Roger and James talk about the journey that brought them into the film business. They are joined by Matt Wyman.

Roger and James talk about their collaboration. Matt Wyman joins them.

In this episode we talk about the ins and outs of location scouting. As always, a special thanks to our collaborator, Matt Wyman.

James and Roger discuss practical lighting - what it means, the additional challenges and why you might prefer to use practicals for a scene.

Roger, James and Matt look at the subject of composition, the role it plays in storytelling, how composition differs in still images vs moving images.

We speak with Beverly Wood, former Executive VP at Deluxe and Managing Director at eFilm. We discuss the transition in Hollywood from Film to Digital with one of the industries foremost experts on the science behind it all. We discuss how film emulsion actually works, color science, her work with Roger and James, and films like SkyFall, O Brother, Where Art Thou and more.

In this episode, we talk about what goes into choosing lenses for your project and the aesthetic differences between lenses. We also discuss prime lenses vs zooms and how we go about testing lenses. And more.

This episode looks at our experiences on animation projects as visual consultants. We'll then dive deeper into the actual process in Part 2 and finally, in Part 3, talk with Dean DeBlois, director of the three How to Train your Dragon. There's so much to examine in Animation, don't be surprised if there is a Part 4 in the future.

We talk about lighting in this episode. Different styles of lighting, challenges in lighting and how to experiment to broaden your grasp on lighting.

Team Deakins is joined by two acclaimed filmmakers, Yong Duk Jhun and Andy Harkness. Masters of their craft, they serve as head of Layout and Head of Lighting respectively. They have worked on such films as Kung Fu Panda, Moana, The Croods, Shrek and Zootopia. The conversation ranges from the actual process of getting an Animated film off the ground, to specifics in lighting, composition, and the technology behind it all. A fascinating episode and something filmmakers of all backgrounds will enjoy.

James and Roger catch up with actor George MacKay with whom they worked on the film "1917". They talk about the shared process of "1917", George's experience on his most recent film on Ned Kelly and his process as an actor.

Team Deakins is joined by the incredibly talented Dean DeBlois, a writer director with credits like MULAN, LILO and STITCH, and all three HOW TO TRAIN YOUR DRAGON movies. He takes us through his journey as a filmmaker, sharing his knowledge about story.

Join us as we speak with #Teamdeakins member Josh Gollish, our DIT - Digital Image Technician. We talk all things DIT, from where the role originated, what Josh does on set from day to day, how some productions work without. Josh's credits include 1917, THE GOLDFINCH, BLADE RUNNER 2049, SICARIO, and SKYFALL.

Team Deakins speaks with renown Fiona Weir and learns the ins and outs of casting. Her credit list is long and her credits include AMMONITE, JUDY, FANTASTIC BEASTS series, ROOM, and the HARRY POTTER films. Fiona has cast A specialty often hidden from the day to day shooting process and yet so important. Fiona lets us know how it's done.

Team Deakins is joined by Academy Award Winning Director Peter Ramsey (RISE OF THE GUARDIANS, SPIDER-MAN: INTO THE SPIDER-VERSE, MONSTERS VS. ALIENS: MUTANT PUMPKINS FROM OUTER SPACE). The conversation begins with how Peter came up in the industry, his love of storyboarding and reading, and how his voracious appetite for knowledge lead him to opportunities in Hollywood. Having started out in live-action and transitioning to Animation, we discuss the differences in the two, and why someday soon he could be back on live sets. We also dive into his Oscar-winning efforts in directing Spiderman: Into the Spider-Verse and the many challenges they faced to ensure this film was unlike anything ever seen. The conversation is one not to miss for any filmmakers.

Team Deakins has the pleasure of learning the ins and outs of the makeup department in films. Who better to cover these subjects than the extremely talented Donald Mowat? Donald's credits include BLADE RUNNER 2049, STRONGER, SICARIO, NIGHTCRAWLER, PRISONERS, THE FIGHTER and 8 MILE. We learn what this department brings to the film, how strong the collaboration is, different types of approaches and how to get started in the field.

Team Deakins is joined by Criterion's Technical Director of Restoration; Lee Kline. Lee has overseen the restoration of hundreds of films during his tenure at Criterion and undoubtedly left an impact on history of Cinema, allowing both audiences and future filmmakers alike the ability to enjoy classic titles for years to come. The group discusses the immense work that goes into restoring a film, the detective work of finding rare works and how they work with filmmakers to ensure the quality of the restorations.

