September 19, 2025

John Conroy on grounding the political thriller Zero Day

The Cinematography Podcast Episode 325: John Conroy, ASC, ISC

For the Netflix six-part political thriller, Zero Day, cinematographer John Conroy, ASC, ISC worked with director Lesli Linka Glatter to create a visual style that felt grounded in reality. Their goal was to make the story, which follows a cyberterrorist attack, feel like it could happen tomorrow. This approach allowed them to focus on the human element and the psychological impact of the events rather than sensationalized drama or violence.

John shot all six episodes of the series, a creative choice he found deeply rewarding, although he doesn’t feel the need to always be the lead DP. “Ultimately, if you’re lucky enough to be shooting, you should feel lucky enough that you’re shooting,” he says. “Doing all six was really great because I felt that I could curate the whole look of the show by episode by episode. But if I was only going to do two episodes, I would have enjoyed it just as much.” The cohesive approach was important since they prepped the episodes over 10 weeks as three separate films. John and Glatter shotlisted scenes on weekends, deciding what images would create the most impact for beginnings, transitions and exits for each scene. He made notes in his script to track the desired look, light, and emotion for each scene.

John says working with Robert De Niro was a pleasure. “It was one of the privileges of my career to shoot him. And he was very gracious and took notes and was very helpful with the camera crew and overall it was just like a really really good experience.” John found a subtle way to enhance De Niro’s performance through lighting and camera tests. “People’s faces look different when you light them from one side or the other,” he notes. “I found with Bob that when he was lit from his right hand side, that he looked more severe than when he was lit from the left hand side.” John used this technique in interrogation scenes to emphasize the character’s increasing pressure and tension. For more emotional scenes, he lit De Niro from the left to convey a more nuanced and serious tone. Framing each shot was important to the story as well. John always shot De Niro’s character, George Mullen, around high doorways and down long hallways, making him seem trapped and under increasing pressure.

A key element of the show’s look is John’s use of single-source lighting, keeping things simple and uncomplicated as much as possible. But he encountered a challenge with the Zero Day Commission offices, whose walls consisted of several layers of glass. John collaborated closely with the set builders to plan his shots and manage the numerous reflections in the office sets. To prevent unwanted double reflections, they created custom black panels to black out panes of glass behind the camera. The lights were cued to dim as actors walked through a shot, controlling reflections.

John’s passion for cinematography began at an early age, inspired by his father, Jack Conroy, who was also a cinematographer. At just 12, John began loading 16mm film for his father on documentaries and commercials. He then worked as a focus puller until he decided to move into cinematography after working on The DaVinci Code. He and his father were able to work together on the TV series Broadchurch, with Jack shooting second unit.

John’s current work can be seen on Wednesday Season 2, the upcoming Dune: Prophecy Season 2, and the upcoming Fallout Season 2.

Find John Conroy: Instagram: @jccine
See Zero Day on Netflix.

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

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September 11, 2025

Alien: Earth director/DP Dana Gonzales reimagines a classic

The Cinematography Podcast Episode 324: Producer, Director, DP Dana Gonzales, ASC

Dana Gonzales, ASC is a producer, director, and cinematographer known for his collaborations with visionary showrunner Noah Hawley on projects like Fargo and Legion. Dana has once again partnered with Hawley to bring the iconic sci-fi horror franchise to television with FX’s Alien: Earth. Dana shares insights on his creative process, the challenges of honoring a cinematic legacy, his career path and the future of the industry.

For Dana and Hawley, tackling the Alien universe was a formidable task. “You’re taking on some strong material,” Dana explains. “The reason we’re reimagining it is because it is so popular and loved and people want to see more.” The goal wasn’t just to produce a new chapter, but to recreate the visceral feeling of the original. The team deliberately leaned into the aesthetic of the first two films, going so far as to create near-exact replicas of the original Alien spaceship Nostromo’s sets for the new Maginot spacecraft.

