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Cinematographer Matheus Bastos on shooting Gazer and Anima on 16mm with little money, how handheld and zooms track character, and why focusing on the work beat chasing an agent. This episode is a candid look at how limitations, story and trust shape a career, from a scrappy $80K film shoot to the call that changed everything. Podcast highlights include: -How Gazer's look was born from necessity. Shot on 16mm over two and a half years, the micro budget meant there were no dailies. The footage was sometimes processed months after shooting. -How the 16mm feature Anima got its cleaner look. Director Brian Ivie wanted a clean negative, so Matheus never went beyond 200 speed film stock and overexposed everything. -How handheld and zooms become character psychology. Matheus’s handheld technique follows the main character’s unraveling mind in Gazer, while in Anima, operating style shifts between the characters as their lives blur together. -How focusing on his craft and professional relationships changed his career. Matheus stepped in for three days on the film Story Ave. and that job got agents calling. Find Matheus Bastos: https://www.matheusbastos.com/ Instagram: matheusbastos_dp Show Rundown: 02:29 Close Focus 10:22-53:53 Interview with Matheus Bastos 54:08 Short Ends 01:08:50 Credits

Scott "Smitty" Smith, the IMAX camera technician behind Oppenheimer, Sinners and The Odyssey, on large format film, servicing cameras and why film costs less than you'd think. This episode is packed with technical detail for anyone who wants to understand the mechanics of shooting IMAX, from servicing the cameras to what the premium ticket actually buys. Podcast highlights include: -How Smitty’s zigzag career built a one-of-a-kind specialist. From Learjet periscope systems and aerials to IMAX documentaries and features, Smitty developed IMAX camera technician into its own job. He services every camera that runs more than a mag or two a day, with partial teardowns at lunch and at night. -How three-minute mags shape the rhythm of a set. Reloads happen in under two minutes, giving the director a beat with the actors while everyone stays on their A-game. -How film and digital each has their place. Film rules the highlight roll-off, while digital rules the shadows and low light. Budget-wise, large format film costs less compared to digital than most filmmakers think. -How not every IMAX theater is the same IMAX. A high-reflectance screen, twin 4K laser projectors, a 12-speaker array and a protected 1.9 aspect ratio are what the premium ticket buys. 15-perf film projection tops it all, at three times the resolution of 70mm.

