Carissa Henderson Chooses Zeiss CP.3s to Lens BTS story of Basketball Olympian “Sue Bird: In the Clutch”

What inspired you to become a cinematographer?

Carissa Henderson: I stumbled into cinematography. I originally wanted to be a writer. In high school I was part of a four-year program that combined journalism, editorial, and broadcast. It had advanced writing programs, but we also learned about lighting, cameras, tape decks, and how to edit with Final Cut. That shifted my trajectory. Once I started falling in love with shooting and editing, I decided to apply to NYU Film School.

At 17 years old, I wasn’t certain about pursuing film yet but I saw a way out of my small hometown in Virginia and into New York City. Once I started studying film at Tisch, it was a totally different world. I quickly learned that the fastest way to get my hands on a camera was through the documentary program. There was a ‘boys' club’ energy prevalent at that time, which can of course persist today throughout this industry. Where there was a feeling of needing to prove worthiness to join the more specialized cinematography classes–which were predominantly packed out with guys swinging expensive cameras and speaking in a tech jargon that was foreign to me–the documentary classes felt quieter, less shiny and more approachable.

So I decided to lean into documentary work, as a natural progression from my previous journalism studies. I had some amazing professors who were simultaneously doing important work as editors and producers in the “real world”, and they empowered me to shoot and edit my own work with less preciousness, more curiosity, and most importantly, with an understanding that strong storytelling is more than just strong visuals. That ethos has guided me instinctually onward from that point. I’ve always loved using the camera to immerse myself in environments and around people I might not get close to otherwise. It’s an incredible tool for building life experiences.

How did you start working at VICE?

While in my third year at NYU, I started interning at VICE Media. That was around the time they launched VICELAND. There was a lot of excitement around this new VICE TV channel. I ended up meeting some amazing people (who I work with to this day), pitching and shooting pieces that would be reviewed by Spike Jonze to air on VICELAND and YouTube. It was a dream scenario…for a while–

When I tried to negotiate for a camera operator title and pay, my boss told me “they have plenty of guys in line for that job”. Claire Ward, my first mentor and the only other woman who was operating cameras in house at VICE at the time , brought me on shoots with her for VICE News, opening the door for me to begin shooting for the elite “VICE on HBO” series. VICE News had just launched a nightly show on HBO and a new wave of journalists and filmmakers were coming on board to work on the series–it was really exciting. After Claire moved on, there were five in-house cinematographers dedicated to filming VNT (VICE News Tonight) and I was the only woman in that group until years later.

Those years working as the only female DP on staff at VICE were like a kind of grad school in doc and journalism. You get your reps in, you learn what to do, and what not to do, all while working alongside incredibly skilled and ambitious collaborators. Many of the people I worked with at VICE News are still my closest collaborators, now doing excellent work on feature films and on premium documentary series.

In 2018, I left VICE and went freelance, navigating a world of greater autonomy and intentionality. I began learning how to say no to projects that weren’t the right fit, moving from short-form docs and news adjacent series into more composed, stylized, and feature-based work. Beginning in 2020, I DP-ed four different overlapping feature documentaries which are now starting to emerge into the world.

Your work is often very stylistic. How did you develop your sensibilities?

Working at VICE, we had a very composed look. There was a set toolbox and style guide: two camera ops, cross shooting, and mixing our own sound. This style continuity was sometimes like a life raft because the team was producing so many stories, and we needed that structure to create a cohesive show, however, that narrow experience as a visual author kind of pigeonholed me.

After VICE I was fortunate to freelance on the “New York Times Presents” documentary series for FX and Hulu. The shoots similarly involved small crews but with fewer aesthetic constraints—for instance, we could explore using specific lenses and create different looks for different episodes.

The directors, producers, and EPs on that show encouraged us to craft a visual language that would drive the story forward for each episode. The series as a whole should feel consistent, but the individual episodes could be visually distinct. I started experimenting with different lenses and learning what made sense ergonomically under various challenging conditions. Often we had to work handheld, compensating for a lack of filming resources with our bodies and lenses.

What take-aways about lenses did you develop?

