We spoke with DP Bella Gonzales, known for Fargo (FX), The Big Door Prize (Apple TV +), and PEN15 (Hulu) about her work on Me (Apple TV +).
Please briefly explain how you became a cinematographer. Where did you train? Did you go to film school?
I have always been drawn to making images. One of my earliest passions began when my father introduced me to film photography and photochemistry at around six years old. It became the focus of every science fair project and chemistry experiment. With a father who is a cinematographer, the highs and lows of the job were very present in my life from a young age. I saw firsthand the unpredictable nature of the industry, and at times, I questioned whether it was the right path for me.
At 17, when applying to colleges, I asked myself what I truly wanted out of life. I remember making a list of qualities my dream job needed to have: being my own boss, traveling, meeting fascinating people, and, most importantly, capturing it all with a camera. Despite my initial doubts about the industry’s stability, my passion for filmmaking became apparent. My first feature film in the camera department as a camera utility was the hardest thing I’ve ever done, but it also gave me some of my most treasured memories. That’s when I realised this wasn’t just my dream job but the job I was meant for.
Throughout this journey, I sought advice from anyone who would listen about whether film school was the right path or if I should jump straight into work. Producer Jeff Stott convinced me that film school was the right choice. He encouraged me to take risks, make mistakes, meet everyone I could, and take all that knowledge into the world.
Next fall, I attended the American Film Institute, where I studied in the Cinematography department. It was the perfect fit—an institution where I lived, breathed, and dreamed cinematography, surrounded by like-minded individuals. I graduated from AFI in 2018 with the tools to take on the industry.
A few months later, I joined Local 600 as an operator, eager to absorb as much knowledge as possible and learn from the talented DPs I had the privilege to work with. This journey ultimately led me to work as an operator on Fargo Season 4, where I had the opportunity to prove to myself that I was capable and destined to be a cinematographer while shooting additional photography alongside some of the most talented professionals in the industry.
When Fargo halted due to COVID-19, I received a call from director Steve Pink, who asked if I was interested in shooting a bubbled indie film called The Wheel. It was a profoundly personal, character-driven project that felt like a rare opportunity in such uncertain times. “The Wheel” was made with 16 crew members in total. A gaffer, key grip, two camera assistants, an A Camera Operator, and myself (DP/ B cam operator) were my team living and working at a summer camp. The film went on to compete in the World Contemporary Cinema Competition at the Toronto International Film Festival, which was a huge honour and a testament to the power of the project—working on The Wheel and seeing it recognised internationally launched my career in ways I could never have imagined.
Have you worked with your director, Michael Dowse before? If so, what and when?
I had not had the pleasure to work with Michael before!
When did Michael tell you about this production and what did he want to achieve with the look?
I initially met with Michael and Barry and began by discussing the story. We focused on how Me was going to be grounded in perspective. That sparked a great conversation about how this concept would translate visually. We agreed that our visual decisions would primarily stem from the characters and how they were experiencing the world at each moment.
Michael referenced classic, almost larger-than-life sci-fi films, aiming to bring those otherworldly qualities into our project. After all, we are depicting a world where superpowers exist, and the threat of evil is ever-present. He wanted to push the visuals and experiment with immersive techniques that drew the audience deeper into the characters’ perspectives.
In that first meeting, Michael and I also discussed how unique it was to be shooting all ten episodes in a block, much like how one would shoot a feature film. We talked about how this approach would allow us to craft a visually cohesive narrative with the ability to control the evolution of the series as it mirrored the characters’ growth and the increasing chaos in their world. We both agreed that, unlike productions where episodes are shot separately, this method would ensure a seamless progression in both visual style and storytelling.
What was your initial reaction to the script and the story from your point-of-view as the cinematographer?
What drew me to the scripts was how each character’s superpower is directly tied to their emotions and inner struggles. Ben, for example, is starting a new life—new school, new house, new family—and he’s unsure where he fits in. His power allows him to shapeshift into anyone he wants, ultimately giving him the choice of who he wants to be. This power symbolises his internal conflict and the universal question, “Who do I want to become?” This emotional depth drives the characters’ journeys and provides us with a wealth of visual opportunities to explore.
It’s essential for young audiences, especially teens, to watch a show where characters face challenges head-on, grapple with their identities, and ultimately overcome obstacles. The show’s overarching themes—discovering who you are and what you stand for—are especially relevant today. Having a younger sister who went through the pandemic as a high schooler, I witnessed how she and her friends lost years of critical life experiences. Now, more than ever, it’s vital to create a show that allows young individuals to explore these themes of identity and self- discovery in a visually immersive way.