Furious DP Doug Emmett breaks down how the production team aligned on tone, lighting a penthouse with floor-to-ceiling windows, and creating a red-lit party scene. Podcast highlights include: -How the Furious team rehearsed their look-book pitches over Zoom before presenting to the studio. Every pitch got shorter and sharper, and the department heads began production aligned on the tone of the show. -How Emmett lit a 60th-floor penthouse of floor-to-ceiling windows that became a tricky house of mirrors once darkness fell. Taped-up light mats, low bounces and black rags kept the reflections out of frame, with no need to paint them out. -How a large Queens restaurant became a claustrophobic party scene. Emmett flooded the space with red light from old bulbs, mixed in cyan, and kept the camera tight on Alice because there weren't enough extras to shoot wide. -How he shot the show's two protagonists, Alice and Catherine. Emmett held a consistent focal length, kept close-ups in the 60 to 100mm range, and never went longer, so the audience stays inside the characters' space. See Furious streaming on Hulu. Find Doug Emmett: https://www.dougemmett.com/ Show rundown: 02:17 Close Focus 09:22-59:09 Interview with Doug Emmett 58:50 Short Ends 01:08:45 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Director Dave Boyle and DP Patrick Ouziel on making the ghost story Never After Dark in Japan: a 28-day shoot, a backlit zoetrope mirror, and in-camera magic. Podcast highlights: -How Boyle, fresh off the Netflix hit House of Ninjas, made the film in Japan. Cast and crew were locked in before the script was finished, a development cycle very different from what happens in Hollywood's. -What it's like to shoot in a language you don't speak. Ouziel worked through a translator and alongside lighting director Hidenori Nagata, whose traditional fixtures and custom mirrors changed how he thinks about light. -How they built the spinning, ghost summoning zoetrope mirror and captured its reflections in camera. With careful tests and planning, Ouziel filmed all the mirror shots exclusively with in-camera effects. Never After Dark opens September 25 in New York and Los Angeles and expands nationwide October 9. Find Never After Dark in theaters: https://www.magpictures.com/neverafterdark/ Find Dave Boyle: https://www.imdb.com/name/nm2279419/ Instagram: @thedaveboyle Find Patrick Ouziel: https://www.patrickouziel.com/ Instagram: @patrickouziel Hear our previous interview with Dave Boyle on House of Ninjas: https://www.camnoir.com/ep254/ Show Rundown: 02:16 Close Focus 13:03-01:01:42 Interview with Dave Boyle and Patrick Ouziel 01:02:14 Short Ends 01:08:49 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Director Wesley Wang on building Wesley Wang Media, an indie studio incubator for online creators, launching a $100K open contest, and staying a filmmaker himself. Podcast highlights include: -How Wesley Wang Media flips the traditional development model. Rather than years of notes and pitch meetings behind closed doors, the company funds small, low-cost proofs of concept and lets online audiences decide what gets scaled toward streaming or theatrical. -The $100,000 open filmmaker contest the company just launched. No agent, lawyer, or prior credits required — just a 60-second pitch video, with finalists flown out for a filmed "camp" challenge to help pick the winner. -What it's like negotiating the split between building a company and staying a filmmaker himself. Wang talks candidly about the pull toward becoming an "executive producer" full-time, and his plan to keep writing and directing on the side. -Where Wang draws the line on AI. He explains why Wesley Wang Media isn't funding AI-made or AI-assisted projects right now, and compares the pull of human-made films to why nobody roots for a computer chess player over a grandmaster. If you're a creator, brand, investor or anyone with a great idea, Wesley Wang Media would like to hear from you! Email: [email protected] Apply for the $100,000 filmmaker contest: https://wesleywangmedia.com/apply Find Wesley Wang: https://wesleywangmedia.com/ Instagram: @wesleywanggg @wesleywangmedia Show Rundown: 02:13 Close Focus 09:13- 52:47 Wesley Wang Interview 53:11 Short Ends 59:52 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Remembering cinematographer Rodney Charters, ASC, dp of 24, Sleepwalkers, and much more in this classic Cinepod conversation on craft, career, and lighting.

DP Brett Pawlak on grounding Spider-Man: Brand New Day in natural light, practical suit design, and 17 years collaborating with Destin Cretton. Podcast highlights include: -How Pawlak and Cretton’s input about the suit design kept Peter Parker feeling human. The mask allowed Tom Holland's jaw to move, and his real eyes were visible through the mesh so the audience never forgets there’s a human under the mask. -Pawlak's approach to lighting a tentpole movie. Using as much natural light as possible. -Solving the Jean Grey telekinesis sequence with a simple method. Capturing a choreographed "wave" through the cast with both whip pans and lock-offs. -How fundamentals of story and composition don't change when scaling up from TV’s Wonder Man to a Spider-Man tentpole. Find Brett Pawlak: https://www.brettpawlak.com/ Instagram: @brettsbo Spider-Man: Brand New Day is still playing in theaters and conquering the box office. SHOW RUNDOWN: 01:50 Close Focus 13:07-01:14:46 Brett Pawlak Interview 01:15:25 Short Ends 01:26:10 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Cinematographer John Matysiak on shooting Motor City's nearly dialogue-free story, real in-camera stunts, and building its 1970s Detroit look from film tests. Podcast highlights include: -Why Motor City tells its story with almost no dialogue, and how that shaped everything from frame rate to needle-drop music. The crew tested wildly different frame rates to find moments where the image alone could carry the emotion of a scene. -The commitment to shooting practical over digital, including a real car fight and a one-day elevator brawl. The team built real stunts on real streets, saving resources for the effects work that truly needed it. -How the team engineered Motor City's period 1970s Detroit look. Side-by-side film tests on 35mm and Alexa helped the team reverse-engineer a great film look for digital. -Pulling off an ambitious 44-location shoot in just 27 days. Heavy pre-production and storyboarding gave the crew the flexibility to improvise and pivot when locations and permits fell through at the last minute. Find John Matysiak: https://www.johnmatysiak.com/ Instagram: @john_matysiak Motor City is still in select theaters and available on pay per view. Hear our past interview with John Matysiak and Potsy Ponciroli on their film, Old Henry: https://www.camnoir.com/ep143/ SHOW RUNDOWN: 02:09 Close Focus 12:46-01:01:45 John Matysiak Interview 01:02:26 Short Ends 01:11:33 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

