WAYNE ZHANG, DIRECTOR OF PHOTOGRAPHY

* As a part of our campaign to raise awareness about child exploitation, interviews with the cast and crew of ‘All Hail The King’ will be released until the campaign ends 11.12.2027 *

A cinematographer, also known as a director of photography, is the person responsible for translating a film's story into visual language on set. They shape how a movie looks by making decisions about camera selection, lens choice, framing, camera movement, exposure, and lighting while working to serve the tone and emotion of each scene.

They usually lead the camera and lighting departments, working with the camera operators, gaffer, and grip team, and coordinate closely with the director, production designer, costume department, and colorist in post. Their goal is to capture images that feel both authentic and cinematic, supporting the story without pulling the audience out of it.

Wayne Zhang is a cinematographer whose work moves between independent films in the United States and feature productions in China. He approaches cinematography with an understanding of storytelling, atmosphere, and composition, drawing on both its technical and artistic sides.

His work focuses on using light, contrast, color and camera movement to communicate emotion and meaning while collaborating closely with directors, designers, and the wider production team.

Interviewer: What pulled you toward cinematography in the first place?

Wayne Zhang: For me, it was always about storytelling. When I watched movies, I found myself most attracted to the visual side of filmmaking. I wanted to use visual language to tell stories. I enjoy both the more technical side of cinematography and the artistic side. To me it's about using images to communicate emotion and meaning.

When I first started, I wanted to become a director, but struggled to deal with screenwriting. Even as a kid, around nine years old, I loved taking pictures. Eventually I realized cinematography combined both photography and movie-making. I could tell stories through images, and I found that I really enjoyed creating visual compositions. So I decided being a cinematographer was the path I wanted to follow.

Eventually, I studied television broadcasting for my undergraduate degree. After that I spent a year at Vancouver Film School before going to ArtCenter College of Design’s MFA program for my graduate degree.

Interviewer: How different was studying broadcasting compared to Vancouver Film School?

Wayne Zhang: Broadcasting focused mostly on television news and TV programming. We did work with cameras and lights but Vancouver Film School was completely different because it was centered on making films. It was very hands-on. We learned how to build contrast-filled lighting setups, high-key and low-key lighting, and how light can communicate emotion and support the story. We learned operate cameras, and create cinematic images.

The instructors taught me a great deal.

Interviewer: When you first read the script for All Hail the King, and you imagined the visual language of the film, was it similar to what audiences will see now?

Wayne Zhang: Oh yes, I think it's very similar. The film has a strong film noir influence. And even though the story is grounded in reality because of the criminal case and the semidocumentary of it all, there are many genre elements throughout the narrative. At times, it’s a journalistic thriller, others it’s more about the interpersonal drama, at times it feels like a horror film. I wanted the cinematography to reflect that. It needed to feel authentic while also embracing the power that the tools of cinematography gives us, so we went with a darker, more stylized visual language with low-key lighting and strong contrast.

In many ways, it still feels like the other films Andre and I made. (Wayne Zhang and Andre Machado collaborated on multiple projects through the INSIDIOUS FACTORY FILMS brand, including‘The Unforgivable Act’ (2023),‘Hatman’ (2024) and ‘Let Me Ask You Something’ (2025). You can take a look at them here.)

Interviewer: What camera did you choose for principal photography on the narrative sections, and why?

Wayne Zhang: We used the DJI Ronin 4D for most of the narrative section of the film.

Interviewer: What made you choose that camera specifically?

Wayne Zhang: Efficiency was the biggest reason. The Ronin 4D gave us a lot of flexibility. We could move quickly between stabilized handheld shots, tracking shots, and movements that looked almost like they were done on a dolly. It’s a great camera. It allowed us to achieve cinematic camera movement without slowing production down. As we were making this film independently and under a very demanding schedule, it absolutely was the right choice.

Normally I use RED or ARRI cameras as the main cameras and the Ronin 4D as a B camera. RED has certain advantages in color science and dynamic range. But for All Hail the King, efficiency was the priority. It’s funny because on this project the Ronin 4D became the A camera and the RED became the B camera. (Multiple scenes in the narrative and documentary sections were filmed using a RED KOMODO).