Did you have to liaise with a VFX supervisor on the show?
Throughout the show, I constantly communicated with the VFX supervisor. Early on, Michael and I were determined to incorporate as many in-camera effects as possible, much like the films we were referencing, which relied heavily on real-world techniques. We minimised the VFX-heavy morphing sequences, opting for effects like camera movements, classic Texas swaps, and strategic pans to disguise character transitions. This approach lightened the VFX workload and gave us more control over how those moments looked. We had extensive discussions on capturing assets for key scenes, especially for the storm sequences. This led to setting up a sizeable blue psych with overhead circular units to create a sense of movement through lighting, wind, and debris effects.
Did you have to make any special dispensations for the young cast, like their working hours, etc.?
The schedule becomes crucial when shooting a kids and family show due to the many special accommodations needed for the young cast. This includes shorter hours on set and building time into the schedule for school, along with their time on set. We often utilised photo doubles to manage this, shooting over them when necessary. This approach, combined with the tight schedule, meant I had to work with a great sense of speed—sometimes, a 20- minute setup could make or break the day. I relied heavily on my riggers and keys to ensure that any space we entered was fully rigged and ready to go. I firmly believe Michael and the actors should be given as much time as possible, so I took full responsibility for the timing. Managing that became one of the most crucial aspects of my job. Fortunately, our adult cast had their storylines, allowing us to structure days around Ben or Max, bringing them together only when necessary. Still, night exteriors were a challenge. Atlanta summers offer long daylight hours, which is great for shooting with kids, but it limits our time for night scenes, forcing us to be even more efficient.
Did you look at any creative references? (Give details of other movies, photographs, etc, that you considered?)
Michael and I began our discussions with creative references, bonding over films like E.T. the Extra-Terrestrial, Close Encounters Of The Third Kind, and Super 8. Each of these films explores a child’s perspective as they encounter something strange and unique, and that viewpoint profoundly influenced how we approached the camera work for Me. There’s a sense of exploration in all these films that allows the audience to discover the world along with the characters, building tension through movement. Visually, we were particularly drawn to lens flare, especially in Close Encounters, which added a sense of wonder and mystery to pivotal moments. Though our story was set in the modern day, I was also inspired by those films’ warm, nostalgic look.
Additionally, I studied Gregory Crewdson’s photographs for inspiration, as his lighting evokes a theatrical, almost magical quality that I wanted to capture. My goal was to ground the visuals in reality but give them a slightly unfamiliar, otherworldly feel. I was also inspired by The End of the F**ing World*, one of my favourite episodic series, lensed by Justin Brown. I loved his use of colour and how his on-set approach set him up for filmic colour in post-production. I felt it was a great modern reference for the show, with its flawless, natural compositions and camera work—an approach I also aimed to achieve.
How long was your prep time before you started shooting?
I believe I had about six weeks of prep. I was just coming off of another show, and I believe I was hired and in ATL the next week prepping!
How much testing did you do before production began?
Testing was a crucial part of the preparation process for this show, as it allowed us to carefully select the format, camera, lenses, and filtration that would define the visual language. Michael and I knew we wanted to work in large format, so I tested the Sony Venice and the Alexa LF Mini. Our testing focused on three key areas: camera choice, spherical versus anamorphic lenses, and filtration.
From the beginning, Michael and I were drawn to anamorphic lenses due to our primary visual references, which included films that embraced the character and optical quirks of anamorphic glass. We were particularly interested in Keslow’s K-35 Anamorphics, which had a striking presence and naturally drew focus to the subject in the frame.
With its shimmering quality, the unique bokeh added a layer of emotional depth to Ben’s perspective. As Ben is introduced to a new world—new family, school, and superpowers—the focus fall off on the edges of these lenses perfectly captures his sense of disorientation and uncertainty.
However, we encountered some challenges with the K-35s during testing. The set only included three focal lengths – 35mm, 55mm, and 85mm—which limited our lens choices. Additionally, when we decided to shoot with two cameras, we realised Keslow only had one set of K-35 Anamorphics. This prompted us to build a custom lens package. To supplement the K-35s, we added Todd-AO anamorphic and Atlas anamorphic for the longer focal lengths. Michael also wanted to use zoom lenses as a regular visual tool, which led us to test the Angenieux Optimo anamorphic 44-440mm and spherical 15-40mm and 28-76mm lenses. After extensive testing, we crafted a unique lens package that allowed us to remain flexible while maintaining a consistent visual style.
As I put together this extensive list of lenses, another challenge was ensuring they worked seamlessly together. The K-35s had distinct characteristics, especially in their contrast and highlight halation, which I wanted to carry to the other lenses in the package. This meant developing different filtration “recipes” for each lens to unify their look.
Additionally, I knew I wanted to introduce a warming filter for the show’s base look and cooling filters for storm sequences.
I experimented with around 30 different color and diffusion filters during testing, meticulously comparing how they worked with each lens. My goal was to find a unique filter stack that enhanced each lens’s qualities and provided cohesion across the various focal lengths and lens types.
When did the cinematography start and end?
Principle photography started June 29th, 2022, and finished September 22nd, 2022 and took 60 days.
What were your locations?
This show seamlessly blended location and stage, with our chosen locations as the backdrop for our most significant scenes. Block shooting allowed us to maximise each location, which was essential given our limited hours with the kids. The school was our most prominent location, where we spent four weeks shooting scenes from the pilot through to the finale’s gym sequence. We also filmed extensively in East Point, Georgia, which stood in for the town of Boatright. This is where we captured the exterior storm scenes and various city shops and exteriors.
Additionally, we utilised a local mall and park for key sequences, making the most of our surroundings to bring the story to life.
Did you shoot in a studio? Which studio? Which sets were built in the studio?
We shot the studio portion of our production at Third Rail Studios in Atlanta, Georgia, where we built several key sets. Our main set was the Davis/Vasani house, featuring the downstairs areas like the kitchen, living room, dining room, and office. We also created separate builds for Ben’s room and two bedrooms for Max—one for her mother’s house and one for her father’s. Additionally, we built the attic/darkroom as a standalone set. A particularly tricky build was the dressing room set for the scene where Max argues with herself, Max/Ben. We wanted to practically capture both bodies in the room, which required precise planning and design to ensure the shots worked seamlessly. Much of the night exterior work was filmed just outside the stage, allowing us to integrate stage work with the kids’ hours while maintaining complete control of the environment. This area also served as the “poor man’s process” driving scene. To maximize space, we transformed our location office into a police station and our wardrobe loft into a dress shop, making efficient use of every corner of the studio.
What were your working hours?
5-day work weeks that ranged between 10-12 hours.
Why did you shoot in this aspect ratio?
The aspect ratio was a significant decision for our creative team. Michael knew from the start that he wanted to draw inspiration from classic sci-fi films and thoroughly explore the characteristics of the anamorphic lens. Movies like Super 8 influenced us. Initially, we considered using a widescreen aspect ratio of 2.39:1. However, since we had planned to incorporate many in-camera effects and stylised lighting, we didn’t want to overwhelm the story. Every decision was made with the intent to stay true to our characters and narrative. After much discussion, we settled on a 2:1 aspect ratio, which gave us the best of both worlds. It allowed us to enjoy the unique quirks of the carefully chosen lenses without excessive distortion. Additionally, the 2:1 aspect ratio cropped the sides of the image when using the Sony Venice, allowing us to focus on the “best parts of the image” optically.
This ratio worked well with anamorphic and spherical formats, providing our compositions and camera movements more freedom. The lenses we selected had distinctive qualities—such as a soft focus at the top of the frame when opened beyond f/5.6—influencing how we framed shots and developed our visual language. Placing characters near the top of the frame became an intentional choice to evoke a sense of being overwhelmed or overtaken and as a creative decision on what stop to use for each scene. The stop itself became a tool for shaping mood and tone, adding another layer of depth to how we used focus and framing. Where others might see limitations, my team and I saw creative opportunities. The aspect ratio ultimately made the show feel cinematic and immersive without distracting the viewer from what matters most—the story.
Which cameras and lenses did you use? And why did you make these choices? What did they enable you to accomplish?
-Following the tests, we opted for the Sony Venice, the only camera that met our resolution requirement and allowed us to move the camera by incorporating a lighter build for the Ronin, Black Arm, and Masterwheels, which was often our setup. I’ve used the VENICE on four previous shows and have learned to incorporate its dual ISO capabilities into my overall lighting strategy. However, I don’t always use the 3200 EI base; instead, I apply it when it makes sense, either stylistically or logistically. For example, it’s beneficial in scenes where I want a more stylised, high-contrast look or when we’re shooting in tight spaces where I want to use less atmospheric lighting and give the camera more freedom to move without large lighting setups.
The custom lens package we created was essential in shaping the show’s visual identity. The K-35 anamorphic, with its distinct focus falloff and unique bokeh, perfectly matched the emotional journey of Ben’s character, highlighting his sense of uncertainty and newness. The Todd-AO and Atlas anamorphic extended our focal length range, ensuring we had the versatility needed for two-camera setups while maintaining the optical characteristics we loved.
Michael’s emphasis on using zooms also contributed to our lens selection, with the Angenieux zoom lenses providing additional flexibility in framing and composition.
Our ability to use lenses as a frame for our subject, projecting the qualities of each scene, was something truly special. It became almost like a secret language between Michael, our A-camera operator Andrew Laboy, and myself. We could instinctively choose the right lens because we knew our lenses intimately—understanding their distinct characteristics and how they would enhance the emotional tone of each moment. This deep familiarity allowed us to create visual choices that weren’t just about aesthetics but about serving the story on a deeper level, making the lens selection an integral part of our storytelling process.
What resolution did you shoot?
Since we shot spherical and anamorphic, we had two main resolution settings for the job. For the Anamorphic, we were shooting 4k 6:5 2.0x de-squeeze, and for spherical, we shot 4k 6:5—all with a 2:1 aspect ratio.
Which company supplied the cameras and lenses?
Keslow Camera has been an integral part of my journey, not only on Me but throughout every significant project in my career. They’ve supported me since the first short film I shot, and I consider them a crucial part of my creative process. As you can imagine from our earlier discussion on testing, I conducted many tests at both Keslow’s LA and ATL locations. Their dedication to backing DPs creatively is unmatched—they’ve always gone above and beyond to help bring my vision to life creatively and logistically. Their unwavering support has been invaluable, and I honestly couldn’t imagine achieving what we have without them.
Did you work with a colourist to make LUTs?
I had the privilege of teaming up with my favorite colourist, Tony D’Amore, for Me. In my first meeting with Michael and Barry, they described the show as “Boyhood in the Marvel Universe,” I immediately knew Tony was the perfect person for the job. His work on Marvel shows like Daredevil, The Punisher, and Legion, as well as dramatic projects like Fargo, Carnival Row, and a previous film I shot, Centurion, made him the ideal collaborator. Tony always amazes me with the amount of colour separation he can achieve in an image, and I knew he was the right person to bring the final colour to life. I often feel that half of a cinematographer’s job is completed in the final colour grade, and Tony is a master at it.
We shot hair, makeup, and wardrobe tests early to ensure a cohesive vision across all design elements. From there, we developed base looks for our primary shooting environments, including a daily base LUT and a specific LUT for the storm scenes. I prefer using a slightly aggressive LUT to give myself more latitude in post. Tony’s expertise ensured we could push the final colour exactly where we wanted, making the visuals an essential part of the storytelling.
Did you operate the camera? Was it a single camera shoot?
Coming from a background in camera operating, it has always been a crucial role for me as a collaborator.
I was very privileged to work alongside Mitch Dubin early in my career, where I learned so much about true filmmaking and shot craft. Mitch made me promise that when I became a DP, I would always hire dedicated A- camera operators. He emphasised the importance of preserving the role of the A-camera operator, especially in an industry where DPs and directors are increasingly drawn to operating themselves. This is where Andrew Laboy comes in—my A-camera operator and, coincidentally, the assistant who trained me on my first film. We come from the same world and share the same sensibilities. Most importantly, we both understand that the story comes first, and the scene dictates where the camera should be.
Andrew is my most trusted collaborator, and I always insist on fostering a strong relationship between the director and operators. He and Michael were completely in sync, sharing the same vision. Although we were a two-camera show, we had a firm understanding that we would never compromise the integrity of A-camera. Shooting anamorphic with two cameras isn’t the easiest, so it required a highly skilled and engaged B-camera operator to find angles that stayed true to the narrative’s perspective.
We had the incredible Kate Roberson for B-camera, making this our second show together. From day one on set, Kate proved she had an impeccable eye and was always aware of what was happening. She consistently found compelling, story-driven perspectives and shared a similar visual language with the rest of the team. Her ability to line up interesting, meaningful shots made her an invaluable asset to the production, and I was thrilled to have her on board.
Who were your main crew?
A Cam 1st: Scott Forte
A Cam 2nd: Rodrigue Gomes
B Cam 1st: Donovan Henneberg-Verity B Cam 2nd: Johnny “Utah” Hoffler DIT: Caroline Olkers
Utility: Amanda Ashley Loader: Emily Gurley Gaffer: Jeff Niggemeyer
Please share some thoughts about your main crew?
My crew truly is everything to me on set. I believe that each person I bring onto a show contributes something unique, and that was especially true on this project. A Cam 1st Assitant, Scott Forte, in particular, understood who I was as a DP and how I see the world. He recognised the things I loved about specific images, lenses, or diffusions and took that knowledge to push me even further in shaping the show’s look. A funny and unique aspect of this production was that we never cleaned our filters, which sounds crazy, but we loved how it enhanced the image. It added even more character to those special lenses. There was a moment when I started to question it, but Scott reassured me it was the right choice, and it indeed was.
The artistry of our crew stood out in every detail. Utah, our camera assistant, even hand-painted our Vaseline filters to create different-sized ellipticals for each lens, customising them for specific shots with a paintbrush. This painterly approach added a personal touch to every frame, making each shot uniquely crafted.
I couldn’t have asked for a better crew on this show. I’m a DP who demands the highest level of performance, but I also believe in enjoying the process and taking pride in the work we create together. I felt that every single person on this job understood and embraced that. Everyone made their mark on this show, from electrics to grips to camera utilities. Their dedication and artistry were invaluable, and I know I couldn’t have achieved any of it without them. It’s a collaborative effort, and I’m incredibly proud of our team.
How did you review the rushes/dailies during the shoot?
During the second half of the day, I would receive an email from Picture Shop with select colour images of the dailies to ensure everything looked correct before they were uploaded to PIX. This process was critical for maintaining the look’s consistency and ensuring accuracy in frame sizes, as we were working with lenses that had different de-squeeze factors due to the mix of anamorphic and spherical formats. Ensuring that everything matched up visually across the different lenses was essential. Once I confirmed the images, rushes would go up that night and be reviewed for the next day. On set, our DIT, Caroline Oelkers, had access to every image we had captured throughout the show. We relied heavily on her system to review past work, ensuring that frame sizes, de-squeeze accuracy, and overall visual continuity were maintained throughout the production.
Did you do any colour grading during the shoot?
Caroline Oelkers, my DIT, was my command station on set. She was more than just a technician; she was my most trusted eye, always by my side, and a sounding board for ideas. As we crossboarded the entire show, it became clear that having someone who could maintain visual cohesion was essential, especially as I wanted to push the boundaries of what we could achieve in the camera. My goal was to capture as much color separation and contrast as possible, and Caroline helped me reach those limits, whether for display purposes or managing the negative.
A key aspect of this show was the visual build as the story progressed. Tracking where we were in the narrative, where we had been, and where we were going was crucial. Caroline always had these elements ready, keeping us grounded in the story and guiding our creative direction in each scene. Her input was invaluable in shaping the look of every shot, ensuring the show’s visual evolution remained consistent and intentional.
Caroline constantly pushed the image in subtle but meaningful ways, adjusting contrast, colour, and exposure, directly influencing my lighting decisions. Her work and my lighting were profoundly interconnected and inspired each other. This collaboration created a dynamic, evolving look throughout the show.
What was your philosophy about framing/composition, moving or not moving, the camera for storytelling purposes?
There was much thought and preparation behind the camera work on this show, starting with early prep sessions between Michael and me. We would review the script page by page, breaking down each scene and asking the key questions: Who are we with? What are they feeling? How do they see the world? From there, we sketched out blocking and discussed how we wanted the camera to move—whether Ben felt lost, anxious, or proud. This process ensured we were aligned on the emotional core of each scene, and it helped us plan practical morphs, making sure each one was unique and built throughout the season.
We were heavily inspired by Steven Spielberg’s use of movement and pacing for shot design. We wanted the show to be as visual as possible, limiting cuts and allowing the camera to drive the rhythm, immersing the audience in the characters’ experiences. Our goal was to create a shot economy that inventively told the story while working within the kids’ limited hours. This approach not only kept the visual language fresh but also contributed to the show’s cinematic feel.
Access to the Technocrane for all the school work was a considerable advantage, especially for exterior scenes. It allowed us to capture sweeping movements and explore the space dynamically, enhancing the storytelling. Coupled with our blocking and shot design, the Technocrane and other tools like the Ronin, Masterwheels, and Black Arm mounted on the dolly gave us the flexibility to move fluidly and keep the camera engaged.
Executing these complex shots required the seamless teamwork of A-camera operator Andrew Laboy, and dolly grip Tripp Pair, and our camera assistant, Scott Forte. Andrew, Tripp, and Scott worked together in perfect sync, pulling off intricate camera movements with precision. Michael, Andrew, and I would watch the blocking and devise a plan for each scene, choosing the right lens, tool, and position, while Tripp’s artistry on the dolly and Scott’s technical expertise ensured every shot was smooth and fluid. Whether a slow push-in or a fast dolly move, this trio operated as a cohesive unit, bringing our vision to life with incredible finesse.
What was your philosophy about lighting this production?
Gregory Crewdson’s photography profoundly influenced my philosophy for lighting. His unsettling depictions of seemingly ordinary American suburbia always carry a sense of foreboding and mystery, which resonated with what I wanted to achieve in this project. When the camera wasn’t moving, I aimed for the visuals to feel like a tableau—a frozen moment in time. In Crewdson’s images, light often serves as a character, revealing hidden emotions or pointing toward something deeper. He uses spotlights to convey isolation and introspection, themes that are very fitting for Ben’s character. I wanted to craft dreamlike atmospheres where elements like a spotlight in the middle of a street at night didn’t feel out of place.
Like Crewdson, I sought to blend natural and artificial light to create tension. I used pools of light and shadow to evoke a surreal atmosphere, often exploring hard and soft lighting for key moments. I also focused on shaping the light and tone to create depth, enhancing the large-format camera’s capabilities, and creating painterly images when appropriate.
I believe the core principle of filmmaking is contrast—it’s what makes everything more effective. Just as a drama with a touch of comedy makes both the humor and heartbreak more powerful, true darkness makes light shine brighter. I applied this idea to both the story and the lighting. I wanted to seamlessly blend soft, painterly lighting with hard, gritty fluorescents in the same show, using contrast to heighten the emotional impact and give the visuals more depth and complexity.
Please give details about any interesting or challenging lighting set-ups?
I found several lighting setups on this show particularly challenging and exciting. Our goal throughout the production was to evolve and push ourselves creatively at every stage. One of the more complex setups was for the inside of the storm. I wanted the audience to feel the movement and chaos of being in the eye of the storm. To achieve this, we rigged a massive blue screen that covered half of one of the large stages, with 27 Vortex lights arranged in a large circle to mimic the storm’s eye. A Vortex softbox was placed in the centre, and six additional Vortex units served as key lights for consistent backlighting, with an outer ring of lights illuminating the blue screen. This setup required precise photometric and extensive programming to capture the storm’s intensity.
Another setup I’m particularly proud of was the lighting for the pivotal moment in the school gym during the finale. Like the storm scenes, I wanted the lighting to feel alive, bringing the storm’s energy inside the gym. We needed the camera to move freely, so we used our black arm setup for sweeping moves and dynamic floor travel. Initially, I used a 12×12 softbox for ambient lighting, but as the scene intensified, I leaned into contrast, favoring the hard light from the high windows over the softer light from the earlier scenes.
Since the showdown was shot over several days—and had to take place during the day for the kids—we tented off the entire gym. This gave us complete control over the lighting and allowed me to place lights farther away from the windows, which is always ideal. I relied on T12s, my favourite tungsten units, to light through each window, supplemented by Maxi Brutes and Vortex lights to create lightning effects. Inside the gym, I worked closely with our production designer to incorporate practical lighting that could pulse, flicker, and flow with the wind, adding to the surreal atmosphere.
One of the biggest challenges was capturing the energy exchange in the form of light during the fight. Interpreting and representing brightness in a way that felt impactful while still preserving the footage for post-production was fascinating. I went old-school, using a T12 on a dimmer, fading it up just before the point of clipping. It was a bit nerve-wracking, but the result was exactly what we needed. Looking back, I’m really proud of how it all came together.
Which lights did you use?
Gaffer Jeff Niggemeyer and I had worked together on two previous shows, so when we prepped for Me, we already had a solid lighting package that we liked to work with. The most unique element of our setup was how much tungsten we carried and used. Leaning into our cinematic references, I wanted that unmistakable warmth and quality that tungsten lights provide. Our most-used unit was the T12, often with super white flame gel in front. We used this for backlights on lifts, key lights, and even in-camera for otherworldly flares. We carried an assortment of smaller tungsten units for more minor flares or would position a mini nine light outside for the perfect warm edge. I also loved using the Rosco Dash for quick eye lights or rigging it on the dolly, programmed into our board, to adjust lighting as we moved through shots.
Since the story takes place during a storm, Vortex lights became our workhorses for interior and exterior scenes. We had them on condors for large-scale lighting and in softboxes for ambient lighting.
We rigged Skypanel 360s on chain motors and sliders around the set, giving us quick access—a necessity given our limited time with the kids. We could also roll them around on the ground for window lighting when needed. One standout unit for me was the Panaura, which we mainly used above the dining room. It was the perfect light, allowing us to shoot 360, which we often did with circle track, and it provided beautiful color and quality. It had a warmth that felt like home, making it an invaluable tool for those intimate scenes. I love to carry the Cineo R15’s for when we have lighting and have to switch to housepower on locations – they have saved me quite a few times, and producers have loved having them!
Which company supplied the lights?
MBS
What were the biggest challenges on this production? And how did you overcome these challenges?
We prepped as much as we physically could, but prepping for ten episodes in the same amount of time usually allotted for a pilot was a significant challenge. It required us to prep on the go—often scouting before or after work and constantly discussing future setups as a team. This put a significant demand on my team and the riggers, as we were often scouting, rigging, shooting, and derigging simultaneously. Dave Galindo, my rigging Gaffer, made my vision come true daily before I even arrived to set. I’m genuinely amazed by the crew and how they managed to work at such a high level, even with quick turnarounds for location prep.
Michael and I were well-prepared regarding the story, having shot-listed or storyboarded most scenes for the show. This clarity allowed us to make logistical decisions more efficiently, as we knew exactly what we wanted from each setup. I really enjoyed the overall challenge of having one team shoot an entire series rather than just a few episodes. It pushed all of us and has undoubtedly made me a better DP and filmmaker.
Shooting all ten episodes is a big job… how did you plan for that and remain match-fit during the production?
From the beginning, I approached this show as if we were shooting a film rather than thinking about blocks or episodes. I focused entirely on the story, treating each moment as part of a larger narrative. Whenever things felt unprepared or uncertain, I would return to the basics and ask myself: Where are we? Where did we come from? Where are we going? This approach kept me grounded and ensured that each scene served the story.
Having a team that fully believed in the vision made this even more possible. Their belief in me and the project gave me the confidence to face the demanding challenges of production. This show was a marathon, not a sprint— physically and mentally demanding. I thrive on the camaraderie and collaboration on set, where I can be creative alongside incredible technicians. Their commitment reinspired me every day, and it made all the difference, especially on a show as technically complex as this one.
I credit the success of principal photography to the fantastic crew and the strong preparation I had with Michael and Barry. The backing of vendors like Keslow Camera, who were dedicated to bringing my vision to life, also played a key role. Ultimately, the team’s collective effort pushed us through, allowing us to create something truly special.
How did this movie challenge you/push your technical and creative skills?
This project definitely significantly pushed my technical and creative skills. First, it was a brain teaser trying to maintain a consistent look on a non-linear, crossboarded show. Shooting the entire season meant I had to take full responsibility for the visual language across the series rather than just a pilot. That required consistency while allowing the look to grow with the story and stay true to the characters. Michael constantly pushed me to go further, challenging me to make the visuals more surreal and otherworldly, which forced me to stretch creatively. I valued that collaboration and left set each day feeling like I had done my best work.
Technically, the job was equally demanding. Our extensive camera and lens package gave us almost unlimited possibilities, but with that came the challenge of deciding how best to use those tools. Working with so many lenses, each with unique stops and characteristics required constant adjustment. Many of our anamorphic lenses had slower stops, which changed my approach to lighting compared to a clean T2 spherical lens. I had to feed a lot of light into the sensor to compensate for the stops and achieve the contrast levels I wanted, especially with our aggressive LUTs.
The process became one of constant self-evaluation. Watching dailies and adjusting my decisions based on what worked technically and creatively kept me engaged. It was a balancing act between the technical demands of different lenses and lighting setups and the creative drive to push the visual language forward. Still, it helped refine my approach as a DP and filmmaker.
