DIAMONDS IN THE ROUGH 

Amy Vincent ASC captures Song Sung Blue, a love story of two musicians inspired by a legendary American singer-songwriter, blending heartfelt performances, infectious music and the joy of a truly collaborative set. 

“The film isn’t a Neil Diamond biopic — it’s a love story between two musicians, told through his music,” explains Amy Vincent ASC (A Nice Indian Boy, Footloose). That said, you might be forgiven for thinking otherwise when Hugh Jackman takes to the stage in a sequin jacket — alongside his on-screen wife Kate Hudson — exuding all the swagger of “The Diamond” himself.  

Based on the 2008 documentary (and song) of the same name by Greg Kohs, they play Mike and Claire Sardina, two down-on-their-luck musicians from Milwaukee who find new purpose — and each other — by forming a jubilant Diamond tribute band known as Lightning & Thunder.    

Guiding the film is Craig Brewer, who delves into the glittery grind of tribute culture, capturing the highs, lows, and occasional off-key moments of life in someone else’s shadow.   

For Vincent, it felt almost like coming full circle. “I come from theatre — lighting Shakespeare and modern dance — so bringing that sensibility into this project was deeply fulfilling,” she says. “My gaffer, Daniel McCabe, was integral. I’d never worked with him before and he turned out to be a fantastic collaborator. We also had a theatrical lighting designer, Christina See, which made it even more special. Working alongside Daniel and Christina felt like returning to where it all began — back to my roots.”   

Three camera approach

The film was shot on a three-camera Sony Venice 2 setup using Leitz Hugo Primes and Fujinon Premista Zooms. Vincent considered the Leitz Primes, but ultimately chose the Hugos for their lighter, more compact form factor, which better suited the film’s needs. The lens package was extensive: Hugo Primes ranging from 18mm to 135mm, with doubles of 28, 35, 50, and 75mm, complemented by the Leitz Hugo-N 50mm T1, a 350mm Leitz, and Fujinon Premista Zooms covering 19-45mm, 28-100mm, and 80-250mm. 

Additional cameras contributed to the texture of the footage. Broadcast material was captured on a Sony DVW-700WS, recorded onto an Odyssey external recorder, while a Sony DCR-TRV120 Hi8 HandyCam added an intimate, handheld perspective. Tiffen Black Satin diffusion, typically at 1/8, was used throughout to soften highlights and create a more cinematic feel. 

“Every movie I’d done with Craig before this was shot on film, and because of the live-performance aspect — Craig’s style of not cutting and using the moments between songs — we decided that shooting film wouldn’t be efficient,” Vincent adds. “I showed Craig tests from the Venice 2 at 8.6K, with LUTs created by Tom Poole at Company 3. 

We used three cameras with Zooms for the live performance sequences — often rolling continuously through three songs. So much magic happens in real time, and in between songs. I had three world-class operators, all prior collaborators, which made for extraordinary material making it into the editing room. ” 

Star light

The film is set in the ’90s, a period that heavily influenced the lighting approach. 

“There’s a progression in the film — from tiny clubs to larger stages — and I wanted to be able to photograph the same lights that were lighting the performances,” Vincent adds. “Everything had to be period correct, so we leaned heavily on cheap incandescent bar lighting and tungsten PARs. We used smaller, controlled LEDs in the house interiors, but the performance scenes were all about beauty and glamour, while the home and dramatic scenes were more naturalistic. I kept a strong discipline with colour temperature — I haven’tembraced the unnatural hues available with modern LEDs. I stuck within the Kelvin scale, blues to warms.”   

The Fiilex G3 was used as the mirror-ball light for its exceptionally clean sparkles, though the fixture itself was concealed to maintain historical accuracy.   

Vincent also “gave careful thought to the visual journey,” charting the shift from a modest, struggling existence to full-blown success.   

