Episodes

  • Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look

    Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look
    Jun 20 2026
    Peter Konczal, ASC on Black Rabbit's deliberately low-tech-analog toolkit, customized blue bounce light, and the gradual unraveling of its visual style episode by episode. Podcast highlights include: -The deliberately low-tech-analog toolkit Pete assembled with co-cinematographer Igor Martinović became the show's defining look. It included one of a kind soot filters and scratched-up glass rulers wedged into matte boxes. These complimented detuned lenses and a low-contrast LUT. -How a custom greenish-blue fill light added contrast, separating the actors from the environment. -The inspiration for the asymmetrical framing from Michael Mann's The Insider. Pete and Martinović intentionally mismatched shots instead of using standard reverses. -Choosing to light large areas, allowing performances to unfold without interruption. -How Pete and director Laura Linney used tableaus to great effect in key scenes. Find Pete Konczal: https://www.iconictalentagency.com/pete-konczal Instagram: @petekonczal_asc Black Rabbit is streaming on Netflix. Hear our previous episode with Igor Martinović on the documentary The Pigeon Tunnel: https://www.camnoir.com/ep238/ SHOW RUNDOWN: 02:08 Close focus 13:15-01:03:31 Peter Konczal interview 01:03:47 Short ends 01:10:21 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
  • Suburban street photography and voyeurism in DTF St. Louis

    Suburban street photography and voyeurism in DTF St. Louis
    Jun 17 2026
    DP James Whitaker, ASC breaks down the look of HBO's DTF St. Louis: street photographs, a brutalist style police station, and inobtrusively lighting intimacy. Podcast highlights include: -How street photography, not cinema, was the right reference point for shooting ordinary suburbs. -What led to the unusual set design and lighting of one of the key locations, featuring a brutalist interior that feels right out of Eastern Europe. -Engineering a remote-controlled lighting rig for the show's many intimate scenes, so that the mood never had to be broken. Find James Whitaker: https://wp-a.com/clients/james-whitaker#narrative Instagram: @jameswhitaker_dop DTF St. Louis is streaming on HBO Max. Hear our previous episode with James on Good Luck, Have Fun, Don't Die: https://www.camnoir.com/ep349/ 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
  • Smoke, spotlights, Silicon Valley secrets in The Audacity

    Smoke, spotlights, Silicon Valley secrets in The Audacity
    Jun 13 2026
    The Audacity DP Richard Rutkowski, ASC made Vancouver look like Palo Alto, used lens filters instead of special effects to create wildfires, and dramatized the themes of the show with spotlights and framing. Podcast highlights include: -How Richard and his crew made Vancouver look convincingly like Silicon Valley and why establishing a sense of place was a creative priority from day one. -Why glass filtration is still one of the most powerful tools in a DP's kit. -Richard breaks down exactly how he built the show's haunting wildfire look using physical filters in camera, with minimal reliance on post. -His philosophy of handheld as intimacy, choreographing the camera to follow the actor so that performance drives the frame. -How visual motifs like frame-within-a-frame compositions and strategic spotlight placement were purposeful to the show's themes, rather than being visually inventive for its own sake. Find Richard Rutkowski: http://see-no-evil.net/ Instagram: @richardrutkowskidp The Audacity is streaming now on AMC+ Hear our previous episode with Richard Rutkowski on Masters of the Air. https://www.camnoir.com/ep255/ SHOW RUNDOWN: 02:02 Close focus 22:27-01:11:32 Richard Rutkowski interview 01:11:45 Short ends 01:19:14 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
  • Bonus Episode: Peter Deming, ASC

    Bonus Episode: Peter Deming, ASC
    Jun 5 2026
    Peter Deming, ASC on shooting Evil Dead 2 with director Sam Raimi and working with director David Lynch on Lost Highway, Mulholland Drive, and Twin Peaks. Find Peter Deming: Instagram @peter_deming Spider Noir is now streaming on MGM Plus and Amazon Prime. 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
  • Shooting in the dark: the making of Spider Noir

    Shooting in the dark: the making of Spider Noir
    Jun 5 2026
    Cinematographers Darren Tiernan, ISC and Peter Deming, ASC are the DPs of Spider Noir, the new MGM Plus and Amazon Prime series starring Nicolas Cage as the hard-boiled 1930s New York detective version of Spider-Man. The character is based on Marvel Comics featuring Spiderman Noir, and first introduced in Spider-Man: Into the Spider-Verse. Tiernan and Deming created a series that looks like a classic film noir using vintage lights, custom LUTs and a “noir vocabulary.” We dive into: -How the production created a dual release simultaneously in both black and white and color. -Lead DP Darran Tiernan worked for months on LUT development and a workflow that kept every department aligned on both versions from day one. Monitors on set showed what the scenes would look like in black and white. -Why both Darren and Peter used old tungsten lights with Fresnel lenses instead of LEDs whenever possible. Not out of nostalgia, but out of necessity for getting the hard light that defines film noir. -How rigorous preparation, from shot decks before the first meeting to photo boards and green screens on location, allowed creative freedom to take risks in the moment when the cameras were rolling. -Why the goal was never to recreate classic noir but to absorb its philosophy of shadow, composition and expressionistic light and apply it to this specific story. That distinction is what makes Spider Noir feel fresh rather than like a period piece. Find Darran Tiernan: https://darrantiernan.net/ Instagram: @dazt Find Peter Deming: Instagram @peter_deming Spider Noir is now streaming on MGM Plus and Amazon Prime. SHOW RUNDOWN: 03:10 Close Focus 14:42-01:06:55 Darran Tiernan interview 01:06:58-01:39:36 Peter Deming interview 01:40:40 Short ends 01:53:43 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
  • James Laxton, ASC Frames Class and Generation Gaps in Beef 2

