing is entertaining and full of action, it was important to Aronofsky to tell a strong, narratively-driven story, with performance and character making the sequences as exciting and brutal as possible. “Like all Darren movies, there’s a construct, there’s a box, he sets up the architecture of the film,” Matty says. “It’s always story driven and narratively driven. So you know you’re subjectively following a character or you’re adhering to a narrative precisely, because he’s very precise. And all his collaborators just sort of have the responsibility to bring their talents to the table.”

Matty enjoyed tackling a fun, popcorn genre film with Aronofsky, a cinematic space they hadn’t explored together before. “It was fun—it really was fun to work with somebody that I’ve worked with for years,” Matty concludes. “We’re much older than when we met. And we’ve made a lot of films together. And it was fun.”

Highest 2 Lowest is streaming on Apple TV+, Caught Stealing is in theaters, and Is This Thing On? will have its theatrical release December 19.

Find Matty Libatique: Instagram @libatique

Hear our previous interviews with Matty: 2019, 2021 pt. 1 and 2, 2022, 2024

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The Cinematography Podcast website: www.camnoir.com
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By Illya Friedman

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February 12, 2025

Sugarcane filmmakers Emily Kassie and Christopher LaMarca

Sugarcane is a powerful documentary film that delves into the dark history of abuse and murder at a Canadian residential school. These Catholic boarding schools in North America and Canada have caused lasting trauma across Indigenous communities. The film centers around the Williams Lake First Nation in British Columbia, where a ground-breaking investigation into the St. Joseph’s Mission residential school is underway. Sugarcane is Oscar-nominated for Best Documentary Feature.

Director Emily Kassie is an Emmy and Peabody-nominated investigative journalist and filmmaker. She was compelled to tell the story of the ongoing investigation and asked journalist and co-director Julian Brave NoiseCat to be a part of the team. NoiseCat’s family has an intimate and painful connection to the residential schools. His father, Ed Archie NoiseCat, was born at St. Joseph’s Mission to a student there. The NoiseCat family story became inextricably woven into the fabric of the documentary.

Emily envisioned a film that was not only informative but also deeply sensitive. She partnered with cinematographer Christopher LaMarca, whose verité style of filmmaking hinges on the power of time, trust and truth. Over two and a half years, Kassie and LaMarca spent 160 days in Williams Lake, embedding themselves within the community. “The approach to true verité filmmaking is time,” says Chris. “You need lots of time to shoot this way. You need to spend time with people before you even start shooting so that they trust you. It’s a way of being instead of just being a cinematographer.” Emily fully embraced Chris’s approach. “For me, what comes with time is trust and intimacy,” she says. “It was so important to earn the trust of this community that has been ravaged by colonization, that has been lied to and betrayed by white people since they arrived on the land.”

This trust informed every aspect of their filmmaking. The decision to use prime lenses, for example, was a deliberate choice. Instead of the distancing effect of a zoom lens, prime lenses required the filmmakers to physically move closer to their subjects, fostering a sense of connection and intimacy. “Prime lenses render the face and space differently than a zoom does,” Chris notes, emphasizing the importance of physical proximity in creating a sense of genuine conversation. The resulting close-up shots, born from their time spent in the community, offer a powerful and intimate glimpse into the lives and experiences of those affected by the residential school.

Both Emily and Chris were shooting with a Canon C500 Mark II camera at all times, simultaneously filming and recording their own sound. The emphasis on capturing dialogue was crucial, allowing them to connect the dots in the ongoing investigation and understand the full scope of the story. Emily meticulously logged and organized all the footage, immersing herself in the project for three and a half years. She became intimately familiar with every piece of research and evidence uncovered in the residential school archives.

For Chris, the most vital part of their process happened after each day of filming. Every night, they would download the footage and reflect on the moments that resonated most deeply. “You’re recalling all of the things that hit your heart the hardest and penetrated the deepest,” he explains. “And in that moment, that’s where the film starts to get made – not on paper, but from the heart, being totally clear and focused on what was happening in the day.”

Sugarcane premiered at the 2024 Sundance Film Festival and is available to stream on Disney+ and Hulu.

Find Emily Kassie: http://www.emilykassie.com/
Instagram @emilykassie

Find Chris LaMarca: http://www.christopherlamarca.com/
Instagram @christopher_lamarca

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/
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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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October 16, 2024

House of Spoils haunting beauty: DP Eric Lin

The spooky thriller House of Spoils on Amazon Prime is about an ambitious chef, Ana (Ariana DeBose) who follows her dream to open a restaurant on a remote estate in the woods. She quickly realizes it’s haunted by the vengeful spirit of the previous owner. As Ana battles stress, self-doubt, a skeptical investor, and kitchen chaos, the ghost’s sinister presence threatens to sabotage her every step.

