Behind the Scenes With a Newark Cinematographer: Realities and Gear
Award-winning cinematographer Ishell Vaughan shares the logistics, gear, and city-specific realities of shooting in Newark and beyond.
The Newark Advantage: Why This City Works for Production
Newark’s proximity to NYC is the most obvious draw, but the real advantage is cost. Permit fees here are a fraction of Manhattan’s, and locations like the Ironbound or the Port District offer gritty, authentic backdrops without the tourist crowds. I’ve shot entire music videos in abandoned warehouses off Port Newark for under $15K, including crew and gear. Compare that to Brooklyn, where the same space would run $25K or more, and the math is simple.
The city’s infrastructure also means easier access to specialty rentals. Companies like AbelCine in NYC are a 20-minute PATH ride away, so picking up a RED Komodo or a set of Cooke S7i primes doesn’t require a cross-country flight. For indie projects, this cuts both time and budget.
Gear That Moves With You
Music videos demand mobility. For most projects, I run a dual-camera setup: an ARRI Alexa Mini LF as my A-cam for its low-light performance and skin tones, paired with a RED Raptor for B-roll and slow-motion sequences. The Raptor’s 8K sensor gives me flexibility in post, especially when clients want to crop for social media deliverables.
Lenses are where the look lives. I lean on the Angénieux Optimo 15-40mm for wide, cinematic shots that feel immersive, and the Zeiss Supreme Prime Radiance for portraits—those flares are unmistakable. For run-and-gun days, the Sigma FF High Speed Prime line is a budget-friendly alternative that punches above its weight.
Budgeting for the Unexpected
Newark’s unpredictability is part of its charm, but it demands padding in the budget. Weather can change fast, and permits for public spaces often come with last-minute stipulations. I typically allocate 15-20% of the total budget for contingencies—enough to cover an extra shoot day or a last-minute location change.
Lighting is another variable. Indoor spaces in older buildings often have poor electrical setups, so I always bring a portable power station like the Anton/Bauer Titon or a generator. For exterior shots, Newark’s industrial areas can be dark at night, so I rely on LED panels like the Aputure 600D Pro for configurable, color-accurate light.
The Logistics of Multi-City Shoots
Most of my work spans Newark, NYC, Miami, and Atlanta. Each city has its own rhythm. In Miami, permits are straightforward but expensive; in Atlanta, the tax incentives make it a no-brainer for larger productions. Philadelphia is the wildcard—cheap, but with fewer established vendors, so I plan gear rentals in advance.
Transporting equipment across cities is a science. I use Pelican cases with custom foam inserts to protect lenses and bodies, and I never check them on flights. For longer drives, I rent a Sprinter van with a lift gate—saves my back and the gear.
Collaborating With Directors and Artists
A music video’s success hinges on the relationship between the cinematographer and the director. I’ve worked with artists who have a clear vision and others who need guidance. Either way, the pre-production meeting is non-negotiable. We align on references, shot lists, and the emotional arc of the video. For example, a mood board inspired by Kendrick Lamar’s “HUMBLE.” might call for stark lighting and wide-angle lenses, while a more intimate project could lean on shallow depth of field.
On set, I keep communication open. If a shot isn’t working, I’ll suggest an alternative angle or lighting setup. The goal is to deliver the director’s vision, not my own. That said, my experience often helps refine ideas into something executable within the constraints of time and budget.
Why Newark Keeps Me Coming Back
Newark’s energy is unmatched. The city’s diversity of locations—from the historic theaters downtown to the industrial waterfront—means I can shoot a high-fashion piece in the morning and a gritty narrative by afternoon. Plus, the local crew scene is tight-knit and talented. I’ve built relationships with grips, gaffers, and PAs who understand the city’s quirks.
If you’re planning a shoot in the region and want a cinematographer who knows the ins and outs, reach out. My contact page is open, and I’m always up for a conversation about your project’s needs.