While the Xenomorph has become a familiar alien over nine films, Alien: Earth adds five new and dangerous creatures. The Xenomorph has its own story arc and development throughout the show. The new, eight-hour narrative format allows for a deeper exploration of the story and characters. “Not everyone has seen Alien that’s seeing Alien: Earth,” Dana notes. The goal is to to tell a story that works for both new and existing fans. “As we go down the road, things will be different, we’ll make different choices,” he adds. “But the key is to try to honor the original work. I feel like the audience depends on it. Episode 1 should feel like episode 8.”

Dana and Hawley’s deep respect for the source material extends to their technical approach. They wanted to capture the original film’s sense of existential dread, a feeling heightened by the decision to have the ship crash on Earth. This plot point dictated Dana’s plan for the camera work, with little coverage and long takes. They frequently stayed in a two-shot to maintain intimacy and tension. To further evoke the feel of the original, Alien: Earth was shot in 2.3:5 anamorphic, a first for the FX network.

Hawley directed episodes one and five, with Dana serving as cinematographer to establish the look of the show. Dana stepped into the director’s chair for episodes two, three, seven, and eight. “We can have honest conversations about what we want to do with these episodes,” Dana says. “We have a similar aesthetic.” Dana is also an executive producer on their joint projects, acting as a “creative executive producer” on set. In this role, he preps each episode, serves as the on-set decision-maker and manages second unit photography, ensuring the overall creative vision is maintained.

The trust between Dana and Hawley is a fundamental part of their collaboration. They begin by building the world, finding images and discussing the story arc. This partnership, which began on Fargo, has evolved into a creative shorthand. “Noah is the creator, he knows what he wants to do,” Dana shares. “Our shorthand, we get to what the shows will look like and feel like in a very organic way in a few conversations.” Hawley’s support allows Dana to push creative boundaries. “One of the most attractive things about this collaboration is that he’s got my back and I could push things creatively,” he says. “I try things, I throw it out there, I do whatever. And I think he comes to expect that and likes that.”

Dana first moved from cinematographer to director on the show Pretty Little Liars. As a cinematographer, he had strong ideas about camera placement and perspective, which he felt were central to storytelling. On directing, he advises, “You have to do the first one and you have to make mistakes.” Dana believes that a background as an episodic DP provides a unique advantage for directing. “As an episodic DP, you already understand working with different people, understanding time and streamlining the process. When you’re interested, and you’re in the room earlier, you can do a lot more for the show, fight for what needs to be in the show and take a position on the places where money is better spent.”

Find Dana Gonzales: https://www.danagonzales.com/
Instagram: @dana_gonzales_asc
See Alien: Earth on FX on Hulu

Hear our previous interview with Dana Gonzales: https://www.camnoir.com/ep122/

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/
Sponsored by Laowa by Venus Optics: https://www.venuslens.net/

The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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August 21, 2025

Art of the one shot: Adolescence cinematographer Matt Lewis

The Cinematography Podcast Episode 321: Cinematographer Matt Lewis

In the limited Netflix series Adolescence, each episode unfolds as a single, uninterrupted take, a cinematic choice that immediately immerses viewers in the unfolding drama. This ambitious format was a deliberate artistic choice. Both cinematographer Matt Lewis and series director Philip Barantini had previously collaborated on the independent feature Boiling Point, which also followed the one-shot format. This shared experience allowed them to bring a unique intensity and almost voyeuristic quality to the new series. As Matt explains, “A one-shot creates intensity. It creates slight paranoia that something might happen because you’ve got this lack of editing. We managed to deploy that technique for Adolescence to make it feel like the camera just happened to be there. It was an inevitable floating force. You never feel like the camera is a filmmaker.”