When cinematographer Eric Lin met with directors Bridget Savage Cole and Danielle Krudy (Blow The Man Down), they presented him with several inspirational references by surrealist painter Leonor Fini and Dutch painter Adriaen van Utrecht. Both artists captured the unsettling feeling of eerie decay while being surrounded by the natural world. Nature, rot and its influence on bodies became the movie’s core aesthetic. Films like Black Swan (psychological horror), The Shining (single, oppressive location) and Phantom Thread (artistic obsession) also served as inspiration.

Eric embraced the use of zoom lenses in the film. “Zooms are super psychological and we tried to find ways that we would sneak them in, because it has this very unsettling feel,” he says. Because Ana is a chef, food also played a major role in the film. “I was interested in trying to find a way to represent the colors that had a feeling of decay- almost a mushroom, moldy look,” Eric explains. “Because what comes from that decay is life, right? It’s like creativity is born through all this death and decay. And so I wanted the colors of the film to represent that feeling.” He created a LUT where the vibrant colors stood out while the browns and greens stayed dull and earthy. The kitchen was really being used to cook the dishes, and a food stylist helped to plate all the ingredients. Second unit would then shoot the dishes as they were presented to the table.

House of Spoils was shot on location at an estate in Budapest. The crew built a fully functional kitchen set, allowing for meticulously planned lighting. The garden outside the kitchen was also created by the production design team and the greens department. The natural fog blanketing the estate’s garden provided the perfect eerie atmosphere, eliminating the need for fog machines.

Eric’s passion for cinematography wasn’t always his career path. After studying at UC Berkeley, he switched gears to study film in grad school at NYU. He managed to land a job as an assistant editor, but cinematography was his true passion. Eric shot music videos and independent films as much as he could on the side. While shooting music videos and independent films, his dedication paid off. The short film Missing went to the Cannes Film Festival. Eric’s cinematography is also in several Sundance Film Festival projects, such as The Sound of Silence, Hearts Beat Loud, and I’ll Be Your Mirror (originally titled Blood).

House of Spoils is currently streaming on Amazon Prime Video.

Find Eric Lin: www.eric-lin.com
Instagram: @holdtheframe

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Facebook: @cinepod
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By Illya Friedman

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February 15, 2023

Food and Country director Laura Gabbert, producer Ruth Reichl and cinematographer Martina Radwan

The documentary Food and Country, which premiered at the 2023 Sundance film festival, takes a close look at the broken food system in the United States through the lens of the COVID pandemic, as restaurants closed and both workers and farmers struggled.

Both director Laura Gabbert and producer/chef/food writer Ruth Reichl grew concerned about their friends and colleagues in the restaurant business during the shutdown. Laura wanted to do a short piece about how restaurants and workers were being affected, so she connected with Ruth through a mutual friend. Ruth began checking in over Zoom with people she knew, originally just as research. Ruth followed her own curiosity as she spoke with dozens of people across the country. As a seasoned chef and food writer, Ruth is good at getting people to open up, and people felt safe talking to her. The shutdown also made people feel very isolated and vulnerable, so over time, they were able to record incredibly intimate conversations. Laura began to see a more comprehensive documentary taking shape: the pandemic was only exacerbating the problems that already exist in the American food system. They began widening the scope of the film, and when it was safe to travel again, Laura and cinematographer Martina Radwan went out to shoot and interview farmers, ranchers and restaurant owners in the field. The documentary team had to watch hundreds of hours of Zoom video, which also informed what they would shoot as they traveled across the country.

Cinematographer Martina Radwan kept everything naturally lit, and they shot most of the interviews outside due to the pandemic. She chose to use mainly wide shots and close ups, shooting open vistas and landscapes of the farms. It helped create more energy in the film and alleviated the monotony of the closeups from the Zoom videos. She shot with Canon cameras and lenses, because she liked how the camera renders contrast and color especially for exteriors. Martina enjoyed learning about the food system and getting a behind the scenes look at where our food comes from.

