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

July 13, 2022

Cinematographer Chris Teague on the Hulu series Only Murders in the Building

Cinematographer Chris Teague has shot many acclaimed television series and films such as Obvious Child, GLOW, Russian Doll and Mrs. America. His latest work is on the Hulu series, Only Murders in the Building, both Season One and Season Two, and he also directed episodes seven and eight of Season Two.

Only Murders in the Building has many different tones, ranging from funny to dark, dramatic and even scary. The show manages to strike a balance to keep the darkness from undermining the comedy. As the DP, Chris created a very cinematic and timeless look and feel for the show, which is mainly shot on sets that are meticulously built and planned. Each episode takes about 6 ½ days to shoot, and Chris and the crew are able to create visually interesting shots that feel very natural because of having such well built sets with excellent lighting. Actors Martin Short and Steve Martin have such a rapport, and their friend dynamic is baked into the script- the two actually don’t do very much improv or riffing. If they do come up with something, Martin and Short run the line changes through for the crew to see how they play. Chris has enjoyed coming back to work on a second season of the show, because he has a body of work to reference and the crew knows the look of the show really well.

As a kid, Chris made lots of short movies with friends growing up, and always loved photography and writing. It seemed a natural fit to go to film school and he decided to pursue cinematography full time after the film he shot, Obvious Child, went to Sundance in 2014.

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

Only Murders in the Building Season 2 is currently airing on Hulu.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep174/

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

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

March 29, 2022

Cinematographer Panel Discussion: Fernando Argüelles, ASC, AEC, Tom Magill and Greg Middleton, ASC, CSC discuss their creative processes, challenges and careers

In our second panel series, Ben and Illya speak to cinematographers Fernando Argüelles, ASC, AEC (Fear the Walking Dead, Swamp Thing, Hemlock Grove), Tom Magill (Atypical, Saved by the Bell, Parks and Recreation) and Gregory Middleton, ASC, CSC (Moon Knight, Watchmen, Slither) as they discuss their current work, career journeys, creative processes, challenges and career goals.

Be sure to check out the video panel on YouTube! Produced in partnership with Impact24 Public Relations.

Find our guests:

Fernando Argüelles: https://www.fernandoarguelles.net/
Instagram: @fernandoarguellesasc
Twitter: @fernanradikal

Tom Magill: https://www.imdb.com/name/nm1083844/

Greg Middleton: http://www.middletondp.com/
Instagram: @middlecam
Twitter: @middlecam

Impact24 PR https://www.impact24pr.com/
Instagram: @impact24pr
Twitter: @impact24pr
Facebook: @impact24pr

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/panel2/

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

January 19, 2022

Quyen Tran, ASC, on directing and shooting episodes of the Netflix limited series Maid

Cinematographer Quyen Tran, ASC enjoys telling stories that are compelling and have impact and meaning. Q’s previous work on the show Unbelievable led showrunner Molly Smith Metzler and executive producer John Wells to ask her to shoot Maid, a limited series for Netflix. Maid deals with the complex issues of poverty, domestic abuse, the working poor, addiction, single parenthood and mental health. With amazing performances by Margaret Qualley, Andi McDowell and young actor Rylea Nevaeh Whittet, the series handles all of these heavy and heartbreaking issues with sensitivity, peppered with moments of levity and joy.

For Q, shooting Maid was incredible, and incredibly challenging. It was her first job during the pandemic, beginning in August of 2020, and the crew had to quarantine for two weeks in Victoria, British Columbia, wear masks, get frequent COVID tests and follow strict COVID protocols. Quyen thought she would only do the pre-production and shoot the pilot because she didn’t want to leave her family for very long.

Quyen shot extensive tests for the look of Maid. She knew it would be primarily handheld, which creates intimacy and forces a personal perspective on the viewer. Q decided she wanted to use the Alexa Mini and Panaspeed lenses because of the vintage, soft look, and they allow for close camera to subject distance. As part of the pre-production process, Q created a look book for the whole series that the other DPs could pick up and reference.