One of the inspirations for ‘All Hail The King’ was Michael Mann’s work. Some of those films show how digital cinematography creates its own powerful cinematic language. Our DJI camera was produced some beautiful images.

Interviewer: Much of All Hail the King consists of interview conversations. How different is your approach when shooting two people talking in a room compared to larger cinematic set pieces?

Wayne Zhang: Balance comes to mind. Even when you have two people talking, I still want the film to carry a certain mood and tone while remaining grounded in reality. You have to balance naturalism with carrying a style. It's about making everyday conversations feel cinematic without becoming unrealistic.

Interviewer: How important are costumes, production design, and makeup to your work as a cinematographer?

Wayne Zhang: In some ways they're even more important than cinematography itself because they make the world believable. If the costumes, locations, and production design don't feel authentic, audiences won't believe the story. Production design, costumes and make up are what gives the cinematographer something meaningful to capture.

Interviewer: How important is deciding on a color palette before production versus discovering it while shooting?

Wayne Zhang: Planning ahead is very important because it makes the film feel visually consistent and professional. On independent productions we don't always have the time or budget to refine every detail, but we still spent a long time discussing the visual concept before filming. You have to be intentional with what you’re visually communicating to an audience. With this film, production design, cinematography, props, and color all worked together to support the same vision.

Interviewer: After working with many directors, especially film students, what are some of the biggest mistakes you've seen directors make? And what mistakes do cinematographers make?

Wayne Zhang: Actually, I wouldn't really call them mistakes. They’re more like… regrets, if that makes sense? You learn not to make certain choices with experience. Every single film has things that could have been better. For me, over time, I learned a lot of it is about having enough preparation. Knowing what you’re doing. Having more time for location scouting always helps you build stronger lighting plans. But independent films don't always have that luxury. I think if you ask every cinematographer in their world about their project, they will all say “I wish we had more time and money”.

Interviewer: When you think back on All Hail the King, what memories come to mind first?

Wayne Zhang: It's very personal because it was my last project in California. It's a really happy memory. We weren't making this film just because it was a school assignment. We made it because we genuinely love filmmaking. The director and I and a lot of the crew members had worked together before. The crew enjoyed working together as friends, and that collaboration made the experience very special. It felt like everyone was giving it their all.

Interviewer: Do you have a favorite shot in the movie?

Wayne Zhang: Yes. It's one of the shots in the conference room scene. It’s actually from the first day of shooting. There’s this over-the-shoulder shot behind Calvin, pointing at actor Ray Buffer. I really like that composition. It's very organized visually, and the strong contrast worked really well. Our production designers, Syd Shen and Jane Hamor did a great job at making the most out of that location.

Interviewer: You've worked on many projects in China, including feature films. How does filmmaking there compare with making independent films in the United States?

Wayne Zhang: The American film industry is much more organized because of the union system and the professional infrastructure. China doesn't have the same traditions in that regard. In many ways, there’s a lot more chaos. On the other hand, filmmaking in China is much less expensive. Renting cameras, hiring equipment, and putting together productions is significantly cheaper than it is in the United States, especially for independent filmmakers.

It's also easier to obtain permits in many situations. For independent productions, filming can often be much easier because the overall costs are lower.

Interviewer: What advice would you give your younger self? And what advice would you give someone who wants to become a cinematographer?

Wayne Zhang: Be patient. That's the most important thing. Be patient on set, be patient in daily life, and be patient while building your career. There are times when you won't have much work, but you should keep learning, keep watching films, and keep improving your craft. Stay passionate and trust the process. Patience is one of the most important qualities a cinematographer can have.

Wayne Zhang on set.

IVAN BERNAL - SOUND MIXER

* As a part of our campaign to raise awareness about child exploitation, interviews with the cast and crew of ‘All Hail The King’ will be released until the campaign ends 11.12.2027 *

A production sound mixer is the person responsible for recording clean, usable audio on set during filming. They capture dialogue using boom microphones, lavaliers, wireless systems, and a field mixer or recorder while monitoring levels, background noise, interference, and microphone placement.

