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
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

August 4, 2021

Director Braden King and cinematographer Declan Quinn, ASC on The Evening Hour

In the film The Evening Hour, director Braden King wanted to immerse the viewer in a fully formed world, with spare dialog and little exposition. This approach appealed to cinematographer Declan Quinn, ASC. With such little dialog, Declan paid close attention to finding the right camera placement, how each scene was composed and how the images told the story, with natural and motivated lighting.

The Evening Hour tells the story of Cole Freeman, a health aid at a nursing home who lives in a fictional rural West Virginia town. He makes a little extra money on the side selling his client’s prescription medication, until an old friend comes back to the Appalachian town and tries to convince Cole to get further involved in the drug trade. The film was shot entirely on location in Kentucky. Braden specifically wanted to shoot in autumn in order to capture the beauty of that time of year and show in images the collapse of these rural towns due to the opioid epidemic and the risk of environmental destruction by mining companies. Declan enjoyed actually shooting on location in the real Appalachia, instead of having to fake it on a soundstage or in a different area. He was able to freely capture everything in the environment, letting the art of cinematography work its magic in the film.

The Evening Hour is screening in limited release in New York at the IFC Center and Los Angeles at the Laemmle Monica on August 6th. https://www.laemmle.com/film/evening-hour
Twitter & Instagram: @eveninghourfilm

Braden King: www.bradenking.com
Twitter:@bradenking
Instagram: @truckstop

Find Declan Quinn: https://www.artistry.net/clients/directors-of-photography/declan-quinn-asc#category=narrative

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep134/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

April 23, 2021

Bonus Episode: The Truffle Hunters documentary filmmakers Michael Dweck and Gregory Kershaw

In case you missed it, we are re-releasing our interview with filmmakers Michael Dweck and Gregory Kershaw on their documentary, The Truffle Hunters from 2020’s Sundance Film Festival. The film recently received the ASC Documentary Award.

Filmmakers Michael Dweck and Gregory Kershaw ventured deep in the forests near Alba, Italy for their documentary, The Truffle Hunters. This region is known for its rare white truffles, fetching thousands of dollars for the acclaimed delicacy. The methods of where and how to find truffles is a closely guarded secret. This small group of elderly men seek them in darkness, hiking for miles with their dogs and covering their tracks so no one knows where they go. The film is beautifully composed and uses mostly natural light. The filmmakers chose to keep the camera on a tripod and to observe the subjects at a distance, except for special leather harness rigs for POV doggy-cams that Dweck and Kershaw had specially made.

You can find The Truffle Hunters in select theaters and available to rent on video on demand in the coming weeks. https://www.sonyclassics.com/film/thetrufflehunters/
Instagram: @thetrufflehuntersfilm
Find Michael Dweck: Twitter @michaeldweck Instagram @michaeldweckstudio
Find Gregory Kershaw: Instagram @gregorykershaw

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

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January 10, 2021

Jake Swantko, DP and producer of The Dissident, on working with director Bryan Fogel and shooting the controversial documentary

Cinematographer Jake Swantko spoke with us last year at the Sundance Film Festival after the premiere of The Dissident, the documentary he shot with director Bryan Fogel. Jake and Bryan had previously collaborated on the Oscar-winning film, Icarus. The Dissident explores the assassination and international coverup of outspoken Washington Post journalist Jamal Khashoggi.

Once director Bryan Fogel learned more about the circumstances surrounding the death of Khashoggi, he knew this was another important- and dangerous- subject to film for his next documentary. Bryan took the idea to Jake, who also worked as a producer on the film, and they began the grueling process, traveling to Canada and Turkey multiple times to interview Khashoggi’s close friend and Saudi insurgent Omar Abdulaziz, speaking to Khashoggi’s fiancée Hatice Cengiz, spending a year digging into the case and meeting with the Turkish government. The Dissident team knew they had to have the cooperation of Turkey to shoot the story, since Khashoggi was murdered at the Saudi consulate in Istanbul, and they eventually scored an interview with Irfan Fidan, the chief prosecutor in Istanbul who investigated the murder. Since The Dissident was so huge in scope, Jake knew he wanted to elevate the production value of the film and shot it like a dark thriller. He set up most interviews formally instead of run-and-gun style, with three cameras and one on dolly track to push in on the subject’s face.