After shooting the pilot, Q returned to Los Angeles. Then, right after the holidays, director/executive producer John Wells asked Quyen to come back and direct episode eight of Maid. Although Q had a little bit of experience directing, it was very scary for her to even think about directing in a narrative format. She never went into filmmaking to become a director, and never had the desire to be one. But she knew she could do it because she was so familiar with the characters and the story. As both DP and operator on the show, Q already had a rapport with the actors, but now as a director, it was about discussing the motivation of why their characters were doing certain actions. She also had to keep three year old actor Rylea Whittet engaged with the action. As Maddy, single mom Alex’s daughter, Rylea is in nearly every scene and Q often entertained her with piggyback rides and games. For her directorial episode, Quyen camera prepped everything and storyboarded the entire episode. One of the most visually interesting and challenging elements in the episode Q directed is the couch that literally pulls Alex in and swallows her. Q and the production designer worked together for about three weeks to create the couch that Alex could sink right into and disappear.

During the pandemic and in their down time, Quyen and her friend and fellow DP, Jeanne Tyson, found a passion for making sourdough bread. They started Doughrectors of Photography and in exchange for a donation to the LA Food Bank or other charity, patrons receive bread, cookies or other goodies. You can check out Doughrectors of Photography and find out how you can donate and get some delicious baked goods on Instagram at @doughrectorsofphotography

Find Quyen Tran: https://www.qtranfilms.com/
Instagram: @qgar

You can see Maid on Netflix

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep155/

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

September 8, 2021

Emmy-nominated cinematographer Donald A. Morgan, ASC on The Upshaws, The Conners, Last Man Standing, shooting multi-camera television shows

Cinematographer Donald A. Morgan, ASC has won 10 Emmys and is nominated this year for three more for his work on Netflix’s The Upshaws, Fox’s Last Man Standing, and ABC’s The Conners. Like a few cinematographers, Donald had some experience studying architecture in college, which enabled him to take two dimensional drawings and visualize them in three dimensions. He also thought he’d be a professional baseball player or a musician- his father was a musician who played in Cab Calloway’s band, so Donald grew up around musicians and stages. By his mid-20’s he had a job working at KTTV in Los Angeles in the mailroom while trying to make it with his own band in the 1970’s, and was soon offered a position in the lighting department. He found his experience reading architectural plans made it easy to understand electrical schematics. Donald worked on the lighting crews for several different shows produced by the legendary Norman Lear, such as Good Times, The Jeffersons, and Diff’rent Strokes, plus many other shows. Donald knew working on shows produced by Lear were progressive and groundbreaking for the time, telling stories about people of color like himself, and Lear made it a point to hire a diverse workforce for his shows. Soon, Donald was offered a union job as a DP on two shows on the Universal lot- Silver Spoons and Gloria. Donald was able to learn more about cinematography while working on the Universal lot by visiting several different film stages and making notes on how different DPs worked.

Working on three camera shows, the whole set can be lit before there’s any blocking, because typically, comedies use very high-key lighting. Donald notes where the walls and doors are, and then most sets can be lit with standard three point lighting.  For The Conners, as the show becomes a bit darker, Donald subtly shades the room for more drama, and brightens the room as the mood lightens. Most multi-camera shows use three to four fixed cameras, and dolly in for shots rather than just panning. Donald also uses a jib arm camera on the show Last Man Standing, a technique he began using back on Home Improvement. The jib arm came into use on Home Improvement because the character Mr. Wilson, Tim Allen’s neighbor, was never seen over the fence, and the camera crew had to get creative with how to shoot those scenes.

Donald enjoys working on multi-camera studio shows because it keeps him local, and he’s been able to spend more time with his family with three weeks on and one week off, with the longest days about 10-12 hours. He tries to keep the work as creative as possible, always watching and learning about new techniques he can bring to the shows he shoots. Though Donald is very experienced with shooting multi-camera shows, he will often shoot single-camera short films to keep his skills fresh.

You can see Donald A. Morgan’s work: https://vimeo.com/12993063

You can watch The Upshaws on Netflix and find episodes of The Conners and Last Man Standing on Hulu.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep139/

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

August 25, 2021

Emmy-nominated Mark Doering-Powell, ASC on grown-ish, challenges of single camera comedies, lighting setup tips, the early days of HD video

When Mark Doering-Powell, ASC was hired as the DP of Freeform’s grown-ish after season one, he knew the show had to expand the storylines of each character’s college experience. He was excited to take more of an anthology approach to some of the episodes, and get creative shooting each chapter with multiple looks.

