Cinematography Salon

Adam Newport-Berra, ASC: Four Faces in One Apartment for The Invite

Cinematography Salon — Thu, 03 Sep 2026 17:33:42 GMT

The darker everything around them is, the more their faces are going to pop, because this movie is about the characters’ faces.

The Invite, Olivia Wilde’s comedy for A24, plays out almost entirely inside one San Francisco apartment, where a couple played by Wilde and Seth Rogen host an evening that goes sideways with visitors played by Penélope Cruz and Edward Norton. Adam Newport-Berra, ASC photographed it on 35mm, in story order, on a Los Angeles soundstage with a single day of exteriors in San Francisco. The brief he set himself was that one enclosed space should feel, in his words, like a landscape, and never like a set.

The first plan was to light it practically, in the spirit of Husbands and Wives, and let the actors move in and out of shadow. A test with the cast said otherwise. Nobody liked the dailies, and Newport-Berra got some phone calls afterward. What replaced it was hard ceilings, because an open set lit from above reads as a set, with the light built into the ceilings. Key grip Adam Kolegas fabricated low-profile softboxes, tube fixtures wrapped in muslin and skirted, light enough to hang from putty knives slid into the stretch-canvas ceiling and quick enough to pop off in ten minutes when the camera needed to tilt up. Gaffer Len Levine ran them by remote. Doorway moldings that dropped a foot below the ceiling hid the boxes behind them, and six to eight more lights sat on the floor for nearly every setup. With production designer Jade Healy and costume designer Arianne Phillips, the walls, the wood, and the hosts’ clothes were kept dark so the faces would carry the light; the visitors’ wardrobe was made to stand apart from the room. Every shot in the film, he says, is very lit.

There was no shot list on set. Newport-Berra wrote one for the whole film, in a Google Doc, and says he never looked at it once. Prep was a wall of two hundred reference frames, and each morning he walked the set before anyone else arrived, photographing angles on his iPhone with his crew standing in for the cast. Wilde, who stepped into the role of Angela after an actor dropped out, ran each scene with the cast, then handed it to a stand-in and watched from outside while she and Newport-Berra picked frames. The camera stayed on the dolly and mostly locked off; there is no handheld in the film. The tools were lens, height, and eyeline. Norton is held slightly low on a 35mm, almost heroic. Cruz moves on Steadicam on a longer lens. Rogen and Wilde are pinned flat against a wall with too much headroom. For the couple’s first argument the rule was cat and mouse: never on the same level, never in the same frame, together only in mirrors and window glass, until the scene lands on a head-on two-shot. The last shot of the film, a move through the building’s shaftway that Healy had designed the set around, went at four in the morning on the final night on stage.

There is also the matter of Seth Rogen’s glasses, which Newport-Berra has been lighting around for four years: anti-reflective coatings tested with the props department, a stand-in wearing the frames while lights get moved, and a lot of light from above. His one ask of Wilde before he signed on was that the film feel effortless, which, he says, usually means you are trying much harder.

Listen

Episode page · Listen on Spotify

Credits

Adam Newport-Berra, ASC
Instagram | Website | IMDb

Jared Levy, Host
Instagram | Website | IMDb

David Kruta, Producer
Instagram | Website | IMDb

Topher Hammond, Producer
Instagram

This episode is made possible by Fujifilm — home of GFX ETERNA 55, the large format, IMAX®-Certified digital camera, and FUJINON cinema lenses. https://fujifilm-x.com

James Laxton, ASC: Shooting Beef, Season 2

Cinematography Salon — Thu, 13 Aug 2026 18:34:40 GMT

James Laxton, ASC came to Beef for its second season as the one new voice in a room that had already made something people loved. His job, as he saw it, was to carry forward what Beef is at the level of shot structure, whose shoulder the camera sits over, whose scene it is, how far back the wide holds, while telling a different story than Season 1.

He and host Jared Levy get into the season’s organizing idea: four couples as four seasons, spring to winter, an ensemble led by Oscar Isaac, Carey Mulligan, Charles Melton, and Cailee Spaeny, and a color language built with the production designer, Grace, to track love across a lifetime. Laxton talks through shooting large format, 65mm, for the weight it gives a face, the episode-eight silhouettes he is proudest of, and the night he calls “impending doom,” a car fight shot at the end of an already full day, where the thing he feared most was not the lighting but letting the actors down.

