Behind the Scenes: A Newark Cinematographer’s Process and Perspective
Newark cinematographer Ishell Vaughan shares gear, budgets, and on-set realities from music videos and films shot across NYC, Miami, and beyond.
The Newark Advantage: Location as a Character
Newark’s industrial bones and raw energy shape the visuals I capture. The city’s post-industrial landscapes—think abandoned warehouses in the Ironbound or the skyline from Military Park—offer a grittier alternative to NYC’s polished backdrops. For a recent music video, we shot at the old Westinghouse factory, using its exposed brick and steel beams to frame the artist. The cost? A fraction of a Manhattan soundstage, with twice the authenticity.
Budget-wise, Newark’s permits are cheaper, too. A single-day shoot in a public space here runs $200–$500, compared to $1,000+ in NYC. That’s more money for lighting or an extra drone operator.
Gear for the Grind: What’s in the Bag
I pack light but precise. My go-to camera is the ARRI Alexa Mini LF for its low-light performance and dynamic range—critical for Newark’s dimly lit alleys or Miami’s harsh midday sun. For run-and-gun shoots, I switch to the Sony FX6, which handles 4K at 120fps without breaking the bank. Lenses? A mix of vintage Zeiss Superspeeds for character and modern Cooke Panchros for consistency.
Gimbals are non-negotiable. The DJI RS 3 Pro keeps shots smooth even when we’re moving through a crowded Atlantic City boardwalk. And for aerial work, the DJI Mavic 3 Cine is my workhorse—its Hasselblad sensor captures the Port of Newark’s cargo cranes in stunning detail.
Music Videos: Speed Without Sacrifice
Music videos demand speed. A typical shoot is one day, 12–14 hours, with a budget of $10K–$50K. The challenge? Delivering cinematic quality in that window. For a recent project with an up-and-coming artist, we used a RED Komodo 6K to shoot 6K raw, then downsampled to 4K in post. The result was crisp, punchy visuals that held up on a Billboard spotlight feature.
Lighting is where we cut corners—intelligently. Instead of renting a full LED panel setup, I use Aputure 300D IIs with softboxes. They’re portable, color-accurate, and cost a fraction of a Kino Flo system. For night scenes, I’ll bounce light off Newark’s brick walls to create texture without extra gear.
Collaborating Across Cities
Working in Miami, Philadelphia, and Atlanta means adapting to local crews and conditions. In Miami, the humidity wreaks havoc on sensors, so I always pack silica gel packs and a lens pen. Philadelphia’s tax incentive program makes it a great spot for indie films—we shot a short there last year with a $25K budget, using the city’s historic streets as a stand-in for 1970s New York.
Atlanta’s music scene is unmatched. The city’s infrastructure—from Tyler Perry Studios to the local grip houses—makes it easy to scale up. For a recent project, we leveraged Atlanta’s talent pool to pull off a 20-person cast in 24 hours, a feat that would’ve been impossible in Newark’s smaller market.
The Unseen Work: Pre-Prod and Post
The best cinematographers spend as much time in pre-production as they do on set. I start with a mood board—colors, textures, references from films like *Moonlight* (shot in Miami) or *The Dark Knight* (which used Newark as a Gotham stand-in). Then comes the shot list, which I refine with the director until every frame is accounted for.
Post-production is where the magic happens. I work closely with editors to ensure the color grading aligns with the vision. For a recent project, we used DaVinci Resolve to push the shadows into deep blues, a nod to the artist’s mood. The Hollywood Reporter has noted how color grading can elevate even modest budgets—something I keep in mind for every project.
Ready to Collaborate?
If you’re planning a shoot in Newark, NYC, or beyond, let’s talk. Whether it’s a music video, commercial, or indie film, I bring the technical precision and creative eye to make it stand out. Reach out via the contact page to start the conversation.