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In this episode, we talk about Sense and Sensibility Choosing 35mm film and how they achieved the softness, texture and richness of period paintings vs a modern, overly sharp look Creating naturalistic lighting within historic estates and the challenge of making sure that what the location brings — the textures of the walls, the colors, and the existing palette of the space — fits within the visual language that are working to build Using changes in camera movement, contrast and warmth to reflect the sisters’ emotional journey Photographing two contrasting dance sequences:  using the film’s only Steadicam sequence to follow Marianne’s urgent search for Willoughby at the London ball Director of Photography: Arnaud Potier, AFC https://www.imdb.com/name/nm1062814/ https://www.instagram.com/losbosques/?hl=en https://www.luxartists.net/artists/arnaud-potier-afc   Check out the Trailer: https://www.youtube.com/watch?v=OFLyW0lxFU0 Thank you for listening: Please let me know what you learned or thought of the show today. Subscribe to the podcast. Join The Direct The Photography Community

In this episode, we talk about One Hundred Years of Solitude: Part Two Tech Specs: ARRI ALEXA Mini LF, ARRIRAW; ARRI Alpha Anamorphics; final color by Sandra Kläss Camilo was DP for episodes 203, 204, NS 207 Creating the flood through extensive practical water and lighting systems, and a standout single-take sequence that moves between three camera operators in heavy rain. Director of Photography: Camilo Monsalve, AFDC www.camomonsalve.com https://www.instagram.com/camo_ossa/ https://vimeo.com/camilomonsalvedp https://www.imdb.com/name/nm4040727/?ref_=ttfc_fc_cr5   Check out the Trailer: https://www.youtube.com/watch?v=F7iKrcc5L3M Check out the BTS : -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS -BTS photographer is Mauro Gonzales @MauroGonzalezA. Thank you for listening: Please let me know what you learned or thought of the show today. Subscribe to the podcast. Join The Direct The Photography Community

In this episode, we talk about A Different World Tech Specs: ARRI Alexa 35; Ultra Primes. chocolate filters. Maintaining a calm set as a cinematographer. Communication with collaborators with emotion. Director of Photography: Shawn Peters https://shawnpeters.com/ https://www.instagram.com/shawnpeezie https://www.imdb.com/name/nm4557559/ Check out the Trailer: https://www.youtube.com/watch?v=W8jMEXwErvk Thank you for listening: Please let me know what you learned or thought of the show today. Subscribe to the podcast. Join The Direct The Photography Community

In this episode, we talk about Never After Dark Sony Venice 2; Sigma FF High Speed Primes; Fujinon Cabrio 19–90mm; Laowa 24mm Pro2be; Sony FX3 for specialty rigs Patrick Ouziel collaborated with director Dave Boyle on the film’s eerie visual language, drawing from Don’t Look Now and The Changeling for a retro sensibility built through practical techniques including zooms, harder lighting and atmospheric haze. Small mirrors were also used throughout the set to create reflective patterns and falloff across actors’ faces. ScreenAnarchy called it “one of the early frontrunners for the year’s most accomplished horror films.” Director of Photography: Patrick Ouziel https://www.patrickouziel.com/ Instagram: patrickouziel https://www.imdb.com/name/nm2621265/ Check out the Trailer: https://mubi.com/en/films/never-after-dark/trailer Check out the BTS: Check out the Screen Grabs: Thank you for listening: Please let me know what you learned or thought of the show today. Subscribe to the podcast. Join The Direct The Photography Community

In this episode, we talk about Best of the Best Tech Specs: ARRI Alexa 35; RED Komodo; MiniDV, HDV and iPhone 16 Pro; 24fps OpenGate ARRIRAW framed for 2:1 extraction Lena Khan’s Bollywood-fusion dance comedy follows two childhood best friends who join UCLA’s competitive dance team and set out for the U.S. Championship. Adam Carboni approached the film by creating “a grounded, contemporary base” that could expand into heightened theatricality without feeling like “eye-candy dropped into the movie.” The production also incorporated a wide range of capture formats, from ARRI Alexa 35 and RED Komodo to MiniDV, HDV and an iPhone 16 Pro, offering a strong conversation around maintaining a cohesive visual language across intimate character scenes and large-scale dance sequences. Being a Cinematographer and a Dad Director of Photography: Adam Carboni https://www.adamcarboni.com/ https://www.instagram.com/adamcarboni/ https://www.imdb.com/name/nm3949048/ Check out the Trailer: Thank you for listening: Please let me know what you learned or thought of the show today. Subscribe to the podcast. Join The Direct The Photography Community