Listen to the episode at https://cinematographysalon.com/podcast/james-laxton-asc-beef-season-2 or wherever you get your podcasts.

This episode is made possible by Fujifilm – home of GFX ETERNA 55, the large format, IMAX®-Certified digital camera, and FUJINON cinema lenses.

Originally published at cinematographysalon.com

Tari Segal, ASC: Three Days on the Strip for Margo's Got Money Troubles

Cinematography Salon — Thu, 06 Aug 2026 15:00:00 GMT

When Tari Segal, ASC, took over the Las Vegas block of Margo's Got Money Troubles, the A24 series for Apple TV adapted by David E. Kelley from Rufi Thorpe's novel, she had three days and a working casino floor on which to extend a look someone else had established. It is the episode that earned her an ASC Award nomination, and in this conversation with host Jared Levy she is candid that the shoot ran closer to triage than choreography.

She walks through the problems in order. Faking a dead chandelier with PAR cans on the floor of a heavily tinted steakhouse when the circuit blew near sunrise. Building a full WrestleCon arena in a day and a half for Nicole Kidman's first day on the show. Putting Margo full frame through the then new ARRI Hero lenses so the world melts around her during the OnlyFans sequences. Negotiating a single 30 minute rotation of the High Roller observation wheel, its camera synced to a second unit shooting Nick Offerman a block below.

It is an hour on solving the unsolvable to a television schedule, and on the crew that made it fun, espresso martinis after wrap included.

CREDITS

Tari Segal, ASC
Instagram · Website · IMDb

Jared Levy, host
Instagram · Website · IMDb

David Kruta, producer
Instagram · Website · IMDb

Topher Hammond, producer
Instagram

MUSIC
Original music by One Wave.

THE SALON
Episode page and full gallery: https://cinematographysalon.com/podcast/tari-segal-asc-margos-got-money-troubles
Newsletter and events: cinematographysalon.com
Instagram: @cinematographysalon

SUPPORT THE SALON
The podcast, the writing, and both Resources tools are free. No paywall, no membership, no login. That is on purpose: learning to light a scene should not depend on what you can afford. Sponsors cover part of it and readers cover the rest. If you want to chip in, it starts at the price of a coffee a month at https://cinematographysalon.com/support. If your company wants to reach working cinematographers, get in touch at https://cinematographysalon.com/sponsors.

Newsletter No. 001: It's been a while.

Cinematography Salon — Mon, 27 Jul 2026 00:00:00 GMT

Too long, honestly. But we've had a lot happening behind the scenes.

We rebuilt basically everything. The Salon has a new home at cinematographysalon.com, the full podcast archive is back up and free, and there are a couple of tools we've wanted to exist for years (also free, right below). None of it sits behind a login or a paywall, and it never will. Most of us learned this from a stack of American Cinematographer and whoever on set was generous enough to explain a setup. Learning how to be a cinematographer shouldn't come down to what you can afford.

One more thing, and we'll have more soon: the podcast comes back in August.

David

Two free tools, still in beta

A lens database. More than 3,400 cinema lenses, searchable by coverage, mount, focal length, and speed. Built for the part of prep where you are trying to remember what actually covers the sensor. Open the database

Fixture Match. 295 fixtures you can compare side by side, 249 of them with output checked against the manufacturer’s published data rather than the numbers printed on the box. Both are still being built, so if something looks off or you want something added, the feedback button goes straight to us. Open Fixture Match

From the Salon

A couple of years of Salon nights: the sold-out CineGear kickoff in Los Angeles, the New York holiday party, color sessions, panels. We've already started planning the next one, the holiday party in December.

Cinematography Salon Kicks Off Cinegear LA 2026

Cinematography Salon — Thu, 04 Jun 2026 00:00:00 GMT

The night before Cinegear, the lot behind Freestyle Cinema Rentals in Silverlake filled the way it does every June, with the friends, cinematographers, and vendors who make this community what it is.

Watch the recap

The annual Cinegear LA Kickoff is less an event than a reunion. On Thursday, June 4, people found each other between the lens cases and the light stands. Drinks came courtesy of Mad Mikey B behind the bar, DJ Smiles worked the turntables, and the conversations ran long enough that a few people seemed to forget the show floor opened in the morning.

Most of the night, though, the gear did the talking.

An impromptu lens bar ran the length of one table:

Illuvision brought their dream lenses.
Nisi showed the Aureus primes.
Freestyle set out their Minolta Rokkors.
V35 Project had their Canon Flex Zooms.