As someone who has been writing and thinking about food for fifty years, Ruth thought the pandemic would finally be the turning point in the American food system. If farmers and restaurants were going to fail, people would finally realize, as they were forced to stay home and cook, how important food is to everyone. She hopes that people are awakened to the fact that we need to raise enough food to feed ourselves in this country, without relying on huge international agribusiness. The pandemic did change some things about the food system, and certainly raised awareness about working conditions and pay for restaurant workers, ranchers and farmers.

Food and Country is seeking distribution.

Find Laura Gabbert: https://lauragabbertfilms.com/
Instagram: @lauragabbertfilms
Find Ruth Reichl: http://ruthreichl.com/
Instagram: @ruth.reichl
Find Martina Radwan: http://martinaradwandp.com/

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YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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February 8, 2023

Sundance 2023 films Fancy Dance and King Coal

The dramatic film Fancy Dance follows an indigenous woman named Jax, who hustles to get by on her reservation in Oklahoma. When her sister Tawi disappears, Jax is responsible for taking care of her niece Roki. The two search for Tawi and ask for help from law enforcement who does little to help. Meanwhile, they steal cars and scam people in card games, which leads to Roki being taken out of Jax’s care and placed with her white grandfather. Jax kidnaps Roki, and the two road trip to get to the state powwow to find out more about Tawi’s disappearance and where Roki plans to perform a dance.

Fancy Dance director and writer Erica Tremblay and cinematographer Carolina Costa met when Erica was searching for a DP and Carolina was on a short list. Carolina loved the script, and felt the film was special just from reading the page- she could see all the visuals in her mind, and felt it was important to see these characters come alive on the big screen. She decided to keep the lighting natural and didn’t use a lot of additional lights. They wanted the film to feel specific to the topography of Oklahoma in the summer- a hot, humid time, when the sky is a very washed out blue. Erica and Carolina had a lot of conversations about what the film would look and feel like, including using natural moonlight as a symbol of Tawi, the missing sister and mother. The moon is a symbol of matrilineal kinship which is vital to the Native American community.

One of the biggest challenges facing director Erica Tremblay was finding financing for Fancy Dance. It was hard to convince the right people to fund a film whose main character is an abrasive, lawless, queer indigenous woman. Erica grew up in the Seneca Cayuga nation, and drew upon characters she knew. She wanted her script to reflect the issues faced by Native Americans today, especially the crisis of missing indigenous women who are never found. But she also includes humor, loving family connections and the celebration of joyous culture at the powwow.

Fancy Dance is seeking distribution.
Instagram #fancydancemovie

Director Elaine Sheldon describes her movie King Coal as part documentary and part fable, as she takes a poetic and personal look at the influence of coal in Appalachia. It was once King in the region, but as the economic power of coal wanes, Elaine explores the question of what a future without coal might look like. There is no scripting in the film, and she uses two girls who act as characters to bringing the audience for the movie. People continue to celebrate coal culture in these communities, and the film documents some of the interesting rituals around coal festivals, fun runs, beauty pageants and even a coal themed amusement park.

Elaine and her husband, cinematographer Curren Sheldon, wanted to tell a new story about the region- for so long, West Virginia and the surrounding areas have been seen as just a place to exploit for coal. Both Elaine and Sheldon grew up in the area, and Elaine wanted her personal storytelling and narration to heighten the feeling of what it’s like to be in this place, and imagine what it would be like to exist there without coal. They wanted to show Appalachia as a beautiful, green and forested community, not as a poor, destroyed place. The land itself has meaning, so they shot images of the fog rising, textures of bison, the moss, and sunlight through the trees. Coal came from the earth, and at one time it was just sitting alongside all the other natural elements. Elaine decided to end the film looking ahead to an uncertain future. They held a “funeral” for King Coal and the community turned out, with a casket, music and impromptu eulogies.

King Coal is seeking distribution.

Find Elaine Sheldon: https://www.elainemcmillionsheldon.com/
Find Curren Sheldon: http://currensheldon.com/
Instagram @kingcoalfilm

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By Illya Friedman

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February 1, 2023

Award-winning Sundance films Bad Press and The Persian Version

We kick off our Sundance Film Festival 2023 interviews with the documentary Bad Press and the dramatic comedy, The Persian Version.

Bad Press follows the battle for a free press on the Muscogee Creek Nation reservation in Oklahoma. As a sovereign nation, the Muscogee are not bound by the U.S. Constitution to guarantee freedom of the press. When local journalists for the tribal paper Mvskoke Media discover that the tribe’s “Free Press Act” will be repealed, they begin demanding that freedom of the press be written into the tribe’s constitution, led by Mvskoke Media reporter Angel Ellis. The Free Press Act does get repealed, and immediately the newspaper is in danger and put under the control of the tribal government. The tribal council began censoring the news and preventing the community access to free and fair reporting, which reporter Angel Ellis knew would impact the upcoming tribal elections.