In this episode, we talk about HIGH VALUE TARGET: THE HUNT FOR SADDAM Creating two very distinct worlds: the polished, controlled world of Washington, and the war-torn, oppressive atmosphere of Baghdad References including Zero Dark Thirty, Sicario, Black Hawk Down and The Hurt Locker, to name a few The interviews are the backbone of the show and how they gave each one between John and Saddam its own look How camera movement changed from the beginning to negotiations to the final confrontation The complicated lighting setup, the importance of the windows and filming under the Egyptian sun Cameras and lenses:  the ARRI Alexa 35 as their main camera paired primarily with Signature Prime lenses Director of Photography: Xavier Dolléans, AFC   https://www.xavierdolleans.com/ https://www.instagram.com/xavier_dolleans/ Check out the Trailer: Supporting links to articles about the project: The Hollywood Reporter https://www.hollywoodreporter.com/tv/tv-features/high-value-target-john-nixon-saddam-hussein-book-changes-1236688120/ New York Times https://www.nytimes.com/2026/09/12/arts/television/high-value-target-joel-kinnaman-john-nixon.html Wall Street Journal https://www.wsj.com/arts-culture/television/high-value-target-the-hunt-for-saddam-review-confronting-a-despot-b4e1c54e Thank you for listening: Please let me know what you learned or thought of the show today. Subscribe to the podcast. Join The Direct The Photography Community

In this episode, we talk about Ren: The Girl with the Mark – Season Three Showrunning and being a DP Technical aspects of the show Director of Photography: Neil Oseman Director of Photography https://www.instagram.com/neiloseman   Check out the Screen Grabs: Thank you for listening: Please let me know what you learned or thought of the show today. Subscribe to the podcast. Join The Direct The Photography Community

In this episode, we talk about Voicemails for Isabelle Julia’s approach to pre-production Building great relationships with directors Director of Photography: Julia Swain https://www.juliaswain.net/ https://www.instagram.com/juliaswain/ Check out the Screen Grabs: Voicemails for Isabelle. Nick Robinson as Wes in Voicemails for Isabelle. Cr. Courtesy of Netflix Voicemails for Isabelle. Zoey Deutch as Jill in Voicemails for Isabelle. Cr. Courtesy of Netflix Thank you for listening: Please let me know what you learned or thought of the show today. Subscribe to the podcast. Join The Direct The Photography Community

Capturing Light – Episode 172 with Les Gaddis In this episode, we talk about Why film school. My experience at AFI Cycle Films, Thesis Films, Visual Essays Director of Photography: Les Gaddis https://www.lesgaddis.com https://www.instagram.com/lesgaddis https://www.imdb.com/name/nm4781966/?ref_=nv_sr_srsg_0_tt_4_nm_4_in_0_q_les%20gaddis Thank you for listening: Please let me know what you learned or thought of the show today. Subscribe to the podcast. Join The Direct The Photography Community

In this episode, we talk about Navigating the industry Differences between Live Action and Stop Motion Cinematography Tools used for Stop Motion The importance of animators in stop motion. Director of Photography: Lakmé Iyengar https://lakmeiyengar.com/ https://www.instagram.com/sliyengar Check out The Links Below: https://lakmeiyengar.com/dormilon Join the Community –

In this episode, we talk about Navigating the industry Samsung Commercials Using Sony Venice with Tribe 7 lenses Director of Photography: Matt Sill https://mattsill.com/ https://www.instagram.com/mattsill https://www.linkedin.com/in/mattsill/ Check out The Links Below: https://mattsill.com/#/samsunginfluencers/ https://mattsill.com/#/samsungworkout/ Join the Community –

In this episode, we talk about Navigating the industry How to get Heaven from Belfast Some technical specs and the look of How To Get to Heaven from Belfast. Director of Photography: Ashley Barron, ACS https://www.ashley-barron.com/ https://www.instagram.com/ashleybarrondop/?hl=en   Join the Community –

In this episode, we talk about Emerging Cinematographers Award Shooting Verticals Some technical ways to shoot verticals “Pizza Guys Vs. Vampires” Director of Photography: Daniel Cotroneo https://www.danielcotroneo.com/ flashback.pictures https://www.instagram.com/danielcotroneo https://www.instagram.com/pizzaguysvs/ @flashback_pictures Join the Community –

In this episode, we talk about Navigating the industry. HIM Some technical specs of the film. (The FLIR Camera) “Work Ligt Balance Director of Photography: Kira Kelly, ASC https://www.kirakellydp.com/ https://www.imdb.com/name/nm0446579/ https://www.instagram.com/kirakellydp/   Check out the trailer to: HIM   Check Out The BTS for HIM: Check Out The Frames from HIM:

In this episode, we talk about Navigating the industry. Working as a Jack of All Trades . Run Some technical specs of the film. Director of Photography: Nathan Blaze https://www.instagram.com/nathanblazefilms/ https://www.indiegogo.com/projects/run-post-apocalyptic-thriller-film–2#/?fbclid=PAZXh0bgNhZW0CMTEAAafZKA_hzS7fa2d1xHf7PWoPO7WBvMfT_audWbFIQBPBpJFSLZMR0ehXG3t33Q_aem_NSL5noz4uFlvQiWRQuG5Xg   Check out the trailer to: Run Check out the Screen Grabs for: Run Join the Community –