I grew to love prime lenses for two main reasons. First–they're fast, sharp, and adaptable, making them an excellent tool when you're often working with natural light and don't have control over the filming environment. Initially, it was hard for me to advocate using primes in news and documentary work because there's a fear you might miss something if you can't quickly zoom in or out. Additionally, you have to carry more lenses, unlike having a versatile 24-105mm or a 70-200mm lens.

But with primes the look, composition, and rhythm of your visuals are stronger and more decisive. You must be intentional. I became more aware of my own physical presence in any given space and learned to consciously anticipate where a person’s emotions might physically lead them next. Maybe the participant you’re filming is experiencing anxiety in that moment, and feels more likely to turn away from you–or maybe they are in a more expressive and comfortable space, leaning in and readily engaging. I always consider where to position myself to instinctively and visually complement the energy present in a room, while also being mindful of my own presence, and taking the available light into account.

At best this approach can feel like total immersion–becoming a samurai of light, shadow, shape, and form by moving efficiently and gracefully viewing the process as a flowing dance. My obsession with prime lenses began by exploring different focal lengths and kinds of glass and understanding their unique impact on my work, and evolved into a larger philosophy of self awareness and practicing empathy.

What is your history with women’s sports? Did that impact getting pulled onto this project?

I was an athlete growing up and a competitive cheerleader for ten years, so I know the energy and excitement of team sports but I haven’t kept up with watching pro sports. When it came to WNBA stats, players, brackets, and gameplay, I didn’t have the biggest lexicon.

In the spring of 2021, I got a call from Sarah Dowland, the director, who was referred to me by a mutual friend in the documentary space. Sarah told me about the film and Sue Bird. As I was talking to her, I looked up Sue Bird and quickly realized how incredible her accomplishments are –while also recognizing that the fact I had to google her was all the more reason this film needed to be made. The film would be a celebration of Sue’s legacy told through a cinematic portrait of her final year on the court and a character study of an accomplished, truly iconic role model.

The original approach was going to be vérité-driven and intimate. We aimed to create a film that wasn't like any other sports doc, leaning on many intimate, observational scenes off the court with Sue, and exploring her engagement with her partner Megan Rapinoe and their relationship as industry titans. We had expected access to locker rooms, the team bus, the hotels, and courtside. Sue was on board and as agreeable as one can be with the constant presence of cameras, which is encouraging when taking on a verite style film. I was excited to be part of the project.

How did shooting during the pandemic affect the film?

In 2021, we were still in the uncertain throes of the early stages of pandemic, Covid testing frequently, with much of society still in a lockdown. Sporting stadiums were nearly empty. It was eerie and the energy felt flat at games. Just a week before we were supposed to fly to the Olympics with Sue, Japan shut down its borders. We worked with Sue to show her how to film herself, which led to some of the more personal moments in the film, like getting ready to be the flag bearer at the opening ceremony and FaceTiming with Megan.

Those scenes capture the strange isolation of that time, making the story and character insight even richer despite the logistical challenges. 2021 was a grueling year, but just being around Sue and witnessing her sheer force of will, both on and off the court, was incredible. Documenting her charismatic, funny, smart, and inquisitive personality was a privilege.

Fast forward to the playoffs—the Storm didn't do as well as they hoped, and Sue was undecided about retirement, ultimately choosing to play another year. In the spring of 2022, Sarah and I met for coffee, and she asked if I wanted to continue the project–to do it all again for another year. Given the backbreaking pace of the first year and continued uncertainty around funding, I had to take a step back. I had other projects already scheduled for 2022, so we worked together to build a style guide with a detailed shot list and formula for approaching games and filming at home, which we shared with the other cinematographers we brought on to help with coverage during the season. In the end I was able to return for our master interviews and a few pick up scenes at home to round out the film, which was really nice.

What did you shoot with, and what helped you decide?

When I first got the call about the project and was asked to come on as the DP, I was informed that our first shoot would be the following week. This left me with little time for lens research and testing. At the time I owned an FX-9 and a set of basic Rokinon Cine Primes, which I consider more of a "sketching" tool than a refined "painting" tool. They were fast, lightweight, and did the job, but I wished we had specific lenses better suited to elevating the film's needs.