Filmmaker Rebecca Landsberry-Baker is a citizen of the Muscogee Creek Nation and a journalist, so the people in the film are her people. Co-director and editor Joe Peeler was an acquaintance with a background in documentary filmmaking, so he came on board right away. Cinematographer Tyler Graim was brought on to the project when Joe had had enough of shooting everything himself, allowing him to focus more on what was happening as a director. They wanted the footage in the documentary to give people an accurate feeling of what it’s like to be on the reservation, and the oppressive heat of an Oklahoma summer. Becca, Joe and Tyler agreed that they also wanted Bad Press to have a distinctive look, and were influenced by newspaper movies such as All the President’s Men.

They made a conscious choice for viewers to make the larger connections of what is happening to free press from within the microcosm of the Native American community, to the macrocosm of what’s happening to media in the outside world. A free press supports tribal sovereignty, because it supports an engaged and informed electorate and the movement to ensure a free press by writing it into tribal constitutions is spreading in Indian Country.

Bad Press won the U.S. Documentary Special Jury Award for Freedom of Expression at the Sundance Film Festival and is seeking distribution.

Find Bad Press on social media: #BadPressFilm

The Persian Version is a dramatic comedy that follows Leila, a young Iranian American woman who grew up in New York and New Jersey with 8 older brothers. Leila is determined to forge her own path and has a tumultuous relationship with her immigrant mother. When her father is hospitalized for a heart transplant, she must return home to help care for her grandmother and uncovers a secret about her mother’s past.

Director and writer Maryam Keshavarz chose to make The Persian Version semi-autobiographical. While much of the story is true, the film had to take artistic liberties for it to fit within two hours and also stay funny. Maryam wanted the past and present within the film to feel similar, but for all of the storytellers in the movie to have a point of view, so there is a tonal shift within the film when Leila’s mother’s narrative begins. Maryam felt like her cast was family, and as they rehearsed, she rewrote the script as needed.

Maryam’s first feature film, Circumstance, also won the Sundance audience award, and she went on to make a bigger-budget feature, Viper Club in 2018, starring Susan Sarandon. But Maryam found that she wanted to feel more personally connected to the cast and crew during the filmmaking process, so she returned to independently writing and directing with The Persian Version. She feels that films from her standpoint in the world as an Iranian-American hold a large place in her heart. Maryam enjoyed making a film that was both meaningful, funny and reflective of current and past societal and political views.

The Persian Version won the U.S. Dramatic Audience Award & The Waldo Salt Screenwriting Award in U.S. Dramatic Competition and is seeking distribution.

Find Maryam Keshavarz: Marakesh Films http://www.maryamkeshavarz.com/
Instagram: @TheTPVFilm

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YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
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Twitter: @ShortEndz

By Illya Friedman

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January 25, 2023

Yule Log director Casper Kelly and cinematographer Alex Allgood

Yule Log is a crazy, surreal, comedic horror movie written and directed by Casper Kelly and with cinematography by Alex Allgood, made for Adult Swim and available on HBO Max. Even though it’s a month past Christmas, fire up Yule Log if you haven’t seen it already- it’s bound to be one of the weirdest and most original movies you’ve seen in awhile.

For Yule Log, Casper and cinematographer Alex Allgood decided to keep the camera locked off on the fireplace logs for as long as possible, so people might think it was just a recording of a fireplace for holiday ambiance, before introducing more action around (and inside) the fireplace and in the cabin, as people enter and events unfold. The movie takes place in a cabin, but over multiple timelines that overlap and combine different genres from comedy to horror to Lynchian-style surrealism.

Alex liked the script, and felt that even though the movie leads with the long lockoff shot on the fireplace that the dialog kept everything going. He only had about three weeks to prep the movie, and they shot Yule Log in about 14 days. He enjoyed working with Casper and combining so many different creative elements into the movie. Alex always sees projects in terms of lighting first and camera second, so he tried to create a cohesive look with the lighting on the film throughout each scene, using a lot of firelight of course.