Team Deakins has a fun, free flowing conversation with frequent collaborator, friend, and the Oscar and Tony Award winning Director: Sam Mendes. Spending 15 years as a Theatre Director, Sam made his foray into filmmaking with his award winning debut of American Beauty. He went on to direct a total of nine films in the ensuing years, including; ROAD TO PERDITION, JARHEAD, SKYFALL, SPECTRE and 1917. Sam discusses his journey from theatre to film, the differences between the two roles and what he sees as the most important aspects of being a director. We discuss elements of story, how editing builds tension, and why the idea of a one shot film is much more than meets the eye. A true masterclass between two cinema legends.

Team Deakins sit down with JZ and dig deeply into the color science of it all. His credits include MULAN, 1917, AD ASTRA, FIRST MAN, and BLADE RUNNER 2049. We talk LUTs, resolution, color space, pixels, work flow and lots more. He really knows his stuff!'

Team Deakins is joined by 1917 collaborator, Charlie Rizek, the trinity and steadicam operating magician who lent his skills to help make possible the idea of a "one shot" movie. We talk about how he got into the business, why he was attracted to the movement of the camera, how the trinity worked on 1917 and why movement isn't always necessary in a shot. A very talented individual with a bright future ahead.

Team Deakins sits down with friend and collaborator, John Crowley, director of such films as BOY A, BROOKLYN, and THE GOLDFINCH. We do a deep dive into the craft of storytelling and directing. John eloquently shares with us his thoughts on directing and the challenges he faces on set. We look at how you tell a story in film, the power of the human face in the closeup, what differences the budget makes, working with actors and the pleasure of the entire filmmaking process. We also talk about Boy A, an early film of John's, which is a favorite film of ours. A great discussion with a passionate filmmaker.

Team Deakins welcomes Carlos Zaragoza, a unique guest who has the experience of working in the Art Department on both live action and animated films. Having worked on films like PAN'S LABYRINTH, MADAGASCAR 3, TROLLS, and the upcoming animated film VIVO, we discuss how he combined his love of painting and art with a background in theatre to discover the world of art department and production design. We also explore the role of a production designer on set, how it differs on animated films and why his role on an animated film can sometimes take up to four years.

Team Deakins shares an enlightening conversation with esteemed producer, Clayton Townsend (UNBROKEN, NATURAL BORN KILLERS, BORN ON THE FOURTH OF JULY, BRIDESMAIDS). His openness in sharing the details of the wide reaching job of a producer makes for a very interesting episode. Listen to learn the many responsibilities of a producer, the difference between various producer roles and the balance between his responsibilities to the studio and the director. A very important role in filmmaking and Clayton walks us through it.

Team Deakins welcomes the great still and set photographer, Wilson Webb to the Podcast this week. Wilson has worked with us on numerous films and really is one of the best at what he does. Some of his credits include MARRIAGE STORY, BABY DRIVER, THE SECRET LIFE OF WALTER MITTY, PRISONERS, TRUE GRIT and many more. We discuss the role of a set photographer, how to shoot posters for a film and we even get his opinion on the new wave of digital cameras. An episode for anyone interested in photography or filmmaking alike.

Team Deakins spends some time talking with their friend and frequent collaborator, the brilliant director Denis Villeneuve (BLADE RUNNER 2049, ARRIVAL, PRISONERS). We covered many topics including Denis' start in the business, his early films, what filmmaking means to him and the special collaboration we share. We also examine why certain shots seem to work and what the steps were to get there. A great conversation with a talented artist.

Team Deakins has the pleasure of talking with talented cinematographer, Bill Pope. He's shot so many wonderful films, including THE MATRIX series, THE JUNGLE BOOK, CLUELESS, CLUELESS and many more. A fun discussion on the many aspects of filmmaking, and how certain films were made. We learn how some of the fantastic visuals of The Matrix came to be and some of the techniques used in making the Jungle Book. The conversation also looks into the relationship of the DP with the VFX team, the importance of preparation and what the personal experience of filmmaking can be. Bill is not only talented but very articulate so it's an episode you don't want to miss.

