Have you ever wondered what work goes inside your favorite movies and YouTube videos? Joining us is Harold Skinner, the gaffer for Fight Club, Interstellar, and so many other classics! This episode is a little different because this is the entire YouTube breakdown, uncut for your Behind-The-Scenes curiosity. We broke down these scenes: 1. The Social Network, the beginning breakup scene. 2. The Girl With The Dragon Tattoo, "I want you to catch a killer of women." 3. Interstellar, Miller's planet

Since 2005, RED has become the dark horse of the film industry, promising insanely high resolutions and frame rates that will hold up to any camera system from ARRI to Canon to Sony. Their new RED Komodo shows the promise of a high quality 6K sensor for under $10,000, unheard of by any cinema camera brand. But how did they get this way? What were some of the steps that took them from Silicon Valley startup to near-cultish camera empire?

Finding yourself in the world of filmmaking is often an exciting adventure, then met with questions and trials. But those who stand the test of time will know it's meant for them. Today, Andy Lowe, the chief electrician for works such as Paddington and The Crown, talks with us about his experience on the sci-fi set of Annihilation. He also talks about his journey into becoming a gaffer and how he never felt the call to cinematography; in fact, he felt a greater call to lighting and gaffing. 

Back again with another episode about Production Design. Joining us this time is Ian Phillips, the designer behind TV shows such as Parks and Recreation, Love, and The Good Place. For all of you hobbiest doodlers out there, you might want to listen to this one. Ian started his career pursuing medicine while drawing for fun. Then one thing lead to another and he found himself designing TV show rooms and sets.

You think sound goes unnoticed in film? Production Design will take that up to 11! Join us with Sam Licenso, PD for movies such as Eighth Grade, Uncut Gems and Frances Ha, as we discuss how to modify and build sets to fit all types stories, from independent to professional Hollywood. We also dive into his mindset when designing a set, and how pretty shots may not be correct. You won't want to miss this one.

We've all been there. It's that moment when you're working as a receptionist in an office wondering, "When will I have my big shot at making movies?" Cinematographer Alex Disenhof may have a few tips and tricks. From making snow boarding videos, to shorts being seen at SXSW, to landing an agent and joining the union only at the age of 25, Alex has one of the fastest journey's into Hollywood. And this was all from a relationship breakup? 

We've all heard stories about directors like Steven Spielberg getting his start by walking on a Universal Studios set. For a cinematographer, it's quite different. Colin Watkinson, the visionary behind the Emmy-winning show The Handmaid's Tale, tells us how he started off as a runner for a film special effects company. His passion for cameras and celluloid eventually led him to where he is now.

How to you get into the film industry? Do you have to cut your teeth on set and work all the time? Lachlan Milne, ASC, gives us his thoughts on this ever-changing question. In this episode, we cover Lachlan Milne's way into the film industry and finding what part of the industry he wants to pursue.

From sculpting to working at Disney out of high school, to quitting Disney to learn CGI on his own and eventually directing music videos, Rich Lee is a visual master artist. But how do you get to his level of expertise? What kind of technology should one invest in most? In this episode, we reflect on Rich Lee's history in the entertainment industry and how technology has influenced his filmmaking career path and modern filmmaker. 

Visual Engineer? Most people wouldn't be familiar with that job title. It takes a very unique person to bridge the gap between machinery and art, and that's what Steve Giralt represents. He is the founder of The Garage, a production company that specializes in product-based work. While we wouldn't think of it when watching commercials, Steve says that behind every good product shot is a story. How do you find the story of a product, and how do you use programming and robotics to get you there? 

For you up and coming camera operators and DP's out there, this one's for you. Jeremy Benning, CSC, hangs out with us to talk about his journey as a cinematographer. Based in Toronto, Canada, Jeremy started out as a steadi-cam operator for music video's and commercials and transitioned into narrative short film work later in his career.

It may be hard to believe, but there was a time that the same filmmakers who produced the movies we watch in the theaters were also working for free on films that nobody knows the names of. For some, a little luck is required. For Stefan Duscio, the cinematographer of The Invisible Man, it was a lot of hard work and an undying passion for imagery. How does that love for cinematography translate into a career?