Sony had their Rialto 65 out for hands-on time, the hot item of the evening.

Nanlux was showing off their new Matrix 2500c. And at the photo booth, our friends at TCP Insurance and Atlas Lens Co. kept a steady line going all night.

None of this happens without the generosity of our sponsors, some of whom, like Sony, have shown up for the better part of a decade. The night was presented by Sony and Nanlux, with TCP Insurance, Ascentium Capital, Atlas Lens Co., V35 Project, Illuvision, Nisi, Tilta, and New Life Cine, and hosted by Freestyle Cinema Rentals, who opened their yard and made it home for the night.

A special thanks to Topher Hammond, who oversaw the organization of the whole night, and to everyone who lent gear and a hand during setup: Lightforce Rentals, Justin Usami, Zach Morrison, Gabrielle Milman, Kyle Thor, and the Freestyle crew of Michael Barnett, Seth Gregory, and Jesse Germann.

These nights run on community. If you want to help us keep putting them on, join us on Patreon.

Thanks to everyone who came out. See you on the floor, and next June.

Nicholas Lam: How Losing Everything Teaches Us What Really Matters

Cinematography Salon — Thu, 14 Aug 2025 17:30:30 GMT

Against the backdrop of industry upheaval and the rise of AI, Nicholas Lam joins hosts Ava Benjamin Shorr and David Kruta to explore what it means to future-proof creativity. Lam critiques performative diversity initiatives, warns against chasing trends, and makes a case for human, low-fi storytelling as the antidote to algorithmic content. Taking a personal turn, Lam recounts losing his home in the Los Angeles fires of January 2025, and shares how the filmmaking community rallied to support him, reshaping his priorities and reinforcing the importance of showing up for others. That experience reframes his view of work, stripping away the false urgency of the industry and grounding him in relationships over accolades.

Nicholas Lam’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

David Kruta’s Instagram | Website

This episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

Mike Pecci: Hollywood Always Plays It Safe, So Show Them Something They Can’t Ignore

Cinematography Salon — Thu, 17 Jul 2025 16:28:41 GMT

Director Mike Pecci joins host David Kruta to dissect the chaos of post-COVID Hollywood, the false promises of AI disruption, and the suffocating gatekeeping of the studio system. Pecci lays bare the existential challenges of trying to create authentic work in an industry gripped by fear, algorithmic control, and vanishing opportunities. In a world where pitching feels like shouting into a void, Pecci finds power in simply continuing to create, and the filmmakers who will survive are the ones who know how to make something out of nothing—and do it with heart. For him, AI is not the enemy. Mediocrity is.

Mike Pecci’s Instagram | Website | Watch 12 Kilometers

David Kruta’s Instagram | Website

This episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

Jim Geduldick: The Machines Are Here to Take Your Job, But Only if You Let Them

Cinematography Salon — Thu, 03 Jul 2025 15:10:09 GMT

As fears mount over AI’s impact on creative labor, cinematographer and technologist Jim Geduldick joins host David Kruta to dissect the frenzy surrounding artificial intelligence and its encroachment into the film industry. As AI-generated imagery floods social media and marketing departments chase cost-cutting automation, Geduldick challenges the doom-and-gloom narrative with a nuanced, insider perspective—arguing that while jobs may shift, human storytelling will remain irreplaceable. However, decades of tech disruption, from DVX100s to LED volumes, won’t change the fact that great filmmaking has always been—and still is—about the people behind the lens.

Jim Geduldick’s Instagram

David Kruta’s Instagram | Website

This episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

Matt Workman: From Light Meters to Game Engines and the Future of Cinematography

Cinematography Salon — Thu, 12 Jun 2025 16:12:14 GMT

This week, we’re joined by Matt Workman—filmmaker, developer, and creator of Cine Tracer—for a candid look at the shifting landscape of cinematography. We explore how filmmakers can better communicate, justify resources, and protect their creative choices in a rapidly evolving industry, and why futureproofing your skillset now means knowing both a light meter and a game engine. From the emergence of virtual production to the democratization of 3D previsualization, Workman unpacks how technology like Unreal Engine, once reserved for high-budget productions, is becoming a daily tool for working DPs.