The decision to film Adolescence in one continuous shot was a massive undertaking that required meticulous planning, from the writing stage to the final take. The series’ writers, Jack Thorne and Stephen Graham, crafted the script with this format in mind, allowing the story to flow seamlessly from one character to the next. The crew and cast treated each hour-long episode like a live theatrical performance, knowing that any mistake would require a complete reset. For Matt, the process was similar to choreographing a dance. The cast and crew had about 2 attempts per day to get each hour long episode right. Matt chose a single, lightweight DJI Ronin 4D camera that was passed between operators and even mounted on a drone for one episode, emphasizing the camera’s fluid, continuous motion. “It forces a kind of energy on set, which is really palpable when you’re there,” explains Matt. “I think that also translates into the piece. A true one shot wasn’t any sort of flex. We wanted to try and see if by stripping back and actually not having those opportunities to cut camera, it ends up focusing more on the story.”

To navigate the complex, unbroken shots, Matt relied on detailed preparation and his extensive experience. He used the application Shot Designer to meticulously map out the camera’s path, memorizing specific lines of dialogue as cues for each movement. Fortunately, the cast and crew had two weeks of rehearsals. Matt used his phone to shoot the rehearsal for reference, in order to plan the camera’s route and see what would work. The lighting was also an integral part of this intricate choreography. Every fixture was practically built into the set and controlled in sync with the camera’s journey through the scene. “Every step the camera takes is choreographed,” says Matt. “There was no room to work it out in the moment. But ultimately, we’re creating a route, a path through a place. So there’s only a certain way you can do that. If you start moving one piece, then you can’t get from that piece to the next one suddenly.”

The one-shot format in Adolescence ultimately served the story, creating a powerful and intimate viewing experience. By stripping away the ability to cut, Matt and the team were able to focus entirely on the narrative, allowing the raw energy and palpable tension of the set to translate directly to the screen.

Find Matt Lewis: Instagram: @mattlewisfilm
Matt Lewis is Emmy-nominated for episode 2 of Adolescence.
See Adolescence on Netflix.

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

The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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August 12, 2025

Cinematographer Matt Ball’s recipe for Tucci in Italy

The Cinematography Podcast Episode 320: Cinematographer Matt Ball

For cinematographer Matt Ball, shooting the National Geographic five part documentary series Tucci in Italy was a delightful experience. Tucci in Italy follows actor Stanley Tucci as he explores his Italian heritage, delving into regions rich in food and culture. “A big part of the success of the show is obviously Stan, but Stan wants to do it,” says Matt of Stanley Tucci. “Nobody necessarily loves getting up for work on a Monday morning. But getting up for work on a Monday morning in Italy and going to wonderful places, you know you’re going to do something interesting. And it’s the fact that people want to do it for their job that makes it so much easier.”

As a light-hearted, fun and engaging host, Tucci’s fluency in Italian and passion for the culture drove him to explore lesser-known stories, foods, and areas of Italy. With 20 distinct regions, each person in Italy has a unique identity attached to their home. Matt’s favorite location was the Carrera mountains in Tuscany, where the famous Carrera marble is mined. “The culture of Italy, I have such a deep love for that country from doing the show,” says Matt. “Everything about it, from the food to the scenery, everything affects you as you’re doing it. I mean, some of it is mind-bogglingly beautiful.”

While Stanley Tucci himself didn’t need a translator, the crew needed a little help. A translator spoke into an earpiece so the crew could follow the story closely and know what to capture. Matt used four cameras and a drone to capture the beauty of the region. To avoid asking subjects to repeat actions, one camera was always dedicated to shooting the food.

Scouting and pre-planning was key for the vision Matt had for the look of the show. Tucci in Italy is beautifully composed, without feeling formal, and uses very natural lighting. At each location, Matt and the director would take about 30 minutes to walk through the location to find the best spots for interviews, without compromising the story or the documentary nature. The most important goal was to make the interviewees feel at ease, with the cameras as unobtrusive as possible. Even if it meant shooting in a tiny, dark kitchen, the crew would do so to ensure the authenticity of the documentary. The Italians would also choose the right place to eat, usually out of the direct sun and in a comfortable situation. The hardest part of the job was often the heat, as much of the work was outdoors and shot handheld.