For those of you who consider yourself as a filmmaker, there's a good chance that you didn't start off that way. For our guest Casey, he started out in the army before finding his calling as a cinematographer. To start off on the bottom floor can be daunting, but you make sure that the experiences that you gather along the way are all contributing to the next big thing. But how do you gather the most out of every job? How do you know what is going to be worth it, and what are the red flags?

From Boston to New York, then back to Boston and now LA, Mike Pecci, a successful indie feature filmmaker, talks us through his journey as a filmmaker and gives his advice to young artists today.

You're playing NCAA basketball, only to have your leg injured which will force you down a different path. You sell water coolers for a couple of years after school because all your money went into a rap blog. After some long, tumultuous years, you find yourself in LA writing music video treatments until a big act gives you your first directing gig. That is the story of DAPS, acclaimed music video director who has worked with the Migos, Iggy Azalea, and Kendrick Lamar. 

Cinematographers will often say that the key to their success is their collaboration with production designers. After all, it's hard to make a good-looking image without good-looking set pieces of fill the frame. As filmmakers, it's can be hard to communicate the visual world of your story in terms of design. Guy Hendrix Dyas, the acclaimed production designer for Inception, Steve Jobs, and X2, breaks down the very fundamentals of production design while uncovering the journey he took to get...

The American Society of Cinematographers. To many, it's just a fancy title at the end of many prominent names. To some, it's a brotherhood. Richard Crudo, ASC, cinematographer of many well-known films and commercials, remembers the clubhouse fondly as he recounts his interactions with some master cinematographers of his time and how he eventually became president of the prestigious organization.

One of the first questions that you may get asked about your movie is, "What camera did you shoot on?" Is that meant to take away from your artistry and everything else that you did on a movie? To some, maybe. To others, it can be a sign of respect. Learning about the technology and applying it to storytelling is the very basis of filmmaking. With new gear having so much of an impact today on the medium, how can you tell if you're focusing on the right thing?

Sometimes, we mischaracterize horror as a genre with its entirely own set of rules to follow. The truth is, horror can come from anywhere, in any form. Michael Fimognari, the cinematographer to many successful horror films such as Doctor Sleep and Oculus, tells us that the horror in his latest project The Haunting of Hill House comes from our innate wishes and desires, and that he dives deep into the human psyche before adding the spirits and visions. 

Joseph Kahn, legendary music video director for artists such as Britney Spears and Taylor Swift, has led an incredible life. From dropping out of film school to working on gangster rap videos, he scrapped together everything he could to be where he is now, and the journey has been nothing if not unforgettable. CAUTION: Wild stories ahead.

A cinematographer, like a painter or musician, is an artist, and every artist has their own personal tastes. It's easy to fall into the artistic trends of the decade, but what's more important is what the artist brings from within, according to Natasha Braier, ASC. For the acclaimed cinematographer of indie classics such as Neon Demon and Gloria Bell, it's all about being able to experiment with fantastical colors and techniques on a film to leave an imprint.

If you thought moving your entire life to Los Angeles to pursue filmmaking as a career was scary, you're absolutely right. It can be grueling to make it as a director or cinematographer on your own, which is why it's important to connect with the filmmakers around you. Jakob Owens, a director/cinematographer who founded the YouTube channel TheBuffNerds, was in this exact position too, and he tells us all about how he was able to make films and find collaborators, both successfully and...

Shooting a TV show is vastly different from shooting a movie. Period. Instead of a director, you are met with the visions of show runners and producers. Instead of one cinematographer, there could be multiple working on the show at once. As the director of photography for the pilot and/or first season of a show, establishing the look is everything, but how does it happen? 

The popular, Emmy-winning series Chernobyl is hailed for its commitment to realism and historical accuracy, and the cinematography makes sure to uphold such values.  On this episode, Jakob Ihre, the show's DP, talks about his career leading up to the production of Chernobyl.