The Cinematography Podcast

The Cinematography Podcast Episode 322: Matthew Chuang, ACS Chief of War is a historical drama series from Apple TV+ co-created by and starring Jason Momoa. The show features a primarily Pacific Islander cast speaking Hawaiian, and is the first program to tell the story of the brutal and unprecedented unification of the Hawaiian islands in the late 18th century. Cinematographer Matthew Chuang, ACS shot episodes 1, 2, 5, 8 and 9 of Chief of War. He teamed up with director Justin Chon, his friend and collaborator on the indie film, Blue Bayou, to shoot episodes 1 and 2. Working with Chon, Matthew set the look of the show- a naturalistic, honest and real look, with few effects or stylized camera moves. They drew from films by director Terrence Malik, cinematographer John Toll and movies such as The Last of the Mohicans and Apocalypto. “It was a lot of fun because I had resources for the first time. The scale of the production was exciting,” says Matthew, who had never worked on a television show before, let alone an epic one like Chief of War. “We wanted to showcase Hawaii, the culture, the fighting style and costumes, but in a way that feels grounded and real.” Understanding the history and receiving guidance on cultural sensitivity was also important to the crew, who often engaged with the actors and local community to make sure it felt authentic. The crew shot in Hawaii for eight weeks before shifting to locations in New Zealand. For Matthew, the ninth and final episode, directed by Jason Momoa, proved to be the most difficult. They filmed major battle scenes in the lava fields of Kalapana on Hawaii, while the Mauna Loa volcano erupted for the first time in more than three decades. The lava rocks were sharp, hot and offered no protection from the sun, and the battle as scripted went from daytime into night. Matthew had to carefully plan the shooting schedule around the time of day in the script, with the crew often starting at 3am to get shots going from night into day. It was Momoa's directorial debut, and Matthew found him to be extremely knowledgeable. “Jason is very involved on the visual side,” explains Matthew. “He loves cameras. He loves the craft of shooting. He knows lighting as well, like the direction of the sun, especially with the show where we're shooting a lot of times outdoors, a lot of time on location.” Find Matthew Chuang: https://www.matthewchuang.com/ Instagram: @mattscope See Chief of War on Apple TV+ 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

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

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 Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

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 Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 318: Michael Dallatorre In the film Locked, cinematographer Michael Dallatorre faced a unique challenge: how to make a story primarily set inside a luxury SUV visually compelling. The plot follows small-time criminal Eddie (Bill Skarsgård) as he breaks into a high-tech vehicle, only to find himself trapped in an elaborate psychological game orchestrated by the car's vengeful owner, William (Anthony Hopkins). Mike collaborated closely with director David Yarovesky, aiming for intentional camera work that would immerse the audience inside the enclosed space without resorting to distorted wide-angle lenses. Together with Dan Sasaki at Panavision, they developed a custom anamorphic lens that could focus within 14 inches of the subject, as well as specialized probe and periscope lenses. These tools were crucial for capturing intimate shots within the car's tight interior. One of the movie's most memorable sequences is a 360-degree spinning shot around the car as Eddie is first locked inside. To execute this complex shot, Mike worked with production designer Grant Armstrong, who engineered a vehicle with flyaway side panels that could slide off on tracks as the camera circled. Before filming, the team rehearsed with Bill Skarsgård in a rental SUV to nail down the character's movements. For the camera choreography, Mike created a model in Unreal Engine, a 3D creation tool, to build a previs of the sequence. This allowed him to demonstrate their plans to Yarovesky and the producers. After perfecting the camera rigging and movements, they dedicated an entire day to choreographing and shooting the scene. "It's definitely one of my proudest shots," Mike says. "From inception to full execution and everything, it's just so cool to be able to do something like that, and then it happens." While much of Locked was shot on a set, not all effects relied on green screens. On-location scenes were incorporated when essential to the script, and driving shots were achieved using a process trailer. During pre-production, Mike and Yarovesky carefully determined the importance of physical locations for each scene. If a real-world setting wasn't crucial to the narrative, Yarovesky opted for the soundstage, a decision often driven by the film's independent budget. "We shot about five days at a parking lot," Mike explains. "We shot pieces of scenes, and I had my light meter and I measured. Scene 45, the sun's at this position. Here's the temp. Here's the intensity from the fill side. Here's the intensity from the negative side. And then I could recreate that on set." To make the set feel less like a constant green screen environment, they embraced older filmmaking techniques. Production designer Armstrong created realistic printed backdrops, both cycloramas and translights, which were placed outside the car windows. The integration into the set ensured that the green screen shots appeared seamless and natural. If you're interested in exploring Unreal Engine, Mike suggests trying a plugin for Unreal by Matt Workman called Cine Designer. https://www.fab.com/listings/99ec8ecc-a128-4dc1-8df0-9e0710c36e86 Locked is available to purchase on VOD. Find Michael Dallatorre: https://www.michaeldallatorre.com/ Instagram: @dpmiked Hear our previous interviews with Mike Dallatorre: https://www.camnoir.com/ep70/ ; https://www.camnoir.com/ep171/ 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

