Hi and welcome to season two of the Team Deacons podcast, a collection of

informal conversations between Roger and James Deacons and a guest. We never know where the conversation

will take us so listen in and see where it goes. This episode is sponsored by Aperture, a company with a global footprint spanning four continents.

Aperture is a driving force in LED cinema technology, renowned for their cutting edge lighting and

software solutions.

focused on enabling filmmakers to achieve their creative vision,

they've built a lighting ecosystem of over 20 different fixtures that can

be controlled wirelessly through their software platform, CITES Link. Today we're speaking with the cinema. link.

Today we're speaking with the cinematographer. His credits include Star Wars episode 8, Knives Out, and Glass Onion.

We're pleased to welcome Steve Yedlin. Steve, thank you for doing this.

Oh my God, thank you for having me. What an honor. Welcome. We'd love to start with

our normal question, which is, how did you get to where you are today? Is this what you always wanted to do or did you take a side path or how did you find it and what's your story?

Yeah, well I think in I think middle school was when I switched from just liking movies into kind of being

interested in how do they actually get made like what's the process of it and you know I

started just playing around with cameras and making home movies and little stop motion movies and stuff and then in high school I started volunteering to help out on student films and when I did that even though you know even though in a

lot of ways they're very ramshackle and they don't have the full departments

and division of labor and everything it was the first time I actually saw it even sort of where there's different there's a camera department and a lighting department and and it's separate and it and kind of when kind of the first time I saw that was I think when I gravitated specifically towards

cameras as opposed to, you know, just making movies in general.

And then I think I ended up sort of being lucky because I think the thing that the thing that drew me to it at the time was very just like,

ooh that camera is a cool thing and that never would have sustained my interest so I think you know you

know I'm very lucky that I still absolutely love it but for so many different

reasons it's so much more about the the narrative I also met Ryan Johnson, my longtime collaborator

...