This is part 1 of a two part episode series where Team Deakins talks to key grips - one American, one British. Team Deakins discusses with these talented technicians how the very different systems work for grips in the states and the UK and how there responsibilities change between the countries and even between the states in the US. Mitch Lillian, (THE GOLDFINCH, BLADE RUNNER 2049 BIRDMAN), shares with us the challenges of gripping and how he figures out how to do what he is so good at doing. If you've ever wondered exactly what a grip does on a motion picture production, these two episodes will fill you in.

This is part 2 of a two part episode series where Team Deakins talks key grips. This episode features a very renown British key grip Gary Hymns, (THE BATMAN, 1917, SOLO: A STAR WARS STORY), who walks us through the British system of gripping. This episode features a very renown British key grip who walks us through the British system of gripping. Because he worked with us on 1917, we delve into the details of how certain shots were accomplished in that film as well as learning details from some of his other films. You'll understand why there was a lot laughing on the set of 1917 after hearing his humorous commentary.

Team Deakins sits down with friend and fellow DP, Greig Fraser (DUNE, THE MANDALORIAN (TV), ZERO DARK THIRTY). We cover a lot ground in this episode starting with Volume lighting - how it works, how it effects the way that you work, the advantages and disadvantages. He tells us what attributes he feels are key in a director and how he feels about operating. We learn his secret desire to shoot a musical and we dive into the undiscussed subject of why wrap parties are hard and often avoided. And there's more. A fun and informative episode.

Team Deakins does something different with this episode. We took the opportunity to talk to an extraordinary visual talent who is NOT a part of movie production. He is a well known still photographer and someone we are great admirers of. It was great to talk with him about his work, what he thinks is important in photographer, how he approaches his work, the importance of color in his work, what pictures can mean and the role of serendipity in great photographs. It's an immersive dive into creating visuals.

Team Deakins talk with Pete Franciosa, head of production at UTA talent agency. We talk about what an agent does, how to get an agent, what "packaging" is, how he choses people to represent, the differences between the agencies and lots more. It's an interesting look inside the talent agency.

Team Deakins has an entertaining conversation with cinematographer and long time friend, Dick Pope (Mr. TURNER, SECRETS and LIES, ANOTHER YEAR, THE ILLUSIONIST). We talk about his start in film, his work in documentaries and his long term collaboration with director Mike Leigh. Along the way, we also touch on the importance of trust between DP and Director, working with keys that you don't know and in particular how he works with gaffers. We touch a bit on operating and even end up with a bit on film vs digital, although we weren't planning on going there. It's a fascinating episode and we promise you will laugh during parts.

Here's the episode you've all been waiting for. Team Deakins sits down with long time collaborator, director Joel Coen (TRUE GRIT, NO COUNTRY FOR OLD MEN, FARGO, INSIDE LLEWYN DAVIS). A great conversation that covers aspects of their experiences together as well as the importance of collaboration and letting go of defensiveness. Of course we talk about storyboards and their place in the process as well as the power of editing. We talk about the importance of casting and the way he works with actors. As well as the fact that not having a large budget can be a blessing. Joel is an incredible filmmaker and it's amazing to hear him speak on the craft of making films. Be sure not to miss this one.

Team Deakins speaks with John Lindley, cinematographer and president of camera local 600. John shot the films FATHER FIGURES, PLEASANTVILLE, FIELD OF DREAMS, and BEWITCHED. We talk about documentaries and what working on them gives you - both personally (it "enlarges your life") and skill-wise. We also talk about handling the pressure on the set tin the role of dp and how to oversee the people you're working with and getting the best out of them. The difference between working in TV and on features is also looked at. We also learn about unions and the camera union.

Team Deakins speaks with friend and two time collaborator, editor Joe Walker (ARRIVAL, SICARIO, BLADE RUNNER 2049, 12 YEARS A SLAVE). We get an interesting look into the changes in the techniques of cutting between now and when Joe started. We talk about where the cutting style of the movie comes from, when a sound editor comes in and what they, test screenings - pros and cons. We also touch on the editing in Sicario, 12 Years a Slave and Shame. We do get into what crossing the line is and what you can get away with continuity-wise. And we even share our personal work-related nightmares. It's an episode packed with information that you won't want to miss.

Team Deakins sits down for a conversation with cinematographer, Linus Sandgren (NO TIME TO DIE, FIRST MAN, LA LA LAND, JOY). "I love the creation of the image." We cover a lot of ground in our talk and touch on, among other things, Swedish films and sensibilities, working minimally, how important it is to find the right approach for each movie. He also goes into detail about how he develops the look with the director. He tells us about working with David O Russell and does a deep dive on the making of FIRST MAN which you don't want to miss. And finally, of course, we talk a bit about shooting a Bond movie. A fascinating conversation with a talented image-maker.