The Cinematography Podcast Episode 317: Mihai Mălaimare Jr. For cinematographer Mihai Mălaimare Jr., ASC, his work with director Francis Ford Coppola from Youth Without Youth to Megalopolis has been a journey of constant education and evolution. Coppola, known for embracing new technology and a dynamic, on-set creative process, frequently pivots to explore fresh ideas in the moment. Megalopolis is Mihai's fifth collaboration with Coppola. Their partnership began when Coppola came to Romania to shoot Youth Without Youth and scout some locations for Megalopolis. Mihai recalls first encountering Coppola's “crazy ideas.” “I was like, yeah, that's crazy, but I'm 29, fresh out of film school and I'm working with Francis, so I better do it. And then you realize how much better the scene gets.” This relationship fostered a unique trust. “Little by little, we got in this interesting dynamic where I'm craving those moments. And I know it can be a really stressful situation when you prep, all of a sudden you change it 180 degrees. But I know that somehow we'll be able to find a solution and it will be better than anything we planned. And it's interesting- every single time, the scene got better.” Coppola had been developing his ideas for Megalopolis for decades, and shot test footage in 2001 with director/cinematographer Ron Fricke. He sought an ethereal, "poetic reality" with no specific timeframe, a concept Mihai initially found challenging to prepare for. However, the early footage provided crucial visual cues, and some of it was later integrated into the film. Coppola also collaborated with visual concept designer Dean Sherriff, who created a set of art keyframes for specific scenes, which guided Mihai's framing, shots, colors, and lighting. A gold and sepia color scheme added to the film's ethereal look. “It's such an amazing process of discovery with Francis,” says Mihai. “We did some storyboards, but very few. We never really shot listed. We were talking about things in general, but the idea is that when you go on set, and you have the actors, and you have sets and costumes and everything, you want to let yourself be inspired by the actors and the blocking more than just your plans and ideas.” While major scenes in Megalopolis were filmed on an LED volume stage, the movie creatively blends VFX, practical effects, and in-camera techniques. For a beautiful dreamlike driving sequence, Mihai used poor man's process for the car interiors, combining it with moving set pieces, miniature cars, and live actors dressed as statues. Coppola's long-standing admiration for the minimalist style of filmmaker Yasujirō Ozu influenced a preference for static camera work, with minimal dolly shots, tilts, or pans. "It's all about the frozen frame," Mihai explains. "It's a certain aesthetic that I like, because it's closer to still photography. There are things that are happening that you don't think of. First, you have to make sure that the composition is really spot on. And also, it's again the idea of contrast. When you do move the camera, that better be for a good reason.” Find Mihai Mălaimare Jr. Instagram:@malaimarejr_cinematography @malaimarejr_photography Hear our previous interviews with Mihai Mălaimare Jr.: https://www.camnoir.com/ep53/ https://www.camnoir.com/ep148/ Megalopolis will be on tour in select theaters starting July 20 with Francis Ford Coppola doing a Q&A after.  Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 316: Adam Newport-Berra The Studio creators Seth Rogen and Evan Goldberg exploited every part of their knowledge and experience in the film industry to find the show's humor. Cinematographer Adam Newport-Berra worked closely with Rogen and Goldberg to achieve the show's signature style. They found the most dynamic ways to shoot scenes, with camera movements that immerse the audience in the characters' anxiety and panic. “It meant moving with the characters, moving through spaces, and finding ways to just keep the momentum of a scene going,” Adam explains. “We made very strong decisions early in the process. We're only gonna shoot with one camera, we're gonna shoot every scene in one shot, we're gonna shoot with one lens. It funnels down your choices and your options on set in a way that I think is really special. I think we make the most creative decisions when we're limited.” The Studio relies on nimble, handheld camera work on gimbals and magnetic rigs for its many one-shot takes. The crew avoided over-intellectualizing each scene, prioritizing a dynamic feel and incorporating homages to numerous films. “I think a lot of it really came down to the writing and the material,” says Adam. “Seth and Evan are very smart. They've been doing this for a long time. They know what they like and they leaned into that in the writing.” While a script provided the foundation, many scenes were reworked on set. Rogen and Goldberg would collaborate with the actors to refine the rhythm and enhance the material. Actors frequently contributed lines and ideas, leading to on-the-spot script revisions. However, improvisation had to fit into the impeccable timing for both the acting and camera work, leaving little room for error. Some shots required 20 takes, with the initial few serving as warmups. “It was a very non-traditional way to make a show,” Adam notes, “but everyone's firing on all cylinders, everyone's bringing 100 percent.” Rather than creating traditional shot lists, Rogen and Goldberg would work out complex camera moves with the crew directly on location. Often, they'd envision a desired shot and then structure the scene to organically lead to it. The crew and actors would block and rehearse scenes together and separately, allowing the story to unfold naturally. For a show as dynamic as The Studio, Adam learned to keep the lighting as simple as possible. The lighting had to take a backseat to the camera movement, so typically, every episode relied on natural light. Adam trusted in modern camera sensor technology and the colorist to ensure the actors looked their best. But he did have opportunities to experiment with light and shadow in specific episodes, such as “The Missing Reel,” which embraced a film noir look, and “The Golden Globes,” which used stage lighting and uplighting on the tables. “I think what works about this show was the fact that it does skewer itself, it is self-deprecating, it does show how absurd our life is and it was kind of refreshing to be able to talk about that publicly,” says Adam. “A lot of the people in my life don't understand what I do, so it's been fun to tell these stories and to show how absurd our profession is, the conflict between art and commerce, and how much we care about it.” Find Adam Newport-Berra: https://adamnewportberra.com/ Instagram: @adamnewportberra The Studio is on Apple TV+ 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