Casper has always enjoyed taking risks and seeing things that he hasn’t seen before vs. following a formula. His first job was on the low budget horror movie Basket Case 3, and he wrote and directed another short dark comedy spoof TV show for Adult Swim called Too Many Cooks. With his previous experience and relationship with Adult Swim, Casper pitched Yule Log and was paid to make it- he thinks if he had done it as a spec script, no one would have given him money to make such a crazy film. Casper wasn’t sure the many, many ideas in Yule Log were all going to work, but he wanted to go for it and take risks. But everyone was on board through all the crazy twists and turns the story takes.

You can see Yule Log on HBO Max.
Find Casper’s short for Adult Swim, Too Many Cooks, on YouTube.

Find Casper Kelly: Twitter & Instagram: @heycasperkelly
Find Alex Allgood: Instagram @alexisallgood

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
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Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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October 12, 2022

Charlie Sarroff, cinematographer of the horror films Smile and Relic

Cinematographer Charlie Sarroff loves to shoot horror movies, and he knew when he read the script for the horror film, Smile, that it would be fun, gory and dark. This week (10/12/2022) Smile is still the number one movie in America, with the biggest opening of September and the highest box office take overall for its second straight week. Charlie and Smile director Parker Finn first met at a SXSW event, where each had movies showing at the festival. They found they had similar tastes and sensibilities. Finn loved Charlie’s previous work on the horror film Relic and asked Charlie to be Smile’s cinematographer. Movies such as The Ring, It Follows and Rosemary’s Baby were big influences on their approach to Smile. Charlie chose to build a sense of suspense with camera movement, so the audience feels as though a lurking presence was there at all times. They almost exclusively used wide lenses and no over the shoulder shots so that the character of Rose would always feel isolated. Every scene Rose is in, she is meant to feel disconnected from other people. Smiles were also a big motif in the film, of course, and served as a metaphor for the masks everyone wears.

As a kid, Charlie really loved skateboarding and video production became a big part of it. He had a camcorder and recorded skate videos of his friends. Charlie knew early on that he enjoyed shooting and editing more than directing, and he decided to go to film school in Melbourne. Friends in film school asked him to shoot their movies and he worked his way up, filming music videos and commercials. Charlie’s biggest break came when director Natalie Erika James asked him to shoot her short film Creswick which she expanded into the feature film Relic and was picked up by IFC. At first, the film’s backers wanted to go with someone more experienced to shoot Relic, but Charlie prevailed and the film ended up going to Sundance and SXSW.

Find Charlie Sarroff: https://charliesarroff.com/
Instagram: @charlie_sarroff

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep187/

Sponsored by Arri: https://www.arri.com/en
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Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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May 18, 2022

Cinematographer Eric Koretz on shooting the last season of Ozark and more

Cinematographer Eric Koretz and our host Illya Friedman have known each other a long time, going back to when Eric blogged about the latest camera gear. Since then, Eric has become a very successful DP. His current work can be seen on the last and final season of the Netflix series, Ozark. Eric shot 4 episodes of the last half of the final season, including the show finale, “A Hard Way to Go” directed by Jason Bateman.

Eric loved the look of Ozark, and knew he would have to adapt to the established shooting style of the show. However, he knew that he wanted to bring his own look to it too. Anytime the crew is shooting outside, they begin blocking out the sun, keeping the outdoors very shadowy using negative fill techniques. Eric felt Ozark was a cinematographer’s dream to shoot- they use every tool to tell the story, and the producers allow the cinematographers to do what they wish within the style parameters. The show is shot more like a movie than a TV show, with time allowed to let scenes have space and play out, allowing the DP to shoot a closeup on a glass of whiskey or shoot a long shot out a window as a car pulls up, creating tension. Eric found that Jason Bateman as a director and producer knows exactly what he wants and is very technical and precise as a craftsman.

Eric first went to college for graphic design. He started making animated videos and applied to American Film Institute to learn more about shooting. While at AFI, he discovered that he really enjoyed cinematography and after graduation, began working in commercials. But the idea of storytelling through longer forms of film and television really appealed to Eric. His first feature was Comet with director Sam Esmail (Mr. Robot), and his second feature, Frank & Lola, went to Sundance. Eric still shoots commercials as well, which is a great place to learn- commercial shoots tend to have a lot more resources, and these days commercials tend to be very creative, artistic and cinematic, with more crossover from film.

Find Eric Koretz: http://erickoretz.com/
Instagram: @erickoretz_dp

See all of the seasons of Ozark on Netflix.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep168/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
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Facebook: @cinepod
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Twitter: @ShortEndz

By Illya Friedman

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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/

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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

By Illya Friedman

In Cinematography Podcast, Latest Posts, Podcast Episodes

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