The Cinematography of "Boots" (Part Two) with DP Pedro Gomez Millan, AMC
DP Pedro Gomez Millan, AMC, on set of "Boots" episode 108. Image courtesy of Pedro Gomez Millan, AMC. Cr. Patti Perret/Netflix © 2024
For part two of our coverage of Netflix's "Boots," we connected with DP Pedro Gomez Millan, AMC (Episodes 6 & 8) to discuss the season, from filming epic action (including food fights), to capturing intimate moments that form the heart of the series' story.
What drew you to this project? What was the process like joining the show?
The show was meant to be. They reached out to me when the project was first green-lit, but I was on a different project and unavailable. After some production pauses, including for the strike, they called me again. I had finished my other project and was able to jump on for two episodes.
The story was very compelling on the page. Not to compare it to the Marines, but I was in the Boy Scouts when I was younger, and I could relate to that experience. As a teenager, you're trying to find your identity within this manly, physical context, so I could definitely relate to the protagonist, Cameron (Miles Heizer.) I had also never shot in New Orleans before, and I was excited about the possibilities the location could offer for a period piece set in a marine boot camp.
How closely did you collaborate with DP Bruce Francis Cole in determining the look and feel of the season?
I talked to Bruce, who was the DP for the rest of the show and established its look. He decided to go with the ARRI/Zeiss Master Anamorphics, which are very clean and sharp. The contrast, shadows, and color are all there, and it fit the project perfectly.
I had some flashbacks in my episodes, which gave me the freedom to bend the rules a bit. I tested some lenses and ended up using the Xelmus Apollo lenses for the Guam scenes. They bring more of a vintage look without being as extreme as something like Lomos. The Apollos feel modern but aren't super clean like the Master Anamorphics, so it was a nice balance. Those Guam scenes are probably some of my favorite ones.
Miles Heizer as Cameron Cope in Episode 108 of Boots. Cr. Patti Perret/Netflix © 2024
Your episodes have some very striking and stylized moments. What was your approach to finding those moments to let the visuals stand out?
My episodes gave me a lot of creative freedom to make them my own while still fitting the show's established aesthetic. Moments like dreams or flashbacks are like standalone pieces where you can be a little more creative.
"The Crucible" sequence in episode 108 was a great opportunity. We were shooting with the ALEXA 35, and I brought in a Sony FX3 with Blazar Remus lenses. I made a very compact rig that I could stick right into the action. We had grenades and special effects, and operators had to keep their distance, but I really wanted to get the camera in there. We’d put it in a box or dig a hole for it. During a low-crawl moment, I think one of the actors kicked the camera, creating these accidental Dutch angles. When my AC and I played it back, we thought it was very cool - something you wouldn’t even think of doing intentionally.
Working with the stunt team was great. On the page, a pool training sequence was described as a "black void." I showed the showrunner some images, and he felt it was maybe too far, so we brought back a little bit of gloom while keeping the contrast. For the end of episode 108, we had a very tight collaboration with special effects that allowed us to plan exactly what we needed.
Max Parker as Sgt. Sullivan in Episode 106 of BOOTS. Cr. Courtesy of Netflix © 2025
Speaking with Bruce, it sounds like it was a physically taxing shoot for the entire team. Are there any specific challenges that you overcame during your block?
The weather during “The Crucible” sequence was definitely the biggest challenge. The humidity during one week of all-exterior shooting was insane; this was the most challenging project I’ve ever shot. It was over 110 degrees every day of that week, with 90% humidity. There was a moment I thought I was going to pass out, and my cam operator actually collapsed. Extras were dropping like flies. You have to constantly take care of yourself, because if you go down, the show hurts.
We also recreated a swamp. It was a little risky, because there were signs on the stages warning to watch for alligators. They literally found an alligator near the trailers one day, and later found another one near where we shot the swamp scene. The wranglers were great and I’m glad nothing happened, but just being out there was a definite challenge.
On the other end of the spectrum, a creatively challenging day was the food fight. It was insane to cover. Once the food started flying, we couldn't really go back for another take because of the time it would take for makeup and wardrobe to reset everyone. The set was tight and messy, filled with cast and crew. I had to be strategic with the lighting. I based the look on mixed lighting and contrast to make it interesting, since I didn't have the time or space to shape things perfectly. That’s a technique I’ll take with me for the future.
Episode 108 of BOOTS. Cr. Courtesy of Netflix © 2025
Do you have a favorite scene or composition from your block of the series?
My favorite moment from my episodes is the motel flashback. I love how the lighting turned out. It was a very special, fragile, and vulnerable moment for the actors. We were able to capture that beautifully with the lens, lighting, and blocking. To add some special sauce to those flashbacks, I tried to rely on the glass and also incorporate more color. I sold the showrunner on the idea of a green neon sign outside the motel to bring in a color we hadn't really seen in the show. I combined that green with some red to make the scene more passionate and sexy. We were always pushing haze, too. I remember lighting that scene and feeling like something was missing. We took the time to properly haze the whole set, and that’s what finally made it all come together.
Finally, are there any key players on the crew you want to highlight?
Everybody on the crew should be recognized. They were all killing themselves, and if it wasn't for them, the show wouldn't have been possible. Our DIT, Chad Oliver, our Key Grip, Gary Kelso, our Gaffer, Dino Celestain, and our 1st AC, Louie Leroy, to name a few.
I had worked with Keslow’s L.A. office before, but this was my first time working with the New Orleans branch. I met Matt Pelto, who was very generous and made sure we were covered on all fronts. Episode 108 required so much equipment - cranes, bluescreen, the Apollos, the Blazars, the anamorphics. Every day was complex, gear-wise. I really appreciate Keslow's support; they were always on top of it and allowed me to come in and do tests for the flashbacks, which I’m grateful for. [x]