Capturing Light - A Director of Photography's Podcast
Aug 14, 2026 · 42 min · 18 segments
## In this episode, we talk about - **Ren: The Girl with the Mark – Season Three** - Showrunning and being a DP - Technical aspects of the show ## **Director of Photography: Neil Oseman**…
Neil OsemanGuest
Les GaddisHost
And, um, I guess it's, it's interesting kinda seeing, um, you know, like season one and then jumping to season three, like you, you have like a combination of action and then dialogue.
Like are you, um, like do you prefer like more of the intimate dialogue scenes or, I mean, I, I'm sure the action scenes are fun to shoot as well too, and it's just like how do you navigate between the two?
Uh, and I think, you know, sometimes with a dialogue scene, you know, we had a, in, in episode three this season we have a, a scene where, you know, in the script reading it, it could've been quite complicated blocking, but, uh, d- the director, Jo again, decided to keep it pretty simple and just have the two characters sitting on the floor opposite each other.
Um, and it was, the coverage really was a, was a two-shot and a, a couple of over the shoulders in, in different sizes.
Um, and, uh, which, which absolutely worked for the scene Uh, and, uh, you know, the nice thing about that as a DP is you can go, "Well, you know, we're just gonna do a classic cross back light."
Uh, we know we're not gonna see over here and over here, so the lights can just be on stands, um, and we can get it looking really nice for, for every shot.
Um, with, with fight scenes you are, um, particularly if they're, if they're fight scenes you're lighting 'cause they're interiors, then you're lighting a space really, um, and, uh, quite often not doing much tweaking of, of lights because there isn't time.
Uh, you know, even though we allow a lot more time in the schedule for, for fights than, than dialogue, um, yeah, it always seems to be a, a scramble to get all the coverage done.
And an interesting thing this season was, you know, that there's that classic thing that DPs do with fight scenes which is, uh, turn the shutter to 90 degrees-
Um, and I've always resisted doing that, um, partly 'cause, uh, I often didn't have enough light, and partly 'cause I thought, "Oh, it's a cliche.
I don't just wanna do it the way everyone else does it." Um, and, uh, on this season I finally tried it, and, uh, instantly I was like, "Oh, okay.
And, um, I guess it's, it's interesting kinda seeing, um, you know, like season one and then jumping to season three, like you, you have like a combination of action and then dialogue.
Like are you, um, like do you prefer like more of the intimate dialogue scenes or, I mean, I, I'm sure the action scenes are fun to shoot as well too, and it's just like how do you navigate between the two?
Uh, and I think, you know, sometimes with a dialogue scene, you know, we had a, in, in episode three this season we have a, a scene where, you know, in the script reading it, it could've been quite complicated blocking, but, uh, d- the director, Jo again, decided to keep it pretty simple and just have the two characters sitting on the floor opposite each other.
Um, and it was, the coverage really was a, was a two-shot and a, a couple of over the shoulders in, in different sizes.
Um, and, uh, which, which absolutely worked for the scene Uh, and, uh, you know, the nice thing about that as a DP is you can go, "Well, you know, we're just gonna do a classic cross back light."
Uh, we know we're not gonna see over here and over here, so the lights can just be on stands, um, and we can get it looking really nice for, for every shot.
Um, with, with fight scenes you are, um, particularly if they're, if they're fight scenes you're lighting 'cause they're interiors, then you're lighting a space really, um, and, uh, quite often not doing much tweaking of, of lights because there isn't time.
Uh, you know, even though we allow a lot more time in the schedule for, for fights than, than dialogue, um, yeah, it always seems to be a, a scramble to get all the coverage done.
And an interesting thing this season was, you know, that there's that classic thing that DPs do with fight scenes which is, uh, turn the shutter to 90 degrees-
Um, and I've always resisted doing that, um, partly 'cause, uh, I often didn't have enough light, and partly 'cause I thought, "Oh, it's a cliche.
I don't just wanna do it the way everyone else does it." Um, and, uh, on this season I finally tried it, and, uh, instantly I was like, "Oh, okay.
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3 of 9
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A decade-long fantasy project began with volunteers.
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A fight-scene trick finally changed his mind.
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