They usually lead the sound department, working with the boom operator and sound utility technician, and coordinate with the director, camera team, wardrobe, and post-production sound team. Their goal is to deliver dialogue and location sound that requires as little repair or replacement as possible later.

Ivan Bernal is a Los Angeles-based production sound professional working as a sound mixer, boom operator, and utility sound technician. He approaches production sound with an understanding of performance, atmosphere, and storytelling. His work focuses on capturing clear, natural location audio while collaborating closely with directors, actors, and the wider production team.

Interviewer: How did you get your start as a production sound mixer?

Ivan Bernal: I went to the New York Film Academy. I attended the campus in Burbank. I got into sound because, when we were students, we had to crew up together and make our own assignments. Nobody really wanted to do sound, so I picked it up and thought, "Hey, this actually seems kind of fun and interesting."

It worked out nicely because everyone else wanted to do something different, and I was one of the few people who genuinely liked doing sound. So people just kept calling me back. There was a general feeling that I had found the right role. I felt like I fit well within the whole crew process. I knew what I could offer and how I could contribute toward making a collaboration come together.

Interviewer: Would you say most of your training came from film school or from working on set?

Ivan Bernal: I'd say it's about fifty-fifty. The early work in film school definitely helped open the door and get me started. But the other fifty percent came from putting in the work outside of class: researching, reading guides, studying on my own, then applying that knowledge on set. A lot of it is just experimenting. You see what works in one environment, and if it doesn't work, you figure out a better approach for the next one. Technically, my degree was in directing. But I found directing to be pretty stressful.

Interviewer: What are the biggest mistakes you see student filmmakers make when it comes to sound?

Ivan Bernal: One thing they could definitely improve is microphone placement. It's something you're constantly learning because every costume is different and every situation is different. Sometimes you can mic someone up easily, and sometimes you can't.

The other thing is realizing that sound is fifty percent of the movie. Audiences can forgive visuals a little bit, but bad sound immediately pulls people out of the experience. It can completely ruin the immersion. When sound is done well, it's almost invisible. Producers and especially film students sometimes take the recording process for granted.

Interviewer: Would you say there were any moments on All Hail the King that really stood out to you?

Ivan Bernal: It was packed. We were trying to do a lot. Every production is different. Some sets are more relaxed and casual, while others are much more structured. A tighter schedule naturally creates a different environment.

One of my favorite memories was shooting the main interview scene in that really nice house we rented. Recreating them and getting to play around with that story was a lot of fun.

Interviewer: If you could give one piece of advice to your younger self starting out, what would it be?

Ivan Bernal: I'd tell myself to think smarter about what gear to buy and what gear to sell. It's better to invest in reliable equipment right away because you know you can trust it. And if you ever need to move on from it, quality gear also holds its value better. Good equipment isn't everything, but in sound it really helps us do our jobs more efficiently. There are already so many variables to worry about. You don't want your gear to become another one.

Interviewer: From your experience working on so many productions, how do you approach professionalism on set?

Ivan Bernal: Overall, I think it's about maintaining a positive attitude and knowing when it's time to be serious and when it's okay to relax more.

More importantly, it's about being present. You're constantly listening, not just to the sound you're recording, but to what's happening on set. What do people need? How does it sound? Can we skip something? Can we solve this another way? Being aware of the environment.

Interviewer: Do you mostly work on narrative projects, or do you do more commercial work?

Ivan Bernal: I think I mostly end up doing narrative work. That's just where I seem to get booked the most.

I've done smaller commercials and promotional projects too, but narrative has really become my bread and butter. I'm not against either one. At the end of the day, it's all work that helps pay the bills and lets me continue doing what I love. One of the things that originally inspired me was actually the blooper reel at the end of Rush Hour. Everyone looked like they were genuinely having fun making the movie. That's the kind of set I always want to be part of.