Find Matt Ball: https://mattballcamera.com/
Instagram: @mattbcam

Matt Ball has been nominated for Outstanding Cinematography for a Nonfiction Program for Tucci in Italy for the “Tuscany” episode.
See Tucci in Italy on Nat Geo on Disney+. The series has been renewed for a second season.

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

The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
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Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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August 7, 2025

Art of Deception: DP Christopher Ross, The Day of the Jackal

The Cinematography Podcast Episode 319: Christopher Ross, BSC

The Peacock series The Day of the Jackal, a modern update of the film and novel, is an exhilarating cat-and-mouse thriller. It follows a charismatic, lethal assassin known only as the Jackal (Eddie Redmayne) and the determined MI6 agent, Bianca Pullman (Lashana Lynch), who is on his trail. Cinematographer Christopher Ross, BSC, has earned an Emmy nomination for the show’s first episode. He collaborated with director Brian Kirk to craft the series’ distinctive visual language.

Chris and Kirk wanted to transform the 1970s source material into a contemporary, slick thriller centered on deception. To visually convey this subjective reality, Chris used a range of cinematic techniques, including lens aberrations, smoke filters, and a blend of precise and unpredictable camera movement. “If you know how you want your audience to feel, then you can reverse engineer the imagery to force that emotion,” Chris says. His approach leans toward a more chaotic and naturalistic style rather than a traditionally elevated, polished look.

A central challenge was to make the audience feel connected to both the Jackal and Bianca, a narrative where the roles of “cat” and “mouse” constantly shift. Chris explains, “How do we make a modern slick thriller with a dual protagonist, a cat and mouse drama where the cat and the mouse change places? We wanted the imagery to be playful and light-footed, like a magic trick, and to not necessarily be instantly decipherable.” Chris drew inspiration from 1970s thrillers such as Klute, The Parallax View, and Three Days of the Condor to inform the show’s visual style. ARRI ALPHA anamorphic lenses created a wide frame for a strong sense of connection with the characters. He customized the lenses to produce an exaggerated square bokeh around the frame. It symbolized the compartmentalization within the characters’ lives, reinforcing the theme of hidden realities.

The Emmy-nominated first episode features a complex, two-minute opening shot—or “oner”—that required extensive preparation. Chris and Kirk meticulously planned the scene to capture all the essential details as the camera follows the Jackal through an apartment. During the shoot, the production team performed a synchronized dance of moving doors and walls, all timed with Redmayne’s performance.“It was one of the best, most interesting oners that I’ve ever been fortunate enough to construct with a director,” says Chris. “The frame changes so often, the storytelling is as frequent as if you were editing.”

Christopher Ross, BSC is also the President of the British Society of Cinematographers, an organization that promotes the art and craft of cinematography in the UK and internationally.

See The Day of the Jackal on Peacock.

Find Christopher Ross, BSC: https://www.christopherrossbsc.com/
Instagram @edjibevel

Hear our previous interview with Christopher Ross on the series Shōgun. https://www.camnoir.com/ep266/

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

The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
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Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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August 14, 2024

Lessons in Chemistry: DP Zachary Galler’s visual formula

The Apple TV+ show, Lessons in Chemistry, is a period piece set in the 1950s. Elizabeth Zott (Brie Larson) is a brilliant chemist whose career is derailed by sexism. Denied her scientific aspirations, she finds an unexpected platform hosting a cooking show, using it to empower women and challenge societal norms.

Zachary Galler, one of the Emmy-nominated cinematographers behind the stunning visuals of Lessons in Chemistry, brought a unique perspective to the 1950s drama. Rather than indulging in nostalgia, Zack aimed to create a lived-in world that resonated with contemporary audiences. The team chose the ARRI Alexa Mini LF camera because it handles natural light very well. After many lens tests, they picked Canon K 35 lenses, which Zack felt were quite flattering.

