Inside HBO Max’s The Pitt: Cinematography & Production
Inside HBO Max’s The Pitt: Cinematography & Production
In the high-stakes world of medical dramas, authenticity is key. But how do you create a visual language that captures both the frenetic energy of an emergency room and the internal lives of the doctors and patients who inhabit it? That was the challenge facing cinematographer Johanna Coelho on HBO Max’s The Pitt. The new medical drama takes a fresh perspective unfolding over a single, continuous 15-hour shift. In this exclusive Finding the Frame Podcast interview, host Chris Haigh delves into Coelho’s unique approach, her journey from France to Hollywood, and the innovative techniques she employed to bring The Pitt’s intense, immersive world to life.
This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.
JOHANNA COELHO: A CINEMATOGRAPHER’S JOURNEY
Johanna Coelho’s path to becoming a sought-after cinematographer results from her passion for visual storytelling and her willingness to embrace diverse experiences. Her background is a fascinating blend of European and American influences. She studied at the prestigious Sorbonne in Paris but also honed her technical skills at a technical school in France. The latter helped ground her artistic vision in a solid understanding of the craft. Coelho further refined her skills at the American Film Institute (AFI) in Los Angeles. She was drawn to the city’s vibrant film industry and the opportunity to merge her love for emotionally driven storytelling with a more expansive visual language.
Photo courtesy of Johanna Coelho
Coelho describes herself as a “visual psychologist,” a phrase that perfectly encapsulates her approach to cinematography. She’s not simply capturing images. She’s interpreting the emotional states of characters, translating their inner worlds into a visual language that resonates with the audience. This approach is evident in her work across a range of genres. These include everything from documentaries to horror films to episodic television like The Rookie and now, The Pitt.
THE PITT: INSIDE A 15-HOUR SHIFT
The Pitt is not your typical medical drama. Inspired by shows like ER, but aiming for a heightened sense of realism, the series unfolds in real-time over a single 15-hour shift in a busy Pittsburgh emergency room. This ambitious concept demanded a unique visual approach. One that could capture the constant movement. The unpredictable nature of medical emergencies, and the emotional toll on the staff.
The show’s creators, including executive producer John Wells (known for ER and The West Wing), were adamant about avoiding the clichés of the genre. They showed Coelho examples of other medical dramas and explicitly stated, “This is exactly what we don’t want.” This mandate for a fresh, authentic visual style perfectly aligned with Coelho’s approach.
CREATING A 360-DEGREE WORLD: LIGHTING AND SET DESIGN
One of the most striking aspects of The Pitt’s production was the creation of a fully functional, 360-degree set. This wasn’t a collection of disconnected rooms. It was a complete, interconnected environment where the camera could move freely, capturing the action from any angle. This immersive approach was crucial for achieving the show’s desired sense of realism and immediacy.
Coelho collaborated closely with production designer Nina Ruscio to design the lighting for this unique set. They faced a significant challenge: how to light a space that could be viewed from any direction. All without relying on traditional film lighting techniques (which often involve placing lights and stands outside the set, pointing in).
Photo courtesy of Johanna Coelho
An Ingenious Lighting Solution
Their solution was ingenious: to integrate the lighting into the set itself. They meticulously tested and selected different types of fluorescent troffers for the ceilings, eventually replacing the standard tubes with custom-built LED strips. These strips, bi-color and dimmable, provided a consistent, natural-looking base light that could be adjusted to match different times of day and create subtle shifts in mood. They also chose 50 shades of white for the walls.
They also incorporated practical lighting — lamps, overhead cans, and other fixtures — into the set design. These practicals not only added to the realism but also provided motivated sources of light that Coelho could use to shape the image and create depth. For example, warmer-toned cans were used above doorways, providing a subtle contrast to the cooler overhead lighting.
Photo courtesy of Johanna Coelho
This integrated approach to lighting allowed for an unprecedented level of freedom and flexibility. The camera could move seamlessly through the space, capturing long, continuous takes without the need for constant relighting. It also created a more immersive environment for the actors. Thus, allowing them to move and interact naturally without being constrained by traditional lighting setups.