Interviewer: Is sound your full-time career, or do you balance it with other work? What's the reality of freelancing as a production sound mixer in Los Angeles?

Ivan Bernal: Production sound is definitely my primary occupation. Most of my work is production sound mixing, although I can also boom operate or work as a utility technician, even though I haven't done as much of that lately.

I'd like to explore more post-production sound eventually, but honestly, I have more fun being on set. It gets me out of the house, lets me meet interesting people, gives me unique experiences, and lets me help tell stories.

As for the market, because production sound is a fairly specialized field, we're actually a pretty close community. We help each other out. We have meetups. We pass work to one another. There's a real sense of collaboration.

IVAN BERNAL on set.

CRYSTAL JUAREZ, PRODUCER

* As a part of our campaign to raise awareness about child exploitation, interviews with the cast and crew of ‘All Hail The King’ will be released until the campaign ends 11.12.2027 *

A producer is the person responsible for making a film actually happen. They handle the logistical and organizational backbone of a production, securing locations and permits, building the schedule, managing the budget, coordinating crew, and solving the countless problems that come up before and during a shoot.

They are usually one of the leading forces on a production, working alongside the director and director of photography while coordinating with every department on set. Their goal is to put all the pieces in place so the crew can do their best work and the director's vision can make it to the screen.

Crystal Juarez is a Los Angeles-based producer and director who came up through East LA College and quickly built a reputation by taking on gig after gig across nearly every crew position. She approaches producing with an understanding of both the creative and logistical sides of filmmaking, drawing on her experience directing her own projects. Her work focuses on organizing the details that hold a production together while collaborating closely with directors, crew, and the wider team.

Interviewer: How did you get into film producing?

Crystal Juarez: I've always wanted to be a filmmaker. I started out at East LA College and took a couple of film classes. I took one class and immediately fell in love with it. Right after the beginning class, I actually took the advanced class at the same time as the beginner class. I just dove right in.

I also did a lot of shadowing with my professor, who was a DP on a ton of shows in the '90s and still works as a cinematographer here and there. He DP'd episodes of 1000 Ways to Die and I think he also worked on Top Gear.

He taught us a little bit of everything. He wanted us to learn every crew position so we could figure out what we liked. Even if we didn't end up loving a role, we'd still be qualified to work in it. I just fell in love with filmmaking, found my calling in directing, and immediately after those first couple of semesters I started taking on a ton of gigs outside of school, as well as directing my own projects.

Interviewer: Was a specific moment where you realized, "I think this is what I want to do?"

Crystal Juarez: Yeah, actually. I remember it was maybe around the third month of that semester. I was working about 19 hours a day, six days a week. I was doing so many films.

I think I worked on something like 23 films in three months. It was insane. By the end of it, I was barely sleeping. I hardly had any time for myself, but even then it still wasn't enough. Even though I was exhausted, I wanted to keep making more films. I wanted to keep working. That's when I realized that even though I was incredibly busy and never home, this was something I could do for the rest of my life without getting tired of it. I

I knew this was truly my calling. I'm an artist in a lot of different mediums. But none of them make me feel the way filmmaking and being on set does.

Interviewer: For people who hear the word "producer" but have no idea what that actually means, how would you describe what a producer does?

Crystal Juarez: I think a lot of people hear "director" and assume that's the person who makes or breaks a film but that's also true of a producer. To me, while the director is focused on the creative elements and bringing their specific vision together, the producer is doing all the behind-the-scenes work that often doesn't get recognized. They're handling permits, paperwork, location scouting alongside the director and DP, organizing logistics, and making sure everything is in place for the film to happen.

They're one of the people who solve problems in order to make the film. ASsone of the leading forces, they know every detail about the production, the crew, and what needs to happen in case of emergencies. They're essentially one of the managers of the entire team.

Even directors rely on producers. The creative vision simply can't happen without them. And vice versa.

Interviewer: What's one part of producing that audiences never see but can make or break a project?

Crystal Juarez: Scheduling is a huge one.