Matt Workman’s Instagram | YouTube

Peter Pascucci’s Instagram | Website

Lauren Guiteras’s Instagram | Website

This episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

Rachel Clark, BSC: A Meditation on Innocence, Silence, and the Space Between Words (Special Camerimage Episode)

Cinematography Salon — Thu, 22 May 2025 15:49:53 GMT

Rachel Clark, BSC, brings a poetic realism to the screen, and in this special edition episode recorded at the Camerimage Festival, she reveals how she constructs that visual language. Joining hosts Ava Benjamin Shorr and Lauren Guiteras to reflect on the making of “Edge of Summer”, a lyrical coming-of-age film set in the haunting landscapes of Cornwall. Clark unpacks her immersive handheld approach, the challenge of lighting with only headlamps, and the deeply collaborative relationship with director Lucy Cohen. Their discussion explores the aesthetics of memory, adolescence, and the subtle power of image-making that trusts the viewer’s emotional literacy.

If you are enjoying the podcast, please consider supporting our efforts on Patreon.

Rachel Clark’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

Lauren Guiteras’s Instagram | Website

This episode is sponsored by Fujifilm, Creamsource and Sandisk, with special thanks to Kondor Blue.

Bianca Cline: A Cinematographer’s Reckoning With Tragedy, Legacy, and Honoring a Fallen Colleague on the Set of Rust

Cinematography Salon — Thu, 01 May 2025 15:00:00 GMT

What does it mean to carry someone else’s artistic legacy forward? Bianca Cline joins the Cinematography Salon Podcast to share a rare and deeply moving look behind the lens, stepping into the unfinished production of Rust following the tragic death of cinematographer Halyna Hutchins, ASC. Bianca discusses the moral and emotional calculus behind accepting the role, her consultations with Hutchins’ family, and the quiet determination to preserve Halyna’s memory.

A memorial scholarship has been established in Halyna's name at the AFI Conservatory. Donate here it you wish to contribute to the scholarship fund.

Bianca Cline’s Instagram | Website

Peter Pascucci’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

This episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

Zach Kuperstein: A Cinematographer’s Mission to Make Local 600 Transparent, Democratic, and Member-Led

Cinematography Salon — Thu, 10 Apr 2025 19:14:58 GMT

Joining us this week is Zach Kuperstein, a New York-based cinematographer known for his work on "Barbarian" and his collaboration with Anna Kendrick on her highly anticipated directorial debut, "Woman of the Hour". Zach sits down with host David Kruta to discuss why he’s running for office in Local 600, breaking down contract negotiations, leadership stagnation, and why democratic engagement among union members matters now more than ever. With elections looming, Kuperstein outlines a progressive campaign for union leadership - and why the status quo is no longer sustainable for working camera professionals.

If you are enjoying the podcast, please consider supporting our efforts on Patreon.

Zach Kuperstein’s Instagram | Website

CREW’s Instagram | Website

David Kruta’s Instagram | Website

This episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

Sam Levy: A Well-Rested Mind and The Art of Invisible Cinematography

Cinematography Salon — Thu, 03 Apr 2025 15:11:37 GMT

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Sam Levy’s body of work has helped define contemporary American independent cinema. In this episode, Levy pulls back the curtain on his methodical, deeply personal approach to cinematography, revealing how scripts, performances, and even sleep all shape his lens. Levy revisits career-defining moments with Greta Gerwig, Noah Baumbach, and Kelly Reichardt, and speaks on how technical mastery is often best used in service of disappearing.

If you are enjoying the podcast, please consider supporting our efforts on Patreon.

Sam Levy’s Instagram | Website

Peter Pascucci’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

This episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

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Santiago Gonzalez: How Los Frikis Brought 1990s Havana to Life (Special Camerimage Episode)

Cinematography Salon — Thu, 20 Mar 2025 17:05:59 GMT

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When the realities of censorship made filming in Cuba impossible, production of Los Frikis moved to the Dominican Republic, where cinematographer Santiago González and his team worked tirelessly to create a world that felt authentic down to the sodium vapor streetlights. In this special Camerimage episode, Ava Benjamin Shorr and Lauren Guiteras sit down with Santiago and break down how the film’s color palette, lens choices, and shooting methodology reinforce its themes of rebellion and freedom.

Los Frikis will be available to stream beginning March 28th.

If you are enjoying the podcast, please consider supporting our efforts on Patreon.

Santiago Gonzalez’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

Lauren Guiteras’s Instagram | Website

This episode is sponsored by Fujifilm, Creamsource and Sandisk, with special thanks to Kondor Blue.