CAMERA MOVEMENT AND LENSING: CAPTURING THE CHAOS
The camera work in The Pitt is as dynamic and unpredictable as the environment it depicts. Coelho chose the ARRI Alexa Mini LF as her primary camera, appreciating its compact size, large-format sensor, and cinematic image quality. This allowed for a handheld, documentary-style approach, putting the viewer right in the middle of the action.
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Lens Choices
The choice of lenses was equally crucial. On the A-camera, Coelho primarily used Angénieux Optimo Primes (often a 50mm or 75mm). These provided a consistent visual language and a naturalistic perspective. The B-camera, often used to “steal shots” and capture unexpected moments, was equipped with an Angénieux Optimo Ultra Compact Zoom (37-102mm). This zoom lens allowed the B-camera operator, Aymae Sulick, to quickly reframe and capture details without interrupting the flow of the main action.
Camera Rig
One of the most innovative techniques employed on The Pitt was the use of the “Z-rig” (also known as a Zero-G). It’s a handheld camera support system that utilizes a Steadicam vest and arm. This rig allows for the fluid, dynamic movement of a handheld camera, but with significantly greater stability and control. It also allows the operator to change camera height seamlessly, following actors as they move through the space.
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This combination of camera, lenses, and support systems allowed Coelho and her team to capture the chaotic energy of the emergency room while maintaining a cinematic aesthetic. The camera moves with the characters, following them through crowded hallways, capturing their interactions, and immersing the viewer in the heart of the drama.
AI’S ROLE IN THE PITT: ENHANCING, NOT REPLACING
While The Pitt embraces a naturalistic, documentary-inspired aesthetic, Coelho is not averse to using new technology to enhance the filmmaking process. She acknowledges the growing role of AI in filmmaking but emphasizes that it should be used as a tool, not a replacement for human creativity.
For example, AI could potentially be used for tasks like…
SHOT LISTING AND STORYBOARDING
AI could analyze a script and suggest potential shot lists or storyboard ideas, based on established cinematic conventions or the styles of specific directors.
LIGHTING PREVISUALIZATION
Likewise, artificial intelligence could be used to simulate lighting setups in a virtual environment, allowing cinematographers to experiment with different looks and plan their lighting strategies more efficiently.
COLOR GRADING
Additionally, AI could assist with color grading tasks, such as matching shots or creating consistent looks across a scene.
OBJECT REMOVAL
With a 360 set, there are bound to be moments when a crew member is seen on camera. AI could assist with removing the person.
However, Coelho stresses that AI should not replace the human element of filmmaking. The artistic vision, the emotional interpretation, and the collaborative spirit that define the best cinema cannot be replicated by algorithms. AI should be seen as a tool to augment human creativity, not to supplant it.
ADVOCATING FOR LOS ANGELES: A CALL TO ACTION
Coelho also expresses her concern about the current state of the film industry in Los Angeles, with many productions moving to other states or countries due to tax incentives and lower costs.
She advocates for more film productions to be based in Los Angeles, supporting the local film industry and the talented crews who call the city home. This is a sentiment shared by many filmmakers who value the unique skills, resources, and creative energy that Los Angeles offers.
THE BOTTOM LINE
Johanna Coelho’s work on The Pitt exemplifies the power of innovative filmmaking techniques and a deep understanding of visual storytelling. Her blend of documentary-style realism with cinematic artistry, her collaborative approach, and her willingness to embrace new technologies make her a cinematographer to watch. Coelho’s journey from France to Hollywood is an inspiring example of how passion, dedication, and a willingness to learn can lead to success in the competitive world of filmmaking.
FINDING THE FRAME PODCAST AND FILMMAKERS ACADEMY: A RESOURCE FOR ASPIRING FILMMAKERS
This article is based on an interview with Johanna Coelho on the Finding the Frame Podcast, a valuable resource for filmmakers seeking insights from industry professionals. The podcast, hosted by Chris Haigh, provides a platform for in-depth conversations with cinematographers, directors, production designers, and other key figures in the film industry.
Filmmakers Academy offers a comprehensive online learning platform for aspiring and established filmmakers. Filmmakers Academy provides the knowledge and skills needed to succeed in the industry. Get courses covering all aspects of filmmaking, from cinematography and lighting to editing and sound design.
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This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.