DP Julia Swain on faking the Golden Gate Bridge, rigging a real tour bus, and bringing indie instincts to Netflix's Voicemails for Isabelle Podcast highlights include: -How Julia shot the film's pivotal Golden Gate Bridge overlook scenes without using a stage. The team scouted the real Marin Headlands, built a 3D map of the exact sightline, then recreated the spot in a Vancouver park at night, using blue screen only where the bridge needed to be. -How Julia pulled off shooting the most difficult scenes of the film: a real tour bus driving through San Francisco instead of faking it on a soundstage. -Why stepping up in budget didn't change how she and McKendrick actually work. The instincts built on tiny indie sets, and knowing what to prioritize and when to pivot, became the exact skillset that Julia needed to let them move fast on a much bigger show. Find Julia Swain: https://www.juliaswain.net/ Instagram: @juliaswain Voicemails for Isabelle is currently streaming on Netflix. Hear our previous interview with Julia Swain on The Dreadful. https://www.camnoir.com/ep347/ SHOW RUNDOWN: 03:21 Close Focus 10:35-51:52 Julia Swain Interview 52:13 Short Ends 02:00:07 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

DP Michael Bauman, ASC on shooting Monster: The Ed Gein Story, building a visual language with period lenses, and lighting with just reflectors and flashlights. Podcast highlights include: -How Michael built a distinct visual language for each era with lensing shifting from period to period. Color and texture gave the digital image a weathered, film-period feel. -Lighting the Emmy-nominated Episode 6 sequence almost entirely with reflected and practical light. Rather than lighting the set conventionally, the crew bounced light and had actors sweep real flashlights themselves, revealing the horror gradually. -Why the "less is more" philosophy shaped how the show handles its most gruesome material. Instead of extreme gore, props and details were shot so that it was hard for the audience to see clearly, with sound design and suggestion doing the work. -How a single unbroken shot in the hardware-store reveal scene grew out of a scheduling crunch. Short winter daylight forced a one-take solution that ended up becoming one of the episode's most cinematic moments. Find Michael Bauman: Instagram @baumanlights Monster: The Ed Gein Story is currently streaming on Netflix. Hear our previous interview with Michael Bauman on One Battle After Another. https://www.camnoir.com/ep343/ SHOW RUNDOWN: 02:14 Close Focus 11:37-53:40 Michael Bauman Interview 53:57 Short Ends 01:03:50 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

DOP Gustav Danielsson, FSF on shooting HBO's A Knight of the Seven Kingdoms with naturalistic firelight, practical battlefield fog, and in-camera POV shots Podcast highlights include: -How Gustav and director Owen Harris planned the show's night time, fire-light-driven look. -Beginning their shoot day at dusk to catch the natural blue hour light in the wide shots before moving into closer setups. -Pulling off the massive dueling tournament in Episode 5, using practical fog and mud to set the mood. -The sinister gray mist was chosen as a practical solution to use fewer extras, and added to the atmosphere of dread as it obscured the combatants. As for the mud, it looked great, but the production team had to adjust as it quickly became hard as concrete when it dried. -Using a Ronin 4D rigged to an operator's chest for the helmet POV shots. Rather than adding digital effects, the second unit shot the visceral mace-impact perspective entirely in-camera. -Shooting the flashback sequences on a Panavision’s T-Series Anamorphic lenses to distinguish it from the present-day story without adjusting the color grade. Find Gustav Danielsson: https://gustavdanielsson.com/ Instagram: @gustavdanielssson A Knight of the Seven Kingdoms is currently streaming on HBO. SHOW RUNDOWN: 02:39 Close Focus 10:44-01:04:42 Gustav Danielsson Interview 01:05:10 Short Ends 01:14:26 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