One of the show’s most visually striking settings was the chemistry lab. While it might seem like a dream location for a cinematographer, Zack found unique challenges. “So much of what chemists do is pouring clear liquids into other clear liquids,” he explained. To overcome this, Zack focused on creating spaces that allowed for dynamic performances, emphasizing natural light and embracing imperfections to enhance the authenticity of the scenes.

Zack and his team meticulously planned their shots, opting for side lighting to draw viewers into the characters’ worlds. They also employed practical techniques like dollies and Steadicams for dynamic walk-and-talk scenes. To capture the era’s aesthetic, Galler developed a custom LUT inspired by vintage food photography. However, the power of the performances ultimately led to a decision to tone down the LUT, allowing the actors to shine without visual distractions.

Collaborating with fellow cinematographer Jason Oldek on the series was a highlight for Zack. “I feel like what’s really successful about the show is the comprehensive world-building that we did,” he said. Together, they crafted a visual language that captured the essence of the 1950s without resorting to clichés, creating a world that felt both familiar and fresh.

Find Zachary Galler: https://www.zacharygaller.com/
Instagram: @zachary_galler

Sponsored by Hot Rod Cameras www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
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By Illya Friedman

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August 7, 2024

House of the Dragon & Jim Henson: Idea Man cinematographer Vanja Černjul, ASC

For cinematographer Vanja Černjul, ASC, finding creative inspiration within House of the Dragon season 2 wasn’t difficult. “House of the Dragon includes such a range of settings, from huge battle scenes to remote locations with just a small crew, a camera and tripod,” he says. “What’s in front of the camera is so strong that you really have to exercise every filmmaking or storytelling muscle that you have developed over the years.”

Vanja was the director of photography for episodes 6 and 7 and the production team chose to use the ARRI Alexa 35 for season 2. They knew that the Alexa’s superior sensor would retain all the details of candlelight and fire, showing the highlights of light without blowing out the source. Vanja was happy that House of the Dragon Season 2 included many more locations and amazing sets on a large backlot, with much less filming on volume stages. The volume stages were mainly used for the dragon riding scenes, on a stage in London with three large LED screens surrounding the actors on a mechanical device.

The pre-production and prep process for House of the Dragon season 2 was lengthy and extremely detailed. Five director and DP teams worked on eight episodes. They started with creating a shot list that was approved by the show producers, then shared with the visual effects department and storyboard artists. “In order to create the best visual effects, they needed to know what we were going to do on location as early as possible,” says Vanja. “It really streamlined the visual effects process and allowed enough time for them to build excellent visual effects.” Prep was just as intense as the pre-production period. House of the Dragon was a huge production that required multiple directors, DPs, and assistant directors to prepare each episode while others were being shot. All five teams had to shoot and share the same locations, so there was a rigorous schedule with little room for extending shoot days.

Episode 7 features a stunning dragon battle sequence, seamlessly done as what appears to be a oner. Vanja worked with director Loni Peristere to plot out the scene, which takes place in a huge cave where the dragons live. All the action was centered around the shot, and featured practical stunts. “There were 16 people on fire in a dragon battle in one scene. It’s really mind-blowing when you’re there in person, they really know what they’re doing- but it’s people on fire, falling from the ceiling!” says Vanja. Once the stunt person was ignited, they could only be on fire for a few seconds, so it was important to get the shots as fast as possible.

Vanja is also Emmy-nominated for the documentary Jim Henson: Idea Man, along with friend and fellow cinematographer Igor Martinović. Vanja grew up watching The Muppet Show, and is a huge fan of Jim Henson’s work. Vanja and Igor worked together to shoot all the interviews for the documentary, as well as the stop-motion sequences within it. Vanja had never shot any stop-motion animation before, so it was a fun and interesting challenge. All the interviews were shot first, in several different locations and over a long period of time, so it was important that all of the scenes matched. They chose a set design that could be reproduced no matter where it was located, keeping exact notes of the depth of field, camera placement, and lighting.

