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The Cinematography Podcast

The Cinematography Podcast

Written by: The Cinematography Podcast
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Art, Business, Craft and Philosophy of the Moving Image2026 Art
Episodes
  • Shooting mud, fog and firelight in A Knight of the Seven Kingdoms

    Shooting mud, fog and firelight in A Knight of the Seven Kingdoms
    Aug 7 2026
    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
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    1 hr and 11 mins
  • Matt Ball on shooting in remote regions for Tucci in Italy

    Matt Ball on shooting in remote regions for Tucci in Italy
    Jul 31 2026
    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
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    1 hr and 11 mins
  • Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear

    Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear
    Jul 17 2026
    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
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    1 hr and 11 mins
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