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Alan Besedin of IronGlass: Shaping the Future by Reclaiming the Past

Cinematography Salon — Thu, 06 Mar 2025 16:51:07 GMT

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In an age of pristine, digitally clinical imagery, cinematographers are increasingly drawn to imperfection—the swirl of a bokeh, the dreamlike haze of vintage glass. The Soviet-era lenses that once defined an era of photography are experiencing a rebirth through IronGlass, a Ukrainian company turning vintage optics into modern cinema glass. Hosts Peter Pascucci and Ava Benjamin Shorr sit down with Alan Besedin to discuss how IronGlass, despite the challenges of war and supply shortages, has built a dedicated following. From their early rehousings to supplying lenses for The Batman and Dune: Part Two, the conversation explores how artistry, resilience, and innovation converge in the pursuit of the perfect image.

If you are enjoying the podcast, please consider supporting our efforts on Patreon.

Alan Besedin’s/IronGlass Instagram | Website

Peter Pascucci’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

This episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

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Are We In a Golden Age of Cinematography? Feat. Jomo Fray and Oren Soffer

Cinematography Salon — Thu, 20 Feb 2025 16:43:47 GMT

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With the proliferation of accessible cinema cameras, affordable lighting, and the democratization of filmmaking tools, cinematography is changing with breathtaking speed. Hosts Peter Pascucci and Ava Benjamin Shorr speak with Jomo Fray and Oren Soffer about the unprecedented access to filmmaking tools, the impact of shifting industry models, and the dangers of complacency. As filmmakers navigate AI-generated imagery, studio uncertainty, and cultural shifts, they ask: Is this truly a golden age, or are we looking at the end of an era?

If you are enjoying the podcast, please consider supporting our efforts on Patreon.

Jomo Fray’s Instagram | Website

Oren Soffer’s Instagram | Website

Peter Pascucci’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

This episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

Lol Crawley: VistaVision, Underexposure and The Brutalist (Special Camerimage Episode)

Cinematography Salon — Thu, 06 Feb 2025 19:46:02 GMT

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On this special edition of The Cinematography Salon Podcast, recorded at the 32nd Camerimage Film Festival, hosts Ava Benjamin Shorr and Lauren Guiteras sit down with cinematographer Lol Crawley to dissect his latest collaboration with Brady Corbet, The Brutalist. Crawley discusses the philosophy behind his bold visual choices, the interplay between maximalism and minimalism, his daring use of underexposure and the delicate art of framing iconic symbols like the Statue of Liberty in unexpected ways. A masterclass in storytelling through the lens, this episode offers a thought-provoking look at the power of perspective, composition, and the magic of imperfection.

If you are enjoying the podcast, please consider supporting our efforts on Patreon.

Lol Crawley’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

Lauren Guiteras’s Instagram | Website

This episode is sponsored by Fujifilm, Creamsource and Sandisk, with special thanks to Kondor Blue.

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Finding Community, Cultivating Resilience, and Embracing Creativity in Uncertain Times

Cinematography Salon — Sun, 01 Dec 2024 00:00:00 GMT

Nov 7th, Los Angeles - a group of filmmakers gathered at Emmy-winning director Michael Barnett’s creative space Superfilms! for an evening that felt more like a heart-to-heart than a formal event. Titled “Cultivating Resilience in Life and Film,” the night wasn’t about showcasing accolades or networking in the usual sense. Instead, it was a chance to talk about the tough stuff: how to keep going in a freelance, unpredictable industry and what it means to stay grounded when everything feels uncertain.

Hosted by Jon Bregel and Ien Chi from The Nourish Community, the event brought together filmmakers of all kinds, from seasoned pros to those just starting out. The panel included Jessica Sanders, an Academy Award-nominated director; Izzy Rael, a 25-year-old cinematographer and director; and Greg Karpinski, a filmmaker and breathwork instructor. Each of them shared personal stories about what resilience looks like for them. Jessica spoke about how the people she’s filmed over the years, many of whom have survived immense hardships, have influenced her perspective. “When I’m struggling,” she said, “I think about their strength, and it helps me keep going.”

Izzy brought a refreshing honesty about being at the start of her career and how self-doubt can creep in. “Resilience, for me, is allowing myself to be imperfect and still knowing I’m enough,” she shared. Having mentors who believed in her has made a huge difference, especially in moments when she felt like giving up. Mikey B, who hosted the night at his SuperFilms! studio, chimed in to echo that sentiment. He spoke candidly about imposter syndrome and the pressures of succeeding in such a demanding field. “Even after my most successful projects, I’ve still felt like I didn’t deserve it,” he admitted.