A single camera half-hour comedy such as grown-ish takes about four days to shoot, creating an extremely tight schedule between prepping and shooting. Mark thinks it’s imperative to be in touch with post and the dailies colorist at the end of each day, so everyone can stay on top of the workload. On a rapid schedule it can be challenging to make the show look cinematic, but finding each character’s point of view helps consolidate the work and keeps each shot economical. Mark favors using “swingles” on grown-ish, where the camera swings back and forth between characters on single shots, saving setup times.

With a focus on each college-age character’s personal life and position on social issues as they navigate their early 20’s, the lighting on grown-ish is intended to make the cast look their best, and sometimes Mark employs classic Hollywood portrait lighting techniques using crisp, controllable hard light. Mark also likes to splash hard light onto the set, letting it naturally bounce off of something that is already in the room. He’s learned to focus on lighting the people and then the space- lighting the space can aid lighting the people.

Mark went to art school in New York, studying painting and graphic design until he found the film department and changed his major to film. He then worked as a Photo-sonics technician, which is a special high speed camera for shooting slow motion, on several commercials in the 1980’s and 90’s. But Mark wanted to focus more on filmmaking, so he quit, moved out to L.A. and started working for Roger Corman’s studio in Venice, including camera assisting on Corman’s famously unreleased 1994 version of The Fantastic Four. A documentary about the production called Doomed: The Untold Story of Roger Corman’s The Fantastic Four was made in 2015. 

Find Mark Doering-Powell: www.markdoeringpowell.com
Instagram: @instamdp

You can watch grown-ish Season 4 on Freeform: https://www.freeform.com/shows/grown-ish

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep137/

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

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

July 28, 2021

Cinematographer Adam Bricker on shooting the Emmy-nominated series Hacks, Chef’s Table and more

One of Adam Bricker’s favorite things about being a cinematographer is the opportunity to collaborate with different filmmakers, try something new and make each project the best it can be. His most recent project is the HBO Max comedy series Hacks, which just earned him an Emmy nomination for best cinematography. Adam was given the scripts for the first two episodes, and loved the pilot script, which opens with a long Steadicam single shot following behind the main character, Deborah Vance, played by Jean Smart, for two minutes, until her character is finally revealed in the dressing room vanity mirror. Adam knew it’s a rare thing to find a half-hour comedy with that level of cinema, and he was excited to shoot the show. Hacks takes place in Las Vegas, about a legendary comedian who is losing relevance and fading from the spotlight. Adam and show creator Lucia Aniello used vintage Las Vegas movies and photos as a reference point, as well as films such as Soderberg’s Behind The Candelabra and Judy with Renée Zellweger. Adam likes to set the look based on how the viewer is supposed to feel, and he makes notes in his scripts about what emotions should be felt in each scene. Most of Hacks is filmed on tripods and dollies, but for the verbal duels between characters Deborah Vance and Ava, her young comedy writer/protégé, Adam chose to shoot handheld, which gives those scenes more energy and naturalism. Lighting on the show goes from naturalistic, when Deborah is at home or when Ava is in Los Angeles, contrasted with vintage glamorous stage lighting when Deborah performs her comedy act.

Adam grew up in Chicago and attended film school there before attending the USC summer cinema program, which inspired him to transfer to USC and continue studying cinematography. After college, Adam began taking as many jobs as he could, and planned to work his way up through the camera department, before a DP mentor suggested he buy a camera and take as many cinematography jobs as possible. He and a group of friends invested in a Red One digital camera, and Adam shot dozens of music videos and low-budget films.

The Netflix series Chef’s Table has taken Adam all over the world. As one of the primary DPs of Chef’s Table, Adam and show creator David Gelb have established the artistic look of the modern cuisine documentary, which has since been imitated by countless other food shows. When the show began, Adam had never shot a documentary before, so he had a more cinematic approach to the show, only using prime lenses and no zoom lenses. For him, it’s been a dream job to explore new places, eat amazing food at excellent restaurants and work with good friends on the crew.