DP Matt Ball on shooting Tucci in Italy Season 2, the challenges of journeying to remote regions over tourist spots, and capturing emotional moments on camera. Podcast highlights include: -How the show featured lesser-traveled regions like Sardinia, Le Marche, and rural Abruzzo to capture authentic regional culture. -Running a lean, self-contained crew for shoots in remote and hard-to-reach locations. The production has a "no egos allowed" policy where everyone — including Stanley Tucci himself — pitches in to make the day work. -Why what you see on screen is pretty close to what actually happened on the day, with editing driven mostly by time constraints rather than reshaping the story. -And a hint at the upcoming show, Tucci in Great Britain, exploring British food history, identity, and the influence of immigrant communities on the national cuisine. Find Matt Ball: https://mattballcamera.com/ Instagram: @mattbcam Tucci in Italy Season 2 is currently streaming on Disney+, Nat Geo, and Hulu. Hear our previous episode with Matt Ball on Tucci in Italy Season 1. https://www.camnoir.com/ep320/ SHOW RUNDOWN: 02:08 Close Focus 09:16-50:32 Matt Ball Interview 51:09 Short Ends 01:04:55 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

DP Eben Bolter, ASC, BSC breaks down the watery, noir lighting, anamorphic lenses, and practical tricks behind Apple TV's Cape Fear. Podcast highlights include: -How Eben built Cape Fear's look around the theatrical expressionism of the 1991 Scorsese film. He used the same 2.35 aspect ratio as the Scorsese film, rather than a more conventional widescreen frame. -Working with the production design team to capture the southern humidity and watery themes. Eben chose Atlas Mercury anamorphic lenses with an oval bokeh that give it a watercolor quality. The team also used helium and flame bars to create in-camera heat haze rather than relying on visual effects. -Rigging LED pixel tape and crystals inside the matte box to create practical lens flares on command. Find Eben Bolter: https://www.ebenbolter.com/Cinematography/Cinematography.html Instagram: @ebenbolter Cape Fear is streaming on AppleTV. SHOW RUNDOWN: 01:59 Close Focus 14:14-58:02 Eben Bolter Interview 59:16 Short Ends 01:08:21 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Cinematographer Lyle Vincent on shooting the Netflix series The Beast in Me with Panavision lenses and hard lighting that allow deep shadows to fall into black. Vincent's work is a continuation of his collaboration with director Antonio Campos after the HBO Max drama, The Staircase. The eight-episode limited series, shot entirely by Vincent, was approached less like television and more like one very long feature film. Podcast highlights include: -Lyle's long-running collaboration with director/producer Antonio Campos and how it shaped his approach to shooting The Beast in Me as one continuous long-form story, rather than eight separate episodes. -Using Panavision's Ultra Panatar lenses in the sweet spot, with just enough anamorphic blur without distortion. -How the lighting shifts as the characters’ true natures grow darker and harder-edged, undermining the audience's trust. -How Lyle's hard-light, deep-shadow style of Beast traces back to his early work on A Girl Walks Home Alone at Night. He lights only what he wants the camera to see and lets everything else fall to black. Find Lyle Vincent: http://lylevincent.com/ Instagram: @lylevincent The Beast in Me is streaming on Netflix. Hear our previous episode with Lyle Vincent on the movie Rosemead: https://www.camnoir.com/ep337/ SHOW RUNDOWN: 01:52 Close Focus 07:05-53:32 Lyle Vincent Interview 53:57 Short Ends 01:03:19 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Christian Sprenger, ASC on balancing horror and comedy in Widow's Bay with lighting, practical effects, and years of trust built with producer Hiro Murai. Podcast highlights include: -How Christian's 11-year creative partnership with executive producer and director Hiro Murai has built a shared shorthand, allowing him to pitch unconventional ideas with total trust. -Why the team resisted moody, shadow-heavy horror lighting in favor of bright, high-key images inspired by Jaws and The Shining. Contrast and realism do the dramatic work instead of obvious genre inspirations. -The team's commitment to practical effects over VFX shortcuts and how that craft translates to audiences. -How Episode 6 became a deliberate break in format, and what it took to convince guest director Ti West to shoot within those constraints. Find Christian Sprenger: https://www.sprengerdp.com/ Instagram: @casprenger Widow's Bay is streaming on Apple TV. SHOW RUNDOWN: 02:05 Close Focus 14:19-01:11:22 Christian Sprenger Interview 01:12:43 Short Ends 01:17:26 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social