If you watch a movie and it feels rushed or like certain shots are missing, a lot of that comes back to production.

On the other hand, if everything feels polished and seamless, it's because the producer put all of those pieces together. The only reason you have a location is because the producer secured it. The only reason permits are in place is because the producer handled them. The only reason everyone shows up on time and the production runs smoothly is because the producer spent countless hours making sure every detail was taken care of.

All that behind-the-scenes organization is what allows the crew to do their best work.

Interviewer: How did you get involved with All Hail the King?

Crystal Juarez: I already knew the director, Andre. He first hired me on one of his school short films a few years ago. I came in as First AC about a week before production.

The film was called Hatman, and it was a really cool psychological horror short. (You can watch it here).

After that, I guess he liked my work because he kept bringing me back on a couple more productions as an AC. We collaborate with some of the same people. Then, about a year or two later, he told me he wanted to make a semidocumentary inspired by controversial celebrity allegations but this time, he wanted me to work as a producer.

I thought it was a really interesting concept and a unique way of exploring the darker side of Hollywood. Even though the film uses fictional elements, I thought it had something meaningful to say. He told me he trusted me because of how I handled my own productions.

Interviewer: Are there any memories that stand out that from this project?

Crystal Juarez: I got to hire some of my own crew members, people I've worked with for years. I brought on our makeup artist, First AC, and some grips. Working with friends you're comfortable with always makes production more enjoyable, but it also allows for more efficient communication on set. In some ways, it’s similar to playing with others in a sports team.

Another thing I'll remember is filming at that beautiful house. It wasn't exactly a mansion, but it felt like one. It was such an incredible location, and the owner was really kind. We got some amazing shots there. Even though production is inherently chaotic, this was the fun kind of chaos. Everyone was working so hard towards the same goal, and that energy was really exciting.

I also really enjoyed working with the child actors. It was only my second time working with kids on set, and they were incredibly professional. Everybody did such a fantastic job.

There was a real feeling of accomplishment. There are honestly so many memories from that production that I'll always keep with me.

Interviewer: If you could give one piece of advice to your younger self, or to someone who wants to become a producer, what would it be?

Crystal Juarez: To my younger self, I'd say: if you want to make something, just make it. Who cares if it comes out bad? Who cares if you don't have the perfect crew? If all you have is a phone camera, then shoot something with your phone.

Every project teaches you something. If filmmaking is your dream, give it everything you've got. Don't let relationships, heartbreak, friends, or partying get in the way of what you really want.

To anyone who wants to become a producer, or work in film in general, I'd say don't listen to the people who tell you it's impossible.

People will say you can't do it in this economy, but you absolutely can.

You can be broke and still make films. You can work two or three jobs like I did and still make films.

You'll always find time if it's truly important to you. Don't let anyone convince you otherwise.

Interviewer: Where can people check out your work and get in touch?

Crystal Juarez: You can follow me on Instagram at @miss.pale_crystal. You can also check out my Spotify under Crystal Ruby, and my YouTube channel, also under Crystal Ruby, where I'll be posting future projects.

ANDRE MACHADO, DIRECTOR

Confidence doesn’t always arrive with a bold entrance. Sometimes, it builds quietly, step by step, as we show up for ourselves day after day. It grows when we choose to try, even when we’re unsure of the outcome. Every time you take action despite self-doubt, you reinforce the belief that you’re capable. Confidence isn’t about having all the answers — it’s about trusting that you can figure it out along the way.

The key to making things happen isn’t waiting for the perfect moment; it’s starting with what you have, where you are. Big goals can feel overwhelming when viewed all at once, but momentum builds through small, consistent action. Whether you’re working toward a personal milestone or a professional dream, progress comes from showing up — not perfectly, but persistently. Action creates clarity, and over time, those steps forward add up to something real.

You don’t need to be fearless to reach your goals, you just need to be willing. Willing to try, willing to learn, and willing to believe that you’re capable of more than you know. The road may not always be smooth, but growth rarely is. What matters most is that you keep going, keep learning, and keep believing in the version of yourself you’re becoming.