Despite being well received at Sundance, The Dissident struggled to find a distributor, even from Netflix, who had championed Icarus. Amazon Prime also would not buy the film, despite Jeff Bezos briefly being in The Dissident- Jamal Kashoggi wrote for his newspaper, The Washington Post and Bezos’ phone was hacked by Saudi Arabian government hackers. It seems the streaming services feared retaliation by the Saudi government and didn’t want to risk losing viewers in that market. Briarcliff Entertainment finally championed The Dissident, and it is currently available on VOD.

The Dissident is available to stream now on video on demand services. https://thedissident.com/

You can hear our past interview with Jake Swantko in 2018 talking to us about the Oscar winning documentary, Icarus. https://www.camnoir.com/special-swantko/

Find Jake Swantko: https://www.jakeswantko.com/
Instagram @swantko

IT’S A GIVEAWAY! Last week to enter to win Bruce Van Dusen’s book, 60 Stories about 30 Seconds: How I Got Away with Becoming a Pretty Big Commercial Director Without Losing My Soul (or Maybe Just Part of It). Like and comment on our Bruce Van Dusen post on Facebook and we’ll choose a winner from the comments. https://www.facebook.com/cinepod

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep108/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

October 12, 2020

DP Eric Branco on The 40-Year-Old Version, Clemency, shooting black and white film, working with director Radha Blank, and more

Cinematographer Eric Branco discovered early on that he enjoyed translating people’s stories into visuals. Eric started out as an actor in high school, but quickly realized no one had any interest in holding the camera except himself. While in film school, he developed an eye and shot several student projects, then found work on film sets in New York as a grip and gaffer while shooting short films on the side.

Eric’s latest film, The 40-Year-Old Version was shot almost entirely on black and white film stock. Director Radha Blank was very firm that the movie be black and white- in fact, when Eric received the script, it read “A New York tale in black and white.” So Eric came with a suitcase full of black and white photo books of New York when he and Radha met, which helped them arrive at The 40-Year-Old Version’s look: a matte texture with a prominent grain. Eric ran several tests to find the perfect film stock for the movie, and shot it handheld with vintage lenses. The movie is a funny, semi-autobiographical story starring Blank as a struggling, almost-40 playwright who is determined not to sell out or compromise her artistic principles and reinvigorates her creativity by becoming a hip-hop artist. The 40-Year-Old Version won the U.S Dramatic Competition Directing Award for Blank at the Sundance Film Festival in 2020. For Eric, it was the third film he’d shot to go to Sundance in as many years. He felt honored to be the cinematographer of Clemency, which won the Grand Jury Prize at Sundance in 2019. Written and directed by Chinonye Chukwu, Clemency took a long time to get off the ground before Alfre Woodard was cast in the lead role.

You can watch The 40-Year-Old Version streaming on Netflix.

Find Eric Branco: https://ericbrancodp.com/
Instagram: @ericbranco

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

IT’S A BOOK GIVEAWAY! Enter to win the Video Palace book- Video Palace: In Search of the Eyeless Man Collected Stories- signed by our host, Ben Rock, who also authored one of the stories! The book expands the world of the Video Palace podcast that Ben directed for Shudder. http://videopalace.shudder.com/

TO WIN: SUBSCRIBE to our YouTube channel, LIKE and COMMENT on the “How To Vote” breakdown we just posted! We will randomly select a winner from the comments. We’re expanding and adding to our YouTube channel, so look for new content there, too! https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep95/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

May 4, 2020

BONUS Episode: Natalie Wood: What Remains Behind director/producers Natasha Gregson Wagner and Laurent Bouzereau

Illya sat down with producer Natasha Gregson Wagner and director/producer Laurent Bouzereau at the 2020 Sundance Film Festival to talk about their documentary, Natalie Wood: What Remains Behind. As the daughter of famous actress Natalie Wood, Natasha Gregson Wagner wanted to tell the story of her mother’s life, while working through her grief and loss over her mother’s tragic death at the age of 43 in 1981. Natasha and Laurent discuss their approach to the film, which is full of personal photos, home movies, and interviews with friends and family. It was important for the filmmakers to celebrate Natalie Wood’s life and work, and the documentary is an intimate look at her through the people who knew her best.