Find Vanja Černjul: https://vimeo.com/showcase/5574603
Instagram: @vanjacernjul

Sponsored by Hot Rod Cameras www.hotrodcameras.com

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

By Illya Friedman

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July 31, 2024

Echo: Breaking barriers with Kira Kelly, ASC

Echo continues the journey of Maya Lopez, a skilled fighter who was first seen in the Marvel series, Hawkeye. After the death of her father, Maya escapes Kingpin’s gang by returning to her Choctaw Nation home in Oklahoma. It’s the first Marvel series to feature a Native American character and explore indigenous culture and history. As Maya Lopez, Echo star Alaqua Cox breaks barriers as a deaf, indigenous amputee.

Cinematographer Kira Kelly, ASC enjoyed crafting a Marvel story that didn’t require a rigorous backstory from previous Marvel movies or shows. The script included depictions of the history of the Choctaw, including the Choctaw creation myth. “What starts the pilot is the creation myth of the Choctaw people, which had never been shown before,” says Kira. “Sydney Freeland, our director, made sure we did it in a very respectful way, and a way that was authentic to (the Choctaw.) Being able to be part of that visual storytelling is not something that you get to do every day.”

Different parts of Echo are separated by a specific look and feel. Most of the series was shot using anamorphic lenses, but Kira chose 12 and 20 mm spherical lenses to depict the beginning of the Choctaw nation at the dawn of time. For Maya’s world in New York, Kira used darker and more desaturated lighting. She and director Sydney Freeland agreed that once Maya goes back home to her roots in Oklahoma, deeper, more saturated colors should be part of the visual story.

Kira enjoys lighting, and a big part of it is speaking with the production and set designers about what can be built in naturally for success later. She purposefully changed the treatment of the light between the characters of Fisk (Kingpin) and Maya. For Fisk, she played with a direct, single source side light on his face that created more falloff and emphasized shadows to question his loyalties and motivations.

Echo was Kira’s first experience shooting extensive action sequences and working with a large second unit. She particularly enjoyed recreating the Choctaw Powwow in Oklahoma for the final sequence at the conclusion of the series. The crew had visited the real powwow on a scout, and some of the dancers were hired to perform for the show. “It was a really emotional sequence because we got to be a part of this thing that people who aren’t Native American never get to experience. We had created this space for it and the people who are a part of it came up and said, ‘This is like a real powwow. You guys created a powwow.’ And so it was an honor to be part of something that was visually fulfilling and a great challenge.”

Kira is partnering again with director Sydney Freeland for her film, Rez Ball, coming this fall.

Hear our previous interview with Kira Kelly. https://www.camnoir.com/ep67/

Find Kira Kelly: https://www.kirakellydp.com/
Instagram: @kirakellydp

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

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

By Illya Friedman

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October 18, 2023

Ahsoka cinematographer Eric Steelberg, ASC

Cinematographer Eric Steelberg, ASC has always loved movies, which is what led him to a career as a director of photography. He tries to find compelling film and television projects, putting his own stamp on the story’s visuals.

Back in 2006, Eric was at the beginning of his career as a DP when he shot the small independent film, Quinceañera which won both the Audience Award and the Grand Jury prize at Sundance that year. It was shot in HD, which was very new technology at the time, especially for smaller films. After Quinceañera, Eric’s career began to take off. He’d been a frequent collaborator with director Jason Reitman, whom he met shooting commercials and smaller projects, but not films. Working on Quinceañera gave Eric more credibility as a DP, so Reitman asked him to shoot his next film, Juno. At first it was an uphill battle to get Juno’s financiers, Fox Searchlight, to sign off on Eric, because they didn’t see him as experienced enough for the job. But Reitman fought for him, and it led to a long relationship with Eric as Reitman’s director of photography for Juno, Up in the Air, Young Adult, Labor Day, Men, Women & Children, Tully, and Ghostbusters: Afterlife.