Team Deakins looks into the final step of making a movie or the DI, with DI Producer/ Finishing Producer, Laura Metcalfe (1917, WONDER WOMAN, TOMB RAIDER). While previously called the "DI Producer" since when it started it was all about the DI ("Digital Intermediate"), because the process has become so complex, you'll hear the role referred to as "Finishing Producer". We speak with Laura Metcalfe of Company 3 in London who worked with us on "1917". We talk about when this role actually starts on a movie (much earlier than you might think!) and talk at length about setting up workflows that continue until the film finishes. We also go into detail with Laura about the very bespoke workflow on "1917" and the challenges it presented. We also walk through some of the deliverables of a film (the different formats that are made), how the dailies timing differs from the DI timing and the steps to setting up a DI. And, of course, much more. A very detailed look at post.

Team Deakins sits down with Jeb Brody, the president of production at Amblin Studios and learn a lot about the studio side of production. Jeb walks us through so much - the difference between a studio exec and a producer, the relationship between the filmmakers and the studios, the differences between the studios and the movies they make. We discuss what kind of films are getting made these days, look at the difference of negative pickup and acquisition, and why the bad behaviors of filmmakers in the '70s no longer works. We worked with Jeb on 1917 and get into that as well. And we learn from the studio's point of view what the growth of streaming means for moviemaking. We even got into the "dark arts of filmmaking" (you'll have to listen to learn about this!). We've never had the opportunity to sit with the studio and ask them all our questions so we had a great time. Don't miss it if you want to learn everything on the studio side.

Team Deakins has a fascinating conversation with celebrated cinematographer Hoyte van Hoytema (DUNKIRK, LET THE RIGHT ONE IN, TINKER TAILOR SOLDIER SPY, HER, INTERSTELLAR). He shares his experience of working with directors, Christopher Nolan and David O Russell. He talks about the value of shooting as much as possible in camera and how he approaches lenses, often creating a set specifically for a movie. We learn about how working with Christopher Nolan the second time on Dunkirk was different and he goes into detail on shooting in IMAX, talking about the pros and cons. He also shares his opinions on working with a large budget and a small budget. And there's plenty more. You don't want to miss this.

Team Deakins dives into the world of VFX. We speak with a VFX Producer, Sona Pak (1917, THE TWO POPES, ALIEN: COVENANT) and a VFX Supervisor, Guillaume Rocheron (1917, AD ASTRA, LIFE OF PI). So the first question we get to settle is who does what. We also look into things like, the advantages and disadvantages of working with multiple vendors, how to keep a continuity of look when so many people are working on a shot, face replacement in shots, how what is a VFX shot and what isn't is decided, the importance of knowing the different strengths of the various VFX houses and how the post schedule can contract. And that's just a few of the points we touch on. It's a large subject and it was great to speak with two such talented people.

Team Deakins has the pleasure of speaking with another couple in the film business. Both are actors and writers and Paul has also directed. We talk a lot about the experience of being an actor and they articulately discuss the difference between acting for the stage and for film. We talk about the experience of being a couple in the same business and working together. Zoe shares how her writing allows her acting to be more personal and how hard it is to write a project and then let it go once it is picked up to be made. We had the opportunity to ask Paul many questions on his wonderful debut film as a director, "WILDLIFE". We also touched on actors and their awareness of the camera, actors and continuity, their pet peeves about actors and how they choose their projects. Zoe speaks about working with the Coen Brothers and Paul speaks about working with Denis Villeneuve. We cover a lot of ground in this episode.

Team Deakins sits down with production designer KK Barnett (HER, BEING JOHN MALKOVICH, MARIE ANTOINETTE). It's a great opportunity to delve into the job of the production designer and all it entails. We go into depth about how he works with the DP and the Director. He illustrates his process by talking specifically about scenes in Being John Malkovich, Where the Wild Things Are, and Adaptation. We talk about the difference in designing from an original script or a script based on a book. He shares his process of breaking down a script and offers advice to those starting out. We even talk about the proverbial "Telephone Box" set. An episode with a lot of information about production design.