    James Laxton, ASC Frames Class and Generation Gaps in Beef 2
    May 29 2026
    James Laxton, ASC is the Academy Award nominated cinematographer of Moonlight. His latest project is Season 2 of Beef, the acclaimed Netflix series created by Lee Sung Jin. This season explores themes of love, class, and generational cycles. Key Podcast Highlights: -How James and Lee built a color palette of spring, summer, autumn, and winter that stays continuous through lighting, costume, and production design to give each couple their own visual world. -Why shooting on the large-format ARRI 265 was a thematic decision, presenting characters as larger than life symbols of forces far bigger than themselves. -How light and framing portray the power dynamics, from a harsh, undiffused backlit golf course confrontation to wide symmetrical frames of opulence that trap characters inside the class structures surrounding them. -How James and Lee established a shared visual language, honoring the DNA of Season 1 while pushing the show somewhere entirely new. Find James Laxton: http://jameslaxton.com/ Instagram: @mrjameslaxton See Beef s. 2 on Netflix Hear our previous episode with James Laxton on Moonlight and If Beale Street Could Talk: https://www.camnoir.com/ep63/ SHOW RUNDOWN: 02:09 Close Focus 14:17-55:08 James Laxton interview 55:54 Short ends 01:07:09 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
  • Evoking dread in Something Very Bad is Going to Happen

    Evoking dread in Something Very Bad is Going to Happen
    May 23 2026
    Krzysztof Trojnar is the cinematographer of the Netflix series, Something Very Bad is Going to Happen. It’s a genuinely unsettling horror show about a woman whose anxiety about an upcoming family wedding spirals into something far darker, with Krzysztof's camera work enhancing the feeling of dread. Key Podcast Highlights: -How the visual language of the show deliberately evolves across episodes, moving from Steadicam to gimbal to handheld to body rig, mirroring the protagonist's psychological deterioration in real time. -Committing to a single lens for nearly the entire show. Krzysztof shot roughly 90% of the series on a 25mm, and he explains exactly why that choice creates presence without distortion. -Fabricating a custom 360° body camera rig from scratch, because nothing like it existed as a rental. The rig used a Steadicam vest fitted with an industrial bearing to orbit the camera around the actress in the show's harrowing final episode. Find Krzysztof Trojnar: https://krzysztoftrojnar.com/ Instagram @krzysztof_trojnar See Something Very Bad is Going to Happen on Netflix Hear our previous episode with Krzysztof Trojnar on the series Baby Reindeer: https://www.camnoir.com/ep269/ SHOW RUNDOWN: 02:17 Close Focus 13:35-58:31 Krzysztof Trojnar interview 59:14 Short ends 01:07:08 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
  • Lawrence Sher ASC: filming Apex in the Australian wilderness

    Lawrence Sher ASC: filming Apex in the Australian wilderness
    May 15 2026
    Lawrence Sher, ASC, is the cinematographer of Apex, the action thriller currently sitting at number one on Netflix. Apex stars Charlize Theron as a woman hunted through the Australian wilderness by a relentless pursuer, and it's one of the most visceral and visually grounded survival thrillers in recent memory. The entire film was shot on location in the Blue Mountains of Australia. Key Podcast Highlights: -How the extreme remoteness of the locations forced a documentary-inspired toolkit, including the Sony Venice bodies packed into backpacks, lightweight lenses, very few lights and a skilled drone pilot. -Building a visual philosophy around what you can't control. Lawrence embraced shifting sunlight, unpredictable weather, and inaccessible terrain as creative assets rather than obstacles. -Using a "documentary grammar" framework to justify camera angles and movement, drawing on the visual language of climbing films like Free Solo and The Alpinist. -How streaming has changed a cinematographer's relationship to their work. Lawrence sees Netflix's democratizing reach as a genuine second chance for films that deserve a wider audience. Find Lawrence Sher: Instagram @lawrencesherdp See APEX on Netflix Check out Shotdeck: https://shotdeck.com/ Hear our previous episodes with Lawrence Sher: https://www.camnoir.com/ep350/ https://www.camnoir.com/ep293/ https://www.camnoir.com/ep56/ SHOW RUNDOWN: 02:32 Close Focus 13:01-56:48 Lawrence Sher interview 57:13 Short ends 01:07:44 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