“That guided the lighting palette,” she explains. “Kate’s close-ups, for instance, were treated with a kind of ‘movie star’ finesse, but in the dream sequence, that was our one moment to step outside realism — Claire’s vision of herself at her highest. That was a thrill to shoot and it happened to be on Craig’s birthday.” 

Song Sung Blue (sharing its name with the Diamond song) was filmed entirely on location in New Jersey, which doubled for Milwaukee. The Thai restaurant scene was shot in Montclair, while the Ritz Theater was located in Elizabeth. 

“Our production designer, Clay Griffith, found incredible untouched locations that felt authentically Midwest,” Vincent says. 

The crew had to adapt to the constraints of the practical locations. “The small rooms and low ceilings reflected the protagonist’s socioeconomic situation, making filming—especially the bedroom scenes—tricky,” she continues. “Yet they also added authenticity to the characters’ world. I’ve always loved working on location, despite its limitations, because the realism of those spaces can’t be replicated.” 

“Craig and I drove to set together every day — sometimes well over an hour each way — and those drives were incredibly productive,” she says. “It deepened our collaboration.” 

Even as a highly acclaimed cinematographer, Vincent says she learnt “to let go a bit more” and to fully trust her collaborators. 

“Having three amazing operators — Dave Thompson, Julian de la Cruz and Henry Cline — meant I didn’t have to micromanage,” she adds. “I also worked closely with the hair and makeup teams from the start, even before Hugh and Kate arrived in New Jersey. That early collaboration made a huge difference in how their characters were photographed.” 

Song Sung Blue was Vincent’s first film with Focus Features, which she says was a positive and creatively rewarding experience for both her and the team. 

“The studio was supportive from prep all the way through post and marketing. Working with Tom (Poole) in colour was a dream come true. We built a single LUT for the whole show — inspired by photochemical workflows — and it gave us a smooth, consistent colour process.” 

Oh, before you ask, the artist was very aware of the film and very supportive of it being made. “Neil Diamond is a fan of Mike and Claire Sardina, the real-life couple,” Vincent continues. When Craig Brewer first screened the film for Neil, he loved it so much he asked to watch it twice. He and his wife (Katie McNeil Diamond) have been incredibly kind and enthusiastic.”   

While the film traces the rise from obscurity to spotlight, it isn’t just a story of triumph. Vincent also wanted the visuals to reflect the sacrifices, setbacks, and moments of raw pain that accompany the pursuit of success, underscoring the tangible reality of loss and struggle amidst the glittering backdrop of the tribute band’s journey. 

The results of the tragic accident that takes Claire’s leg were handled quite simply. “Kate wore a green sock and there was a prosthetic,” she says. “It’s simple, old-fashioned filmmaking — she performed the physicality so well that we didn’t need to overdo it with effects. Her use of the keyboard as support — both literally and symbolically — says everything.”   

Despite the emotional rollercoaster of the story, its basis in real-life events and the inevitable constraints of production, it’s clear the film was a joy to make. The camaraderie on set, the chemistry between cast and crew and the infectious energy of the music brought genuine fun to the process.   

“It goes down in history as one of my favourite production experiences ever,” Vincent says. “Hugh really is the best — ask anyone and they’ll tell you the same. Craig, meanwhile, prides himself on creating a genuine family on set. I know everyone says that, but he truly is the real deal when it comes to welcoming collaborators back into the fold. We had an amazing time, and Hugh and Kate shared incredible chemistry; they’re both full of love and kindness. It might sound almost cheesy to say, but that’s exactly what it felt like goingto work every day.” 

Beneath the surface, nearly everyone harbours a beloved Neil Diamond song and Vincent is certain of hers. 

“My favourite music number is Holly Holy, because it’s about rebirth and recovery. That idea of healing runs through the whole film — the notion that music, love, and service can pull us out of darkness. It touched all of us deeply on set.”    

Song Sung Blue is a tribute to a tribute duo — a lively, heartfelt reminder that it’s never too late to follow your dreams, sing your heart out, discover joy, second chances and love, even if the act itself is in honour of someone else.