Behind the Lens: A Newark Cinematographer’s On-Set Insights
Award-winning cinematographer Ishell Vaughan shares the realities of on-set work in Newark, NYC, and beyond—gear, budgets, and local challenges included.
The Newark Advantage for Production
Newark isn’t just a city—it’s a production hub with untapped potential. The proximity to New York City means we can pull from the same talent pools and rental houses, but with lower permit costs and less competition for locations. For a music video shoot, I’ve secured permits for Liberty State Park or the Ironbound district for a fraction of what Manhattan would cost. The city’s industrial backdrops, like the old factory spaces in the South Ward, offer grit that’s hard to replicate elsewhere.
Gear That Holds Up in the Field
On set, reliability is non-negotiable. For most commercial and music video projects, I pair the ARRI Alexa Mini LF with a set of Cooke S7i primes. The Mini’s compact form factor is ideal for tight spaces, whether we’re in a Newark loft or a cramped Philadelphia green room. For run-and-gun work, the Sony FX6 with a DJI RS 3 gimbal gets the job done without breaking the budget—typically $2,500–$4,000 for a full day’s rental, including lenses and support.
Lighting in Newark often means contending with unpredictable weather. I lean on Aputure 300D II units for their portability and color accuracy, especially when shooting in mixed lighting conditions. The city’s older buildings can throw off weird color temperatures, so having a reliable LED source is key.
Budget Realities in the Tri-State Area
Production budgets in the NYC-NJ-Philly corridor vary widely. A mid-tier music video for an independent artist might land between $15,000 and $25,000, with most of that allocated to crew, gear, and post. Newark’s lower overhead helps stretch those dollars further—crews here are just as skilled but often more accessible than their NYC counterparts.
For commercial work, clients expect a higher polish. I’ve shot campaigns for brands like Nike and Red Bull in this region, where budgets can exceed $100,000. The key is balancing the client’s vision with the practical constraints of the location. Forbes has noted how brands are increasingly leveraging regions like New Jersey for their cost efficiency without sacrificing quality.
Navigating Local Logistics
Every city has its quirks. In Newark, parking is a constant headache, so I always budget for a dedicated location scout and PA to secure spots in advance. Philadelphia’s narrow streets can complicate equipment transport, while Miami’s humidity demands extra attention to lens fogging. Atlanta’s sprawl means longer load times, so I factor in buffer time for travel between locations.
Permits are another hurdle. Newark’s film office is streamlined, but NYC’s can be a maze. For a recent project, we shot in Jersey City and had to coordinate with both local and state authorities to ensure compliance. It’s not glamorous, but it’s part of the job.
The Collaborative Process
A cinematographer’s role isn’t just about framing shots—it’s about translating the director’s vision into visuals. I work closely with directors to storyboard and shot-list before stepping on set. For music videos, I often collaborate with artists to understand their aesthetic preferences. Billboard has highlighted how visual storytelling is becoming as critical as the music itself, and I’ve seen that firsthand in projects for artists like H.E.R. and A Boogie wit da Hoodie.
Post-production is where the magic happens. I deliver raw footage to editors with detailed notes on color grading preferences, ensuring the final product aligns with the creative direction. Tools like Adobe Premiere Pro and DaVinci Resolve are industry standards, but the real work is in the collaboration.
Ready to Create
If you’re planning a project in Newark, NYC, or beyond, let’s talk. Whether it’s a music video, commercial, or narrative piece, I bring the technical expertise and local knowledge to make it happen. Reach out via the contact page to start the conversation.