By Randi Altman

Hip Hop Uncovered is a six-part docuseries from FX that tells the stories of the “king makers” behind the big names of hip-hop. It follows five of these power brokers — Big U, Deb, Trick-Trick, Bimmy and Haitian Jack — and tells the story of how this genre became the voice of the streets. Some of the biggest names in hip-hop, including Snoop Dogg, T.I. and Dr. Dre, weigh in on the force that hip-hop became and the culture that erupted from the genre.

Robert Benavides

The series was executive-produced by Rashidi Natara Harper, who also directed, and by Malcolm Spellman, Jonathan and Simon Chinn, Eugene “Big U” Henley, Jimmy “JimBob” Chris, Douglas Banker, BJ Levin and Stephen Neely.

Director of photography Robert Benavides describes the show, which features stock imagery, candid interviews and vérité elements, as elegant. We reached out to Benavides to find out more about his work on Hip Hop Uncovered.

How early did you get involved, and what direction did Rashidi Harper give you about the look he wanted?
I had heard about the idea a few years back when Rashidi Harper and Malcolm Spellman were pitching it around Hollywood. When they got the green light, I was asked to join the team. Rashidi was very adamant that he wanted as much shot at night as possible. In the music world, so much happens at night, and Rashidi wanted to reflect that atmosphere. We also knew we did not want a “reality TV” approach. We wanted to treat our subjects with respect, gain their trust and open up as much as possible. In that regard I can say we succeeded 100%. 

“Trick-Trick” Christian Mathis

The project features some stock image and newly shot interviews. How would you describe the look of the show?
The word I use to describe the show is “elegant.” We strove for the highest production value we could achieve. The archival and graphics package in the show is a great aspect, giving the audience knowledge about the politics in the US and how it affected conditions in the inner cities. The look of the show combines candid interviews and vérité elements.

How did you work with the director and colorist to achieve the intended look?
One key tool I decided to use early on was the EyeDirect device. I wanted all five interview subjects to look directly into camera. These people are revealing stories that have never been offered before on camera. We wanted that told directly looking at the audience and to break the fourth wall. The ancillary interviews with the supporting cast are done in a traditional manner looking “off camera.” Rashidi Harper is an extremely visual director, and we had in-depth conversations about how we would use color and tone to achieve our intent. Santiago Padilla, our colorist at Technicolor, was also key in that. We have both worked with him over the years and have a great relationship. 

Debra “Deb” Antney

Where was it shot, and how long was the shoot? Were you traveling to interview subjects or did they come to you?
The shoot lasted roughly a year and some change. We shot in Los Angeles, NYC, Detroit, Atlanta and the Dominican Republic. Generally we went to the subjects. In particular, we had to go to the Dominican Republic to film Haitian Jack, who is very elusive and has been under what one might call a self-imposed exile from the US. He had not been photographed/covered in such a manner before, and we are proud to be the first to do it.

How did your background in music affect how you shot?
I started out in hip-hop music videos, so it has a strong influence. I grew up in the culture during the golden age of the mid to late ‘80s, so a lot of this is close to my heart. We wanted this show to be stylized and informative but also entertaining. I think we pulled that off well.

How did you go about choosing the right camera and lenses for this project?
We went with the Sony FS7 and Fujinon Cabrio zooms for the studio work and lightweight Optimo zooms for the vérité work. Assorted primes were used for car mounts and b-roll work as well. Many times we needed to be able to jump from a studio interview directly into vérité due to schedule, so we also used the Easyrig at times. We shot a lot at night and in available light at times, so the sensitivity of the camera was an asset.

Pictured: (L-R) Eugene “Big U” Henley, Fly and TI

Can you talk about the lighting?
No back light! (laughing) That was one rule I adhered to. We wanted to have a stylized-yet-organic feel. I’m not a huge fan of back light and usually prefer to separate the subject by lighting the background when possible. We also used primary colors a lot to spice up the look so it’s not just “traditional” talking heads.

I used strong negative fill to get contrast and rich blacks. These cameras are so sensitive now that you really need to work as much as possible on set to achieve that desired look in-camera. In general, we tried to keep it 3/4 key light with interesting backgrounds. A lot of the approach as well is about what you don’t see. We wanted some mystery in the show.

Any challenging scenes that you are particularly proud of?
I really like a lot of the work we did in the Dominican Republic. We were on a tight schedule and had a one-unit team. This meant after we did interviews, we had to race to shoot b-roll/scenics. When we shot Haitian Jack’s b-roll/vérité in Santo Domingo, it was a race against the sun setting. I had scouted locations the day before, so I knew the spots and angles I wanted. The challenge was to make amazing images under that time duress in an active neighborhood.

Jacques “Haitian Jack” Agnant

By planning the angles with the direction of the sun and moving very fast, we got what we needed. We knew we might never go back there, and we left knowing we captured it. One of the streets we chose, I later discovered, was used in The Godfather: Part II. I thought that was very serendipitous.

Now more general questions….

How did you become interested in cinematography?
I was fortunate enough to discover I wanted to do this at an early age. Junior year in high school, I got deep into photography. I studied the greats, from Robert Frank, Henri Cartier-Bresson, Garry Winogrand and more. Later, in my senior year, I saw Raging Bull. It merged my love of black-and-white photography and motion. I have a very visceral memory of that moment. It was the shots of the dripping blood on the ropes, and it struck me. I was hooked. I am a huge boxing fan, and Raging Bull is the holy grail to me, as it combines both my passions.

What inspires you artistically?
I think authenticity inspires me. As I continue to do this work as a cinematographer, I look for interesting stories on the human condition. This can be a narrative script, a documentary or even a small piece of content. We are here for a short time on this planet. We need to make it count.

Robert Benavides

Are you always looking into the latest technology?
I joke that I am a bit of an analog head. While I keep up with the technology, I still believe that it’s not the camera, per se, but what you do with the camera. That said, I am amazed at how sensitive these cameras have gotten, and they have opened up possibilities of shooting in dark areas you would have never been able to do before. In the documentary space, this has opened up a new world.

What new technology has changed the way you work?
I think LED lights play a key role in that. Budgets and time got tighter. Moving fast with lighter gear is an asset. Smaller cameras that deliver great quality have also been interesting to see.

What are some of your best practices or rules you try to follow on each job?
Communication is key. We live in a world of smartphones and fast information. I tell my crew never to assume anything — speak to each other. Respect is key. This is a stressful business already. I want to have the most positive experience possible on the job.

Explain your ideal collaboration with the director or showrunner when starting a new project.
Again, be communicative. Be transparent. Share. The more we know, the smoother things can go. An ideal collaboration to me is that we plan and discuss as much as possible going into a project. If we have that, then when a situation arises, we can all adapt and pivot quickly because we have laid down a foundation in preproduction.

Robert Benavides

Film is like life — you have to be ready for a curveball at any time. Having good key discussions is paramount because we can discover things in story or aesthetics via dialogue. Sometimes I may get an idea about a visual approach not from an image reference, but from something the director has revealed in conversation.

What’s your go-to gear… things you can’t live without?
I have always been an ARRI fan. But like I said, I’m not really a “gear head,” so I would say that lenses are something I like to explore. I like the wide array of lenses in the world now, from new glass to vintage glass. I like those vintage elements combined with new camera technology.

Some apps on your phone now — from a preview lens view to sun placement — are probably what I use most. I still believe those are just tools, and it’s what you do in your intent and craft that will always shine through at the end of the day.

Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years.