Behind the Scenes With a Newark Cinematographer in NYC and Beyond
Award-winning cinematographer Ishell Vaughan shares the realities of shooting music videos and films in Newark, NYC, Miami, and Atlanta.
The Reality of Shooting in Newark and NYC
Newark’s industrial edges and NYC’s dense grids demand different approaches to lighting and movement. In Newark, I often work with natural light bouncing off brick facades or the Passaic River, using a RED Komodo for its compact form factor in tight locations. In Manhattan, it’s about embracing the chaos—shooting handheld with a Sony FX6 to capture the energy of a moving crowd or a subway platform without drawing too much attention.
Permits are a constant negotiation. In NYC, the Mayor’s Office of Media and Entertainment MOME enforces strict rules, and Newark’s film office, while more flexible, still requires coordination with local businesses. Budgeting for permits, security, and location fees can eat 10-20% of a mid-tier music video budget ($30K-$60K). That’s before factoring in union rates if you’re pulling in SAG-AFTRA talent.
Gear Choices for Versatility Across Markets
My core kit changes based on the city. In Miami, the humidity and bright sunlight mean I lean on ND filters and a matte box to control flare. A DJI RS 3 Pro gimbal is essential for tracking shots along Ocean Drive without the bulk of a dolly. In Philadelphia’s historical districts, I’ll opt for a simpler setup—an A7S III with a 24-70mm GM II lens—to navigate narrow streets and tight interiors without sacrificing image quality.
Atlanta’s booming production scene, as noted by Variety, means crews and equipment rentals are more accessible. But competition is fierce. I’ve found that bringing a specialized piece of gear, like a drone for aerial shots or a Blackmagic Pocket Cinema Camera 6K for low-light interiors, can set a project apart without inflating costs.
Working With Artists and Directors
Music video directors often have a vision that’s more abstract than a narrative filmmaker’s. I’ve worked with artists who want a single, unbroken take for an entire verse, which requires rehearsing camera movements and lighting changes in advance. In Newark, I once shot a video for a local rapper in an abandoned warehouse, using only practical lights and a couple of LED panels to keep the aesthetic raw and gritty.
Collaboration with directors is about balancing their creative goals with technical realities. If a director wants a 360-degree spin around the talent, I’ll assess whether a gimbal, a jib, or a drone is the most practical solution for the location and budget. For example, a recent project in Miami required a drone shot over the beach, but FAA regulations and local restrictions meant we had to pivot to a crane shot instead.
Budgeting for Multi-City Shoots
Shooting across multiple cities introduces layers of complexity. Travel, lodging, and freight for gear can add $5K-$15K to a budget, depending on the crew size. In Atlanta, where production infrastructure is robust, I can often source gear locally, but in Philadelphia or Newark, I’ll need to bring my own or rent from NYC.
One cost-saving measure is to batch shoots. If I’m already in Miami for a project, I’ll line up additional work to offset travel expenses. This is especially effective for music videos, where artists often have tight windows to release content. According to Billboard, the demand for quick turnaround on music videos has only increased with the rise of social media platforms like TikTok.
The Newark Advantage
Newark offers something unique: authenticity. The city’s post-industrial landscapes, diverse neighborhoods, and proximity to NYC make it a hidden gem for filmmakers. I’ve shot entire music videos in the Ironbound district, using its Portuguese and Brazilian cultural elements as a backdrop. The cost of living is lower than in NYC, which means production dollars stretch further.
That said, Newark isn’t without its challenges. Infrastructure for large-scale productions is still developing, and weather can be unpredictable. But for projects that need a raw, unfiltered look, it’s hard to beat. The city’s film office is also increasingly proactive, offering incentives and support to attract productions.
Wrapping Up
Every city has its rhythm, and as a cinematographer, my job is to find the visual language that matches it. Whether it’s the neon glow of Miami at night or the gritty textures of Newark’s backstreets, the key is to stay adaptable and resourceful. If you’re planning a shoot in any of these markets and want to discuss how to make it work, reach out through the contact page—I’m always happy to share insights or collaborate on a project.