You can see Natalie Wood: What Remains Behind right now on HBO. https://www.youtube.com/watch?v=2JRzLBVxWik

Natasha Gregson Wagner: https://www.imdb.com/name/nm0906031/
Find Laurent Bouzereau: https://www.nedlandmedia.com/
@laurent_bouzereau

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

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

April 20, 2020

BONUS Episode: The Sound of Silence director Michael Tyburski

The Cinematography Podcast BONUS Episode: The Sound of Silence director Michael Tyburski

It’s a very special Shelter In Place episode as we dig into our archives to bring you some past podcasts you might have missed.

Illya sat down with director Michael Tyburski during 2019’s Sundance Film Festival to talk about his film, The Sound of Silence (in a rather noisy setting!) The movie is about a “house tuner” in New York City- a fictional job he made up for the film. Peter Saarsgard plays the house tuner, who listens for discordant tones in the home and adjusts them to create emotional resonance and harmony. Michael Tyburski talks about directing his first feature film shot by cinematographer Eric Lin. He discusses the color palette, directing Peter Saarsgard and Rashida Jones, and of course the importance of sound, music and sound design in the movie.

You can stream The Sound of Silence right now on Hulu. https://www.youtube.com/watch?v=ejZ75QFesgE

Find Michael Tyburski: http://www.michaeltyburski.com/
Twitter: @michaeltyburski

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

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March 23, 2020

BONUS Episode: Big Time Adolescence director Jason Orley and DP Andrew Huebscher

It’s a very special Shelter In Place episode as we stay home and dig into our archives to bring you some past podcasts you might have missed. Enjoy our show and these films from the comfort of your safe space.

Illya sat down with director Jason Orley and DP Andrew Huebscher during 2019’s Sundance Film Festival to talk about their movie about arrested development, “Big Time Adolescence.” Starring SNL’s Pete Davidson, Griffin Gluck, and John Cryer, the story follows a teen whose idolization and friendship with a twenty-something stoner college dropout has destructive effects on his life. Orley and Huebscher discuss the close director/DP working relationship on the movie, creating the look of the film, working with production company American High, and using the Chemical Wedding Artemis Pro App and Hollywood Camerawork shot designer App to plan out where to place the camera and lights.

You can stream Big Time Adolescence right now on Hulu. https://www.youtube.com/watch?v=t3PcDo4YcnY

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

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Brought to you by Hot Rod Cameras: Find your next camera, lens, light or accessory at https://hotrodcameras.com/

Hot Rod Cameras is giving away TWO professional, cinema quality Aputure MC lights! One for you AND a friend you tag! Go to http://hotrodcameras.com/giveaway to enter. Contest ends March 30, 2020.

March 4, 2020

Sundance 2020-Coming of Age: Beast Beast director Danny Madden, DP Kristian Zuniga; Blast Beat director Esteban Arango, writer Erick Castrillon

Sundance 2020 Special Part 3: Coming of Age

Beast Beast explores the lives of three different teens who cross paths with tragic results. Director Danny Madden handles each character with sympathy and nuance. He and cinematographer Kristian Zuniga used different camera looks for each character, staying wide and documentary-style for some sequences and tight and controlled for others. The film came to the attention of Alec Baldwin who came on board as an an executive producer who helped fund its development into a feature.

Blast Beat is about two teen metalhead brothers from Colombia, uprooted from their lives in Bogota and struggling to find their place in suburban America. Director Esteban Arango and writer Erick Castrillon cast real life brothers Moises and Matéo Arias, who brought an added layer of authenticity to their characters’ relationship. It was also important to Arango and Castrillon to make a personal movie about their own culture, and they cast Colombian actors who spoke Spanish with authentic accents in the movie.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/sundance2020comingofage/ ‎

LIKE AND FOLLOW US, send fan mail or suggestions!
Website: www.camnoir.com
Facebook: @cinepod
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Brought to you by Hot Rod Cameras: Find your next camera, lens, light or accessory at https://hotrodcameras.com/

Hot Rod Cameras is giving away TWO professional, cinema quality Aputure MC lights! One for you AND a friend you tag! Go to http://hotrodcameras.com/giveaway to enter. Contest ends March 30, 2020.