By Randi Altman
Executive produced and co-created by Dave Andron (along with John Singleton, Eric Amadio), FX on Hulu’s Snowfall is now streaming its entire fourth season. This gritty series follows the rise of the crack epidemic in the mid-1980s and revolves around several characters living in South Central LA, including a young drug dealer named Franklin Saint (Damson Idris).
Tommy Maddox-Upshaw
Cinematographer Tommy Maddox-Upshaw, ASC, has worked on Seasons 3 and 4 — sharing some of the load with DP Eliot Rockett.
We reached out to Maddox-Upshaw, whose other TV credits include Empire, Huge in France and On My Block, to talk about his workflow and how the show’s look has evolved.
Can you talk about the look that was established in Season 1 and how that’s evolved over the seasons?
Seasons 1 and 2 were very linear story arcs that were defined by an almost monochromatic palette for the main characters. The story diverged from linear storylines of three colors to blended by the end of Season 3. I followed the arc of the story and kept twisting and blending color following the storyline.
How would you describe the show’s look?
The show’s look is very aggressive and complex within the storyline itself. As Franklin’s web is weaved, the intricate nuances in the approach are almost like jazz and what visually feels right to the black-and-white of the page. With the occasional aesthetic solos, because the moment is so emotionally charged and shifting, I may try something a bit more extreme and visually fun.
How does showrunner Dave Andron explain the look he wants?
Dave does a great job explaining the story and look in the writers’ room at the beginning of the season and at the tone meetings.
Can you talk about the challenges of night shoots and lighting for the show?
I approach night work much like my daytime interior work and watch what’s best with the directors’ blocking.
What about the chase sequences?
I follow the directors’ leads and ask Dave who has the bigger moment as an anchor point.
How do you work with the colorist on the show?
Technicolor’s Pankaj Bajpai is amazing, and he helped set up the tone from the beginning. He knows the story, and we start there in collaboration.
How did you go about choosing the right camera and lenses for this project?
I chose the Sony Venice because I felt it’s a great tool and gives the best neutral starting point to manipulate the image. I chose the Zeiss Super Speeds with Eliot Rocket because it felt right.
Any scenes that you are particularly proud of or found most challenging?
In Episode 402, lighting the warehouse for the shootout scene, there were a lot of people to cover in a big space for the setup, and then executing the shootout itself. It was a great time lighting the warehouse at night with Black actors in black wardrobe.
Now more general questions….
How did you become interested in cinematography?
I was exposed to the business through my sister Kyla, and I already had an affinity for films because of people like Spike Lee, John Singleton and Steven Spielberg. My sister got me on the set of a music video in 1996 with legendary director Hype Williams, and I was hooked.
Where do you find inspiration?
I find inspiration from many things, especially people like Barron Claiborne, Gregory Crewdson, Gordon Parks. And from Instagram, to be honest.
What new technology has changed the way you work, looking back over the past few years?
The Sony Venice has changed how I approach my work tremendously with the dual ISO and its dynamic range and color space.
What are some best practices that you follow on each job?
Asking, “What’s the story arc, or is there a story arc at all?”
Does your process change at all when working on a film versus an episodic or vice versa?
For me, episodics and film are truly the same approach now in this movement of television. Anyone who says otherwise is crazy. Snowfall is a big feature film each season.
Tommy Maddox-Upshaw
Explain your ideal collaboration with the director when setting the look of a project.
If a director and I can take a good amount of time, like months, and develop a language for a film together — referencing anything that can express different aspects of the script and overall feel — that’s when I’m truly happy going into a show or movie because we have an emotional plan that speaks to the script.
What’s your go-to gear (camera, lens, mount/accessories) – things you can’t live without?
Whatever gear is best for the script itself and what is going to reflect the most seamless route to getting the visual language agreed upon. I like to switch things up because all stories are not the same. If anything, with my Odyssey 7Q and the Sony Venice, I know I can take on the challenge at a good starting point.
Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years.