Find Adam Bricker: https://adambricker.com
Instagram: @realadambricker

You can see Hacks on HBO Max.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep133/

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

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

July 14, 2021

Jake Polonsky, BSC on The Sparks Brothers documentary, working with director Edgar Wright, The World’s End, Black Mirror and Billions

Director of photography Jake Polonsky was a fan of the band Sparks for several years, a love he developed after seeing the band perform at a music festival. Jake had frequently worked with director Edgar Wright, shooting commercials and music videos in the early 2000’s, and then as the second unit DP on Wright’s movie, The World’s End. Both Jake and Wright shared a love of music, and in 2018 he saw Wright had posted a photo of himself with Sparks. He congratulated Wright on finally meeting the band. Wright let Jake know he was going to make a documentary on Sparks and asked if he would be the cinematographer.

The Sparks Brothers documentary combines interviews, live and archival concert footage and collage-style animation in an eclectic style that reflects the aesthetic of Ron and Russell Mael, the Sparks Brothers themselves. In spite of putting out 25 albums over the past 50 years, Sparks has remained under the radar for most of the public. The brothers had some success at the beginning of their careers, mainly in the UK, writing and creating an unusual sound admired and imitated by many other bands. Sparks continues to reinvent themselves and has never stopped touring, building an incredibly devoted fan base.

Both Jake and Wright knew that all the interviews for the documentary needed to have a certain look and visual continuity. They settled on a photograph from the cover of the 1976 Sparks album, Big Beat. The photo was taken in black and white with a large format camera, so Jake decided to shoot all of the interviews in black and white, using several large format Red Monstro cameras. Everyone would wear black so that each interview had a consistent look, no matter where it was shot, and each interviewee spoke directly to the lens, using an Eyedirect teleprompter.

When Jake heard Wright was getting ready to make The World’s End in 2013 with DP Bill Pope, he was eager to work on his first feature film, and asked if Wright needed anyone to shoot second unit. Wright was happy to give Jake the opportunity. Jake saw that even with a comedy such as The World’s End, Wright found it important to have even the smallest scenes exactly right for comedic timing. Jake went on to work on several other UK based television shows, such as the Black Mirror episode, The National Anthem, and the interactive Black Mirror special, Bandersnatch. The executive producers of the Showtime series Billions noticed Jake’s work on Black Mirror, and he became the cinematographer for 27 episodes of the show, as well as directing one. Jake was able to learn from many different directors on Billions, and loved working with actors Damien Lewis and Paul Giamatti. He thinks that as a DP, it’s much more stimulating to work with a director you like and respect. It becomes easy to deliver what they want to achieve because you know it’s going to be great.

Find Jake Polonsky: http://jakepolonsky.com/
Instagram: @jakepolonsky

You can see The Sparks Brothers in theaters and streaming on VOD. https://www.focusfeatures.com/the-sparks-brothers/

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep132/

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

July 7, 2021

Cinematographer Stuart Biddlecombe on The Handmaid’s Tale Season Four

As a filmmaker, director of photography Stuart Biddlecombe wants to visually put his ideas on screen, telling stories that he genuinely connects to with true creative collaborators who listen and contribute. When Stuart came aboard to shoot part of season three of The Handmaid’s Tale, he knew he was taking on the mantle of what has become an iconic show. He had read the book in high school, and feels that the television series does an incredible job of putting the book into pictures, continuing to tell a meaningful and important story. Stuart was fortunate enough to begin working on the show with former cinematographer and Emmy winner Colin Watkinson, who had moved into directing. He was able to learn the ropes from Watkinson and continue the look of The Handmaid’s Tale smoothly into season four.

Stuart was very involved in the production of the fourth season of The Handmaid’s Tale, and he loved the extraordinary creative input he’s had on the show. He would meet with lead actor and executive producer Elisabeth Moss and showrunner Bruce Miller to talk though each episode, discussing with them what they wanted to shoot and what direction each episode should go. Color on The Handmaid’s Tale plays a very important role- Gilead is presented with strong red, blue and black costumes while the colors and tones representing Canada are muted and softer. In season 4, as the story follows the main character, June (Elisabeth Moss) as she escapes to Canada, Stuart knew they needed to change the color palette, shifting into stronger colors and contrasts to push the look forward.

