Behind the Lens: A Newark Cinematographer’s On-Set Insights
Award-winning cinematographer Ishell Vaughan shares real on-set challenges, gear choices, and the realities of shooting in Newark and beyond.
Why Newark is an Underrated Production Hub
Newark’s proximity to New York City makes it a strategic base for cinematographers like me. The city offers tax incentives up to 35% for productions meeting certain criteria, which can be the difference between a project moving forward or stalling. But the real advantage is the diversity of locations—Industrial waterfronts, historic brownstones, and modern urban backdrops are all within a 15-minute drive. For a music video shoot I directed last summer, we used a repurposed warehouse in the Ironbound district, transforming it into a neon-lit club scene with a budget under $25K. The space was raw, but the lighting rig—ARRI Skypanels paired with Aputure 300D IIs—gave us the control we needed to match the client’s mood board.
Gear That Holds Up in Real-World Conditions
I’ve learned the hard way that not all gear is built for Newark’s humidity or the dust of a Philadelphia alley. My go-to camera for most commercial work is the RED Komodo, which balances weight and dynamic range without breaking the bank for clients. For music videos, where we often need to move fast, the Sony FX6 with its autofocus and low-light performance has saved shoots more times than I can count. Lenses are another story. The Canon CN-E primes deliver that cinematic look, but for run-and-gun days, the DJI Ronin-S with a Sigma 18-35mm gives us the flexibility to adapt on the fly.
What doesn’t get talked about enough is sound. Even in a controlled studio, Newark’s ambient noise—traffic, construction, the occasional helicopter—can ruin a take. I always bring a Zoom F6 recorder and a Sennheiser MKH 416 shotgun mic as a backup, even if the project has a dedicated sound team.
The Logistics of Shooting in Four Cities
Working across Newark, NYC, Miami, and Atlanta means juggling different permitting processes, weather, and crew availability. In Miami, for example, permits can take weeks to secure, and the heat can warp equipment if you’re not careful. Atlanta’s crew base is deep, but competition for the best talent is fierce. NYC is the opposite—plenty of crews, but permits and parking can eat into your budget faster than you’d expect.
One constant? The need for a solid production assistant. A good PA in Newark knows which streets to avoid for parking, which bodegas have the best coffee, and how to navigate the city’s bureaucracy without losing your mind. I’ve had shoots saved by a PA who remembered the exact wording needed to get a last-minute permit approved.
The Unseen Challenges of Music Video Production
Music videos are a different beast. The timeline is tight, the expectations are high, and the budgets can be unpredictable. I’ve worked on videos with budgets ranging from $10K to $150K, and the biggest lesson is that creativity often trumps cash. For a hip-hop artist’s video last year, we shot in a single location—a Newark park at golden hour—using natural light and a minimal crew. The result? A visually striking piece that Variety later highlighted in their roundup of standout music videos.
But the real challenge is collaboration. Artists often come in with a vision that’s more emotional than technical. My job is to translate that into something tangible—whether it’s a specific color palette, a camera movement, or a lighting setup that evokes the right mood. It’s not uncommon for me to spend hours in pre-production with a director, mapping out every shot before we even step on set.
Why the Pre-Production Process is Non-Negotiable
The best shoots are the ones where we’ve ironed out every detail in advance. That means storyboards, shot lists, and tech scouts for every location. For a recent commercial shoot in Philadelphia, we did a full tech scout two weeks before production. This allowed us to identify potential issues—like a power outlet that couldn’t handle our lighting rig—and adjust our plan accordingly. It’s tedious, but it’s the difference between a smooth day and a disaster.
I also make it a point to test every piece of gear before a shoot. Nothing kills momentum like a dead battery or a lens that won’t focus. And yes, I’ve had both happen. Now, I keep a backup of everything—even down to the smallest accessories.
The Reward of Seeing It All Come Together
There’s nothing quite like the first time you see your footage on a big screen. Whether it’s a music video playing on MTV or a commercial airing during the Super Bowl, the feeling is the same. But what I love most is the process—the collaboration, the problem-solving, the moments of unexpected creativity that turn a good shoot into a great one.
If you’re working on a project and want a cinematographer who understands the nuances of shooting in Newark and beyond, reach out. The contact page is the best place to start the conversation.