For cinematographerLuke Cormack, filming the National Geographic seriesDavid Blaine: Do Not Attemptwas an exercise in capturing the raw, unscripted moments of human connection and extraordinary feats. Luke leaned into his experience as a wildlife documentarian to patiently wait for the perfect, instinctual moments to unfold. The goal was not to capture polished performances, but the raw, visceral reactions from Blaine and the people he encountered on his global journey. “David’s not an actor or a host. We would have to create these ‘biospheres of spontaneity.’ So he can just get in there and be his most genuine self without you ever saying, ‘Oh, stop, David. Can you do that again?’ That just doesn’t work at all,” says Luke. “You have to constantly be looking for those little pieces of magic and those pieces of magic are usually when you’re setting something up or your eye isn’t on the ball.”
David Blaine: Do Not Attemptis not about magic, but about finding people in cultures around the world who perform real, extraordinary feats that look like magic. The series follows Blaine as he travels to nine countries, including Brazil, India, and Japan, and learns about their unique skills, lifting the veil behind those tricks. For the documentary crew, capturing this “magic” required a dedication to true verité techniques. This involved location scouting to determine optimal camera placements that would feel both intimate and unobtrusive. The producers also prepared the local performers for Blaine’s arrival, allowing for natural, unscripted interactions.
Luke’s strategy often involved a subtle deception. He would keep the cameras rolling long after a scene appeared to have wrapped, patiently waiting for the “in-between moments” that often yielded the most candid footage. “That true verité, I feel like that’s where we got all our nuggets. We’d often put everyone at ease as you actually pretend to stop filming,” he says. “When everyone thinks you’ve got the scene, you just keep rolling. And you kind of look away from the viewfinder a little bit, maybe relax your body language, and that’s usually when he’ll turn around and say something amazing.”
This philosophy of patient observation required the camera crew to be constantly vigilant, nimble, and able to blend into the background. The use of lower-profile Ronin 4D cameras was key to allowing the crew to navigate large crowds without drawing attention. To elevate the visual storytelling, Luke chose high-end prime and zoom lenses. He hired special crews for high-stakes sequences, such as filming with sharks underwater in South Africa or skydiving in the Arctic Circle.
The crew’s collaboration was often wordless, staying present and dedicated to capturing authentic interactions. They relied almost exclusively on natural light, repositioning themselves to find the most flattering illumination rather than directing the subjects. The unpredictable nature of Blaine’s performances in public spaces also meant that the crew had to be prepared for anything. “We traveled to nine different countries and a lot of it is crowd control,” Luke explains. “Like once you blow someone’s mind and they’re standing there with a group of 10, it becomes a group of 50 very quickly. And then you’re trying to get your shots and get in there and try and get the magic of it. But the whole time, you still have to keep your head on a swivel, have an exit strategy, realize that crowds can get dangerous really quickly, depending on where you are.”
This constant state of readiness, combined with a commitment to capturing authentic, unrehearsed moments, allowed Luke and his team to document the genuine wonder, fear, and awe that definesDavid Blaine: Do Not Attempt.
LENSES: Leitz Summicron C Prime, Angenieux EZ S35 zooms, specialty lenses from Zeiss, ARRI and Canon
Close focus: A Cinegear wrap up! Though Cinegear charged money for the first time this year, it was more of a show at Universal Studios. Dean Semler talked aboutBack to the Future, and attendees could pose and take photos with the DeLorean. Several booths hosted conversations with cinematographers, such asLawrence Sher,Jessica Lee GagnéandAdam Bricker. Hot Rod Camera’s Betty Lights Reflector won a Best of Show award from the tech resourceCineD.A rundown of post-Cinegear parties, including Hot Rod Cameras’ CineBeer.
Ben’s short end: Insider’sHow Real Is It?channel on YouTube features interviews with professionals who rank movies based on how realistic they are.
Illya’s short end: Disney and Universalsued the AI company Midjourneyand are seeking an injunction against them for stealing their content to train AI.
Check out the new Betty Luminous Reflector at Hot Rod Cameras! TheBetty Luminousis a full-spectrum light reflector designed to beautifully flatter human skin. Its fresnel-like directionality provides focused illumination while its gentle Gaussian falloff ensures a soft, natural look.
Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode atGreentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation.
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