Team Deakins sits down with Franz Kraus of Arriflex who has overseen most of the company's digital visual advancements. We learn the history and progression into digital technology. He also walks us through the greater importance of dynamic range vs resolution. We learn how the sensor size affects the relationship between lens and subject. We speak about the Arri 65 camera as well as the LF camera. And much more. Franz was so generous with his knowledge that we have to split our session into two episodes!. It's a great deep dive into digital technology.

This is part 2 with Franz Kraus. We continue our conversation with Franz about all things digital. We talk lens, camera, the Trinity rig, viewfinders, the M camera (precursor of the Mini) and what might be coming in the future. A great chance to get all of those digital questions out into the open. It was an amazing experience to pick the brain of a person behind the development of digital technology.

Team Deakins had the opportunity to sit and talk with long time friend, actor Jake Gyllenhaal (BROKEBACK MOUNTAIN, PRISONERS, NIGHTCRAWLER). Jake speaks about his relationship with directors and with cinematographers. We speak about his work in Donnie Darko and Prisoners, as well as Jarhead and Wildlife. He speaks about how, as an actor, the final result is always in other people's hands. He also shares how important the collaboration between actor and cinematographer is and the importance of creating a "safe place" for the actor in front of the camera. Although we were hoping he would explain the end of the movie Enemy (and he said he would!), we finished the episode without knowing any more. And we also got into the craft of building sand castles. A really fun conversation that gave us an insight into the world of an actor. Don't miss it.

Team Deakins has the opportunity in this episode to sit down with director, writer, producer Ed Zwick and discuss a wide range of subjects. Ed's list of credits is long and includes THE SIEGE, COURAGE UNDER FIRE, and DEFIANCE). Ed tells us what is important to him as a director and why he thinks scale is important in a movie. He also speaks of the value of finding the action on the set rather than trying to set it beforehand either with pre-vis or storyboards. We talk about casting and he shares some examples of working with actors. He also speaks on what he thinks is the difference between film and television production as well as his belief that movies can make a difference. It is a great discussion with a passionate filmmaker and not one that you'd want to miss.

Team Deakins has a great conversation with actor, director (and punk rocker, as you learn in the episode!), Tim Robbins (MYSTIC RIVER, THE PLAYER, THE SHAWSHANK REDEMPTION, DEAD MAN WALKING). Tim shares a lot of his thoughts on acting, the importance of "generous actors" and how fame can lead you astray. We learn about overcoming the temptation to take a job for the wrong reasons and the importance of patience when choosing your work. He tells us about his experience of working with Bob Altman, Clint Eastwood and Ron Shelton. We talk about his directing experiences and how directing made him a better actor. The movie "Easy Rider" even comes into the discussion. A fascinating conversation you won't want to miss.

Team Deakins speaks with VFX Supervisor, Rob Legato (THE LION KING, THE JUNGLE BOOK, HUGO, TITANIC). He walks us through some of the changes in VFX over the years and is quite vocal on his feelings on the different approaches - CG effects or model work. We learned a lot about his work on Jungle Book, The Lion King, Titanic and Apollo 13. We even talked about shooting 3D versus converting afterwards. Rob also told us his thoughts of the future of CG. A lot of information in this episode.

Team Deakins has the pleasure of talking with script supervisor, Nicoletta Mani (1917, MISSION: IMPOSSIBLE- FALL OUT, THE QUIET ONES). We get the chance to discover the wide range of this role in production from the breakdown of the script, day breakdown, script timing, editor notes, continuity and much more. We learn how the script supervisor acts as a conduit to the Editor and their relationship to the director and the other departments. We also talked about handling a shoot with multiple units and multiple cameras. We delved into continuity and when it matters and when it doesn't. Nicoletta leads us through the different aspects to the job of script supervisor - a very informative episode.

Team Deakins sits down with long time friend, actor Josh Brolin (TRUE GRIT, AVENGERS: ENDGAME, ONLY THE BRAVE, MILK). We learned so much from him - how going into law is similar to being an actor (who knew?) and how acting is like golf (learned something new!). He also tells us how his interest in human behavior drew him to acting and he shares the very funny story of his audition for NO COUNTRY FOR OLD MEN. He speaks of his experiences working with the Coen Brothers, he tells us what was involved in his THE AVENGERS role and shares how he was convinced to do SICARIO. He also goes into how he relates with the camera crew, his prep for films and how he uses instagram as a platform for his prose. And that's only a part of what we talked about. Don't miss it.