Stuart began working in television in the UK before he went to film school, on game shows such as Who Wants to be a Millionaire?, but felt no love for the job. He decided to attend college at the National Film and Television School in order to learn more about the art of telling stories using a camera. He was in a very small film class with fellow cinematographer Charlotte Bruus Christensen. After film school, he shot several episodes of Call the Midwife and Doctor Who. Working in television taught Stuart how to shoot quickly, creating storytelling in the purest form, without the need for a lot of coverage. Stuart finds working on many of today’s television shows such as The Handmaid’s Tale to be very satisfying, as the lines of quality storytelling are blurring between television and film, with many television shows matching or even exceeding much of what can be seen in the cinema.

Find Stuart Biddlecombe: https://www.stuartbiddlecombe.co.uk/
Instagram: @stuartdop

You can see The Handmaid’s Tale season four streaming on Hulu

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep131/

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

June 30, 2021

Cinematographer Alice Brooks on shooting In The Heights, Home Before Dark, working with director Jon M. Chu

Alice Brooks grew up on Broadway musical theater and movies as a kid, and loves shooting music and dance oriented films and TV shows. Alice has always been in awe of dancers, and though she isn’t a dancer herself, she is inspired by their work ethic and loves that she can capture dance with her camera.

Working on In The Heights has fulfilled a lifelong dream for Alice. She and director Jon M. Chu have known each other since college at USC. The two bonded over musicals- she shot his she shot his student short, a musical called When The Kids Are Away in 2002 and worked together again on the film Jem and the Holograms. Alice and Jon were shooting the Apple TV+ series Home Before Dark when he asked her to shoot In The Heights. Jon, choreographer Christopher Scott and Alice had also worked together on a Hulu series called The LXD: The Legion of Extraordinary Dancers for three seasons, and they got used to working together and working quickly, figuring out how tell a story and develop characters through dance. Jon, Alice and Chris Scott felt their whole careers came together to make a musical like In The Heights. The characters’ hopes, dreams, fears and anxieties can be played out not only through song and dance but in the environment around them, which sometimes shifts to where they are emotionally.

With just 49 shoot days, preproduction for In The Heights was essential. Alice and Jon Chu would location scout in the mornings and then spend afternoons in the dance rehearsal space with Chris Scott. They would share their input and make suggestions from each location scout on how to face and orient the dance. Alice and Jon thought at first many more locations would be done on a soundstage, but they found that shooting in real places on the streets looked and felt so true- even the theater and the subway station were real locations. During shooting, every Sunday they would meet and go through the coming week because the schedule was so tight and the camerawork so complex, looking at videos from dance rehearsal to discuss the shots and angles to use, deciding if a crane shot was needed, and how many cameras to use for each scene. Jon made animatics detailing each scene from storyboards and dance rehearsal footage. With 17 song and dance scenes in In The Heights, Jon had huge goals for the musical numbers, and Alice, the dancers and the entire film crew were able to pull it off.

Alice grew up in New York and got into acting at a young age. She and her family then moved to Los Angles, and she realized as a teen that she did not want to be an actor. Being on set around the camera crew made her realize that she wanted to shoot movies, and that being a DP was her true dream. After graduating from USC Film School, Alice asked many of the graduate students if she could shoot their projects, knowing that the key to honing her craft was practice, practice, practice. She shot about 20 shorts, including Jon M. Chu’s musical short, When The Kids Are Away. Alice thinks it’s important to find the right people to work with, since you’re spending so much time together, and forming that bond helps everyone. She wants to make movies that inspire her daughter. For anyone with a family, it’s important to pick the projects that are worth it, since filming can take so much time away from loved ones.

Find Alice Brooks: https://www.alicebrooks.com/
Instagram: @_alicebrooks_

You can see In The Heights in theaters, the best place to experience the film’s immersive sound design and visuals. You can also find it streaming on HBO Max.

Alice’s new musical film directed by Lin-Manuel Miranda is tick, tick…Boom! releasing in the fall.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep130/

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

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz