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The Cinematography Podcast

The Cinematography Podcast

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 Art, Business, Craft and Philosophy of the Moving Image2024 Art
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  • Art of Deception: DP Christopher Ross, The Day of the Jackal

    Art of Deception: DP Christopher Ross, The Day of the Jackal
    Aug 8 2025
    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
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    1 h et 13 min
  • Michael Dallatorre: creating claustrophobia in Locked

    Michael Dallatorre: creating claustrophobia in Locked
    Jul 17 2025
    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
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    1 h et 14 min
  • Mihai Mălaimare Jr.: creating poetic reality in Megalopolis

    Mihai Mălaimare Jr.: creating poetic reality in Megalopolis
    Jul 9 2025
    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
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    1 h et 10 min
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