With a profession that started on the units of Godzilla, Males in Black and Far From Heaven, cinematographer Jay Feather reduce his tooth within the business as a digicam assistant earlier than stepping behind the lens as a director of images. His business work for manufacturers like Nike, Walmart and Dick’s Sporting Items laid the groundwork for his transition into tv, the place he helped form the visible model of HBO’s Veep over three seasons. Feather’s versatility has additionally been key to his success, contributing as second unit DP on Eastbound and Down and serving as NYC unit DP for Alan Ball’s high-octane Cinemax drama Banshee.
Jay Feather
Feather has been taking pictures the MGM+ present Godfather of Harlem, which is now in its fourth season. We reached out to him to speak about his workflow.
When did you begin on Godfather of Harlem?
Within the second season. It’s at all times a problem working inside a longtime aesthetic and integrating my very own imaginative and prescient, but it surely was a enjoyable problem on Godfather as a result of the script and characters are so wealthy.
How would you describe the look of the present?
The present is uniquely immersive within the sense that it’s an homage to the period by which it’s set. At its core, it’s a present about gangsters, but it surely takes a wider lens on the historic context and the politics of the period — in addition to how these layers have an effect on the characters as people. My job in that’s to determine how the lighting and digicam actions can improve the script.
The sequence is in Season 4, and also you’ve labored on all however Season 1. How has the look of the present developed over these 4 seasons, and what position did you play in that evolution?
Each season of Godfather has a barely completely different historic focus, so whereas the general look has remained pretty constant, every season requires some diversifications. The units are completely different, the places are completely different, new actors are launched — and I take all of that into consideration as I strategy the lighting. My colleague, DP Jack Donnelly, has labored on the present for the reason that starting, and I’ve to present him credit score for establishing the look, which has been an incredible basis to work from.
How do the showrunners clarify the look they need? Is there a lookbook?
Godfather’s showrunner, Chris Brancato, is a visionary. He has introduced collectively so many parts that folks don’t often anticipate finding collectively — each visually and conceptually. Swizz Beatz doing the music is a delicate however highly effective gesture to attach with as we speak. Chris’s use of poetic license all through the present, and his integration of the historic characters throughout the fictionalized narrative, is sensible and impressive… it’s a real pleasure to be part of bringing all of it collectively.
Do you’re employed with on-set LUTs and a DIT? How did you’re employed with the present’s colorist?
We have now one present LUT that we use the entire season. There isn’t any DIT. Our colorist is Rob Sciarratta from Image Store. He’s the perfect. We’ve been working collectively since I began on the present, and he is aware of precisely what we’re going for and delivers each single time.
The present shoots on Sony Venice with Leica lenses. Why was that the best alternative for this one?
I just like the Sony Venice for its low-light sensitivity. For lenses, we used a full set of Leica Summilux that was modified by Panavision New York, the Noir #1 [Editor’s Note: The Noir #1 lens is a specific adaptation or re-housing of existing Panavision lenses.].
I just like the Leicas due to how they render pores and skin tones. In addition they enable for deep, wealthy blacks. I wish to have a shallow depth of discipline, and I are likely to shoot at a 2.0 or huge open and the Leicas are a 1.4. The Noir will help take off the sharp edge that may occur with digital images.
What episode are you most happy with and why?
Episode 408, directed by Carl Seaton. I’ve labored with Carl each season, and he’s a real filmmaker. Once we block collectively, his concepts are at all times so artistic and expansive. He actually brings a complete new dimension to the storytelling. Episode 8 is heavy. It turns into clear that Bumpy is absolutely prone to being defeated and dropping all of it to the Italians.
Towards the tip of the episode, there’s a scene at Belmonte’s the place all of the stakeholders are sitting round a desk, and as a way to get the impact we wished right here, we reduce out the middle of a desk and used a distant head to shoot. It was an efficient solution to survey the stress across the desk. We then see that storyline fulfilled as Bumpy loses the battle.
Lastly, you’ve gotten shot many alternative genres. Do you’ve gotten a favourite, or can you discover one thing new every time?
I’ve at all times gravitated towards darkish comedy, however so long as I’m engaged on one thing with a compelling narrative and sophisticated characters, I’m completely happy. I’ve labored on the whole lot from satire to horror, and each mission has enabled me to combine completely different instruments and approaches to cinematography. Engaged on a interval piece like Godfather has been significantly fulfilling. A part of what I really like about being a cinematographer is the chance to work with so many alternative sensible creatives — from the actors and administrators to the visible results and stunt groups.