The Cinematography Podcast Episode 315: Stephen Murphy The FX and Hulu limited series Say Nothing is a historical drama that explores the harrowing period known as The Troubles in Northern Ireland, spanning four decades from the 1970s to the 1990s. The series delves into the complexities of the conflict, focusing on sisters Dolours and Marian Price and their part in the IRA. The sisters' involvement in the 1972 abduction and murder of Jean McConville, a widowed mother of ten, is a devastating narrative in the show. Her disappearance, and her family's decades-long search for answers, provides a heart-wrenching backdrop to the larger conflict. Irish cinematographer Stephen Murphy, BSC, ISC worked on the final two episodes of the series. He's earned a Best Cinematography BAFTA and IFTA nomination for his work on Say Nothing. “Say Nothing is a real story about the very real horrors of what happened in Ireland during The Troubles,” he says. “But I think in a modern context, given what's going on in the rest of the world, it has a lot to say about the idea of romanticizing rebellion and how somebody could be interested or attracted to that, and slowly over time, fully come to realize the consequences of what they're doing.” Stephen has cultivated a reputation for his masterful use of darkness in his work, a key reason he was brought on board for the series' conclusion. “A lot of the work I do is dark and it deals with darkness. I really like darkness more than I like the light probably,” he laughs. In the finale, Dolours Price finally reveals her role in Jean McConville's disappearance. To depict the events of what happened that night, the crew was on a rural stretch of dirt road and dunes alongside the ocean. As a storm approached, Stephen had to change the lighting plan, relying instead on car headlights and flashlights to illuminate the scene. “It actually worked out far better than my original plan was going to. It was more truthful, it was probably darker, but I think it worked better for the story and better for the tone and the atmosphere,” he says. When approaching emotionally resonant scenes, Stephen strives for a visual simplicity that guides the audience without distraction. “I think for me, it's a question of figuring out a way to get out of the way of the camera and not try and impose anything overly stylistic on the scene,” he says. “I love visual simplicity. And I'm trying to present the scene in a way that is helping the audience focus on what's important to the scene and not be distracted by unnecessary showmanship.” Beyond Say Nothing, Stephen Murphy also served as director of photography for two episodes of the second season of The Tourist, the Netflix dark comedy starring Jamie Dornan as an amnesiac. Find Stephen Murphy: https://www.stephen-murphy.com/ Instagram: @stephenmurphybsc See Say Nothing on FX on Hulu See The Tourist on Netflix Hear our previous interview with Stephen Murphy: https://www.camnoir.com/ep303/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