Eric never dreamed he’d start at Juno and end up working on the Disney + Star Wars series, Ahsoka. Eric and director of photography Quyen Tran, ASC split cinematography duties. He began prepping the show with executive producer/showrunner Dave Filoni, frequently touching base with Q since she wasn’t able to come on set until later. Both Eric and Q have similar approaches to lighting and composition, and Eric feels it was the best version of a two DP collaboration that there could be. One of the biggest successes of their working relationship was doing their camera testing together and knowing they were aligned with the cameras, lenses and lighting for the show.

As a Star Wars fan, Eric was familiar with the source material and he felt so much joy working on a piece of the saga. He had never done a show shot on volume and blue screen stages, and Eric saw it as an opportunity to learn something new. As a DP, he feels his biggest job is listening, looking and paying attention to what the director and the rest of the team wants to see on the screen. Developing the look of Ahsoka began with the art department’s concept art for the show, but there was lots of room for creativity as the characters travel to different planets. Eric found Ahsoka to be by far the HARDEST show he has ever worked on, but he also feels extremely proud of his work.

Ahsoka is currently on Disney+.

Find Eric Steelberg: http://www.ericsteelberg.com/
Instagram: @ericsteelberg

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
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By Illya Friedman

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October 4, 2023

Silo cinematographer Mark Patten, BSC

Cinematographer Mark Patten, BSC’s most recent project, Silo, is a post-apocalyptic science fiction drama that’s been a huge success for AppleTV+. The thousands of people who live in the silo don’t know why the silo exists, who built it, or why the world outside is uninhabitable. Citizens who express a desire to go outside, or are convicted of a crime, are sent outside to “clean” the cameras and never survive. After being recruited as the new silo sheriff, engineer Juliette starts to uncover shocking secrets and the truth about the silo.

Silo was shot in Essex, England in a huge former cold storage facility. The set had to be completely built out, retrofitting the space into a working film stage. Lighting rigs were hung even before the sets were built so that the set building and production design crew could see in such a huge dark space. The production crew built three working levels of the actual silo set, complete with the spiral staircase. Mark found the richness of the set decoration created a lived-in, worn down place that made the silo itself seem like a character. Everything is very analog or “lo-fi sci-fi” in this dystopian world. It was interesting to think about how society would act together, in a closed vessel, and maintain their sanity in a locked in culture, especially after just coming out of the pandemic. Mark thought of the Silo as a slow ship moving through time, and it felt like shooting a submarine film. The central staircase acts as a helix through the society of the silo, and Juliette is climbing her way up through the layers of it to solve a mystery.

Mark worked alongside production designer Gavin Bocquet to visualize the Silo’s society, honing in and letting the visuals sing. He decided to subtly use different color palettes for each level. It was a great way to add texture to the images, with the mechanical level becoming very desaturated, except for some touches of bright yellow and orange glow from the heat of the power generators. Since the silo is a mile down into the ground, there is no natural light at all, and Mark needed to figure out what would motivate the light all the way at the bottom. He decided the lighting in the top of the silo would be strongest, and the light would filter down from there. Practical lights were built in everywhere throughout the set and as characters descend to the lowest level of mechanical, the practical lights are the only source. Since every light source was designed and built in, there was no hard light anywhere to manipulate, so for Mark it was an exercise in restraint manipulating reflective light.

Mark recently finished shooting Season 2 of Andor on Disney+.

Silo is available to stream on AppleTV+.

Find Mark Patten: https://www.markpatten.tv/
Instagram: @kiesh

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

By Illya Friedman

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In Cinematography Podcast, Latest Posts, Podcast Episodes

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