One of the most memorable parts of the evening came toward the end, when Greg led a 20-minute breathwork session. For a room full of filmmakers constantly juggling deadlines, pitches, and creative projects, the chance to just breathe was a welcome reset. “Your breath is always there,” Greg said, “even when everything else feels chaotic.”

Throughout the night, the theme of community kept coming up. Jon talked about how, for years, he felt like he had to have everything figured out on his own. But over time, he realized that resilience isn’t about toughing it out solo. It’s about having people around you who get it. “Having a support system isn’t a luxury; it’s a necessity,” he said.

The conversations weren’t just about staying afloat in the industry. They touched on life as a whole. Jessica emphasized the importance of taking care of yourself, from sleep and exercise to surrounding yourself with people who genuinely lift you up. “Being an artist is a marathon, not a sprint,” she said, a sentiment that seemed to resonate with everyone in the room.

The night also tied in with a new episode of The Nourish Podcast, which explores how filmmakers can find purpose in the quieter, in-between moments when work slows down. It’s a reminder that those times aren’t wasted. They’re opportunities to reset, reflect, and reconnect with what really matters.

By the end of the evening, as people lingered to chat and share stories, it was clear that this wasn’t just another industry event. It was a reminder of why so many of us got into filmmaking in the first place: to tell stories, to connect, and to make sense of the world. Sometimes, the most important thing isn’t the work itself. It’s the people you’re working with and the community that keeps you going.

About Our Panelists and Hosts

In case you’d like to connect or learn more, here’s a quick rundown of the incredible contributors from the evening:

• Jessica Sanders: Academy Award-nominated filmmaker renowned for her powerful storytelling and focus on stories of resilience: https://www.jessicasandersfilm.com/

• Izzy Rael: A talented young director and cinematographer, sharing a refreshing perspective on navigating the early stages of a filmmaking career: https://izzyrael.com/

• Mikey B (Michael Barnett): Emmy-winning filmmaker whose honesty and insights remind us of the value of embracing imperfection: https://www.instagram.com/p/Bm30SnPgADI/?hl=en

• Greg Karpinski: Filmmaker and certified breathwork instructor who helps creatives find balance through mindful practices: https://www.instagram.com/greg.karpinski/?hl=en

• Ien Chi: Award-winning filmmaker and community builder committed to fostering connection and creativity among filmmakers: https://www.ienchi.com/

• Jon Bregel: Filmmaker, coach for filmmakers, and founder of The Nourish Community: https://jonathanbregel.com/coaching

Jomo Fray: Crafting Bespoke Visual Narratives

Cinematography Salon — Sun, 21 Jul 2024 11:18:47 GMT

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In this episode of the Cinematography Salon podcast, Jomo Fray discusses his distinctive approach to image-making on films such as All Dirt Roads Taste of Salt, Selah and the Spades, and Port Authority. He delves into the humanism shared by the directors he collaborates with and the significance of specificity in storytelling. Fray also explores how expanding his emotional spectrum enhances his work, the role of intuition in lighting, and the ongoing journey of self-discovery in mastering cinematography.

If you are enjoying the podcast, please consider supporting our efforts on Patreon.

Jomo Fray’s Instagram | Website

Peter Pascucci’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

This episode is sponsored by Sandisk, Laowa and Fujifilm, with special thanks to AbelCine.

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Kira Kelly, ASC: Unveiling the Power in a Frame from Working in the Electric Department to Shooting Marvel TV Shows

Cinematography Salon — Tue, 25 Jun 2024 10:22:34 GMT

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In this episode of the Cinematography Salon podcast, we are thrilled to welcome Kira Kelly, ASC. Known for her work on the documentary 13th, the FX series Y: The Last Man, and the Hulu miniseries Echo, Kira has made a significant impact in the industry. With two Primetime Emmy nominations for Insecure and 13th, she shares insights into breaking barriers, pushing artistic boundaries, and the power of composition in visual storytelling.

If you are enjoying the podcast, please consider supporting our efforts on Patreon.

Kira Kelly’s Instagram | Website

Peter Pascucci’s Instagram | Website

Ava Benjamin Shorr’s Instagram | Website

This episode is sponsored by Sandisk, Laowa and Fujifilm, with special thanks to AbelCine.

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