As a huge fan of the original Squid Game, cinematographer Kim Ji-yong jumped at the opportunity to shape the visual language for the show's second and third seasons. Ji-yong has masterfully evolved the show's aesthetic, continuing to play with jarring camera perspectives. He uses disorienting low angles looking up and god-like high angles looking down to immerse the viewer in the drama. For him, color and light are the key to unlocking the show's central theme: the tension between childlike innocence and deadly menace. Squid Game Season 2 follows the first season's winner, Seong Gi-hun, as he seeks revenge and tries to uncover the mystery behind the games. In the first episode, Gi-hun and his friends chase a recruiter through a subway and a park, a pursuit that ends in a tense game of Russian roulette. For this pivotal scene, Ji-yong wanted a look that was both realistic and expressionistic. He bathed the game in the glow of a red neon light from a nearby window, establishing a color motif that would echo throughout the season. This powerful visual cue returns in other key episodes, most notably in a harrowing new voting scene where the players must once again decide their own fate. “When our main actor is facing a moment of choice, a moment of making a decision, I wanted to bring that red and blue light every time they faced that situation, just like earlier in the Russian roulette game,” Ji-yong explains. The sheer scale of the sets presented unique lighting challenges, particularly the massive, white-walled dorm room filled with hundreds of extras. "I tried to cut off the spill to the white walls as much as I could," Ji-yong says. "We also had stacks of beds so I could use some shadowy areas, so we had a little variety on the set." All the room's illumination came from a lighting grid above, making it feel as oppressive and controlled as the games themselves, which also served the actors. "I want them to feel as if they're actually playing this game," he notes. To capture the chaos, Ji-yong relied on an intimate two-camera setup. One camera stayed close, capturing the raw emotion on the characters' faces, while the other—often handheld—followed the action from the perspective of a frantic player. Though each episode was meticulously storyboarded and shot over 12 to 15 days, he finalized camera positions after blocking each scene, trusting his intuition to find the most impactful angles. Ji-yong embraced the vibrant, candy-colored sets, finding creative energy in the contrast between their playful hues and the brutal violence of the games. He worked closely with the production designer, running camera tests to find the perfect shade of pink that would pop on screen. While not typically a fan of modern LED RGB lights, he found them essential for this project. The results are unforgettable, especially in the strobing, kaleidoscopic lighting of the "Mingle Game" featuring a carousel. "I have never used this much color in my career,” he laughs. The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 314: Luke Cormack For cinematographer Luke Cormack, filming the National Geographic series David Blaine: Do Not Attempt was an exercise in capturing the raw, unscripted moments of human connection and extraordinary feats. Luke leaned into his experience as a wildlife documentarian to patiently wait for the perfect, instinctual moments to unfold. The goal was not to capture polished performances, but the raw, visceral reactions from Blaine and the people he encountered on his global journey. “David's not an actor or a host. We would have to create these 'biospheres of spontaneity.' So he can just get in there and be his most genuine self without you ever saying, 'Oh, stop, David. Can you do that again?' That just doesn't work at all,” says Luke. “You have to constantly be looking for those little pieces of magic and those pieces of magic are usually when you're setting something up or your eye isn't on the ball.” David Blaine: Do Not Attempt is not about magic, but about finding people in cultures around the world who perform real, extraordinary feats that look like magic. The series follows Blaine as he travels to nine countries, including Brazil, India, and Japan, and learns about their unique skills, lifting the veil behind those tricks. For the documentary crew, capturing this "magic" required a dedication to true verité techniques. This involved location scouting to determine optimal camera placements that would feel both intimate and unobtrusive. The producers also prepared the local performers for Blaine's arrival, allowing for natural, unscripted interactions. Luke's strategy often involved a subtle deception. He would keep the cameras rolling long after a scene appeared to have wrapped, patiently waiting for the "in-between moments" that often yielded the most candid footage. “That true verité, I feel like that's where we got all our nuggets. We'd often put everyone at ease as you actually pretend to stop filming,” he says. “When everyone thinks you've got the scene, you just keep rolling. And you kind of look away from the viewfinder a little bit, maybe relax your body language, and that's usually when he'll turn around and say something amazing.” This philosophy of patient observation required the camera crew to be constantly vigilant, nimble, and able to blend into the background. The use of lower-profile Ronin 4D cameras was key to allowing the crew to navigate large crowds without drawing attention. To elevate the visual storytelling, Luke chose high-end prime and zoom lenses. He hired special crews for high-stakes sequences, such as filming with sharks underwater in South Africa or skydiving in the Arctic Circle. The crew’s collaboration was often wordless, staying present and dedicated to capturing authentic interactions. They relied almost exclusively on natural light, repositioning themselves to find the most flattering illumination rather than directing the subjects. The unpredictable nature of Blaine's performances in public spaces also meant that the crew had to be prepared for anything. “We traveled to nine different countries and a lot of it is crowd control,” Luke explains. “Like once you blow someone's mind and they're standing there with a group of 10, it becomes a group of 50 very quickly. And then you're trying to get your shots and get in there and try and get the magic of it. But the whole time, you still have to keep your head on a swivel, have an exit strategy, realize that crowds can get dangerous really quickly, depending on where you are.” This constant state of readiness, combined with a commitment to capturing authentic, unrehearsed moments, allowed Luke and his team to document the genuine wonder, fear, and awe that defines David Blaine: Do Not Attempt. Find Luke Cormack: https://www.lukecormackfilms.com/ Instagram: luke_cormack The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast