Cinematography tricks from GLASS ONION DP Steve Yedlin ASC (full interview) 

I once had a Twitter argument with Steve about the use of the term 'crop factor'. By the end of it we were debating how many apples fit into a standard apple box and how it was or wasn't a good metaphor for a standard sensor size. I always respected him for getting into the weeds with an internet rando. Great interview.

Steve is the destroyer of marketing worlds! Anybody interested in cinematography should watch the two demos on his website! You don’t be the same after.

Oh WOW how did I NOT know about this channel, holy shit. What a channel!! I came here BECAUSE of Steve Yedlin, after reading a lot of his site articles and then searching for his interviews.

Really great perspective Steve has, combining practical and technical knowledge. Before listening to this, I discovered his Twitter thread where he breaks down the process and rigging it took to film the lighthouse sequence (as discussed in this recording). It includes pictures on set and some schematics of the rig. Highly recommend looking that up as a complement to this discussion.

Great show and great work as always. Enjoy your Guatemalan coffee 😉 (I’m Fabriccio’s brother)

Yedlin displays a stunning lack of understanding of high dynamic range video. It's not only about color space (P3-D65 in the case of Netflix) or hardware; it's also about the extended brightness that talented filmmakers and colorists can use to tell the story. A great example is Erik Messerschmidt's cinematography on Devotion and the masterful grading by Ian Vertovec. Shooting with HDR intent means different lighting ratios, not just increasing the brightness of specular highlights in post. It should be noted that trying to stretch a film shot with SDR in mind to HDR in post is much more difficult than going the other way 'round. Unfortunately, there's no shortage of either undisguised hostility or antipathy toward HDR by many filmmakers, 99% of shows have zero HDR intent, they're monitored in SDR on set, they're lit in an SDR environment and the very first time the DP sees the HDR version is in the grading suite. Like it or not, filmmakers who refuse to accept HDR will eventually be replaced by those who are able to tell compelling stories in the new medium.

Wonderful interview! I was especially interested in the HDR discussion.

Really love how everytime I listen to Steve Yedlin I experience instant enlightenment. Also it's is clear he's another person who's not enamoured by steadicam - looks like everything is going back to sticks/dollies or gimbals used on a track. Must be friends with Fincher.

Thank god, my insomnia is cured.

Don't worry Steve, I change all my friends and family TVs picture settings to remove all that BS marketing gimmicks 🤣

Invite and interview RRR cinematographer and it will be great fun.