Still with a limited budget and tiny crew–just Sarah, a local sound person, and me at the beginning–we had to make do. Reflecting now, it taught me a lot about the kind of practical lessons that only come with experience. I didn’t know, for instance, that when filming on the court you need a rubber lens hood to protect against unexpected collisions during a game–which limits the kind of lenses you can use.

Our goal was to focus on the personal and emotional aspects of Sue’s performance rather than just the game itself. I concentrated on capturing her emotions and expressions as the game progressed, going into a sort of Zen tunnel vision mode where I was entirely focused on her reactions and perspective, sometimes to the exclusion of the broader game context.

After the Olympics, we secured additional funding and I was able to rent lenses. We chose ZEISS CP.3s for their accessibility across rental houses in various cities, and clean, precise look and versatility–all at an appealing price point. The lenses allowed us to capture even skin tones under inconsistent and challenging overhead gym lights.

The CP.3s proved to be a great choice. We used the CP.3s for several games in 2021 and moving into 2022, for most of the sit-down interviews. The goal remained to create a cinematic film that felt both personal and polished, and the lenses played a key role in achieving that vision.

What was your set up like for the shoots?

I typically operated with a prime lens on my camera, a second prime on my belt, and a long zoom on a strap or in a pouch around my shoulder. For this project, I had to make do with just essentials due to budget and crew constraints. I could only rent three lenses–to complement my 70-200mm Canon zoom fixed with a rubber lens hood–so I decided on a Zeiss CP.3 25mm, a 50mm, and an 85mm.

I had to make strategic choices with these lenses to capture different types of moments. For example, I used a 25mm to follow Sue as she moved from backstage onto the court, which allowed me to stay close without losing the sense of space, evoking the feeling of being in her POV. The 50mm was great for contrasting the dynamic, kinetic footage with more composed, introspective shots.

One memorable scene (which actually didn’t make it into the final film) involved Sue in a moment of contemplation amid the buzz before a game. We were in a dark, tense backstage area, with the national anthem faintly playing in the background, each beat counting down the moments until the Storm would charge out of the holding area and onto the court for warmups. I initially had the 25mm on but switched to the 50mm to illustrate a more intimate, reflective moment. The gleaming light from the court in the background filtering into the dark holding space created a powerful, pondering image of Sue. It really conveyed the weight of her situation–her fatigue following the Olympics and uncertainty about when to retire and how to make that announcement.

The 85mm was useful for capturing scenes where I needed a bit more distance but still wanted to highlight Sue amidst the activity, like at a dinner with friends. It allowed me to layer foreground and background elements, showcasing her clearly amid the action.

The 70-200mm lens was my reliable workhorse for court shots. Initially, when we had more access to the locker room and courtside, I was using the 25mm and 50mm because I could track Sue during warm-ups and capture the energy of the team exercises and huddles. However, as access restrictions tightened, we had to rely more on the zoom lens due to movement constraints.

What stands out about this documentary?

When I take on a new project, it's not just about the subject matter but also about the day-to-day filming experience. It’s no easy feat keeping up with the WNBA schedule, let alone following a heavily decorated Olympian from the jump, but Sarah was a fantastic ally in the field. We made up for a lack of sleep with frequent cortado breaks and delirious humor. For a long time, it was just the two of us (and an Interrotron) bouncing around before we expanded the team in 2022.

It's essential that the people involved are pleasant to work with and not energy-draining because you’re going to be spending all your time with them. I was able to bring on some of my closest friends to work on the later shoots, which is always meaningful because it builds so much levity and comfort into the energy we bring as a crew. Beyond our small but mighty production crew, we couldn’t have asked for better participants than Sue and Megan who were always hilarious, gracious, and patient with us. The people around Sue and Megan are also grounded, ambitious, and caring, which created an infectious atmosphere of positivity. Their authenticity and drive made the long hours and hard moments worthwhile.

Being a small part of Sue’s story, and getting to document the world of the WNBA—a league that champions marginalized communities—was incredibly special.

What has the reception to the film been?

Despite being a five-time Olympic gold medalist, Sue wasn’t as widely recognized as some of her male counterparts. Getting interest in the film during its production was incredibly challenging, which is indicative of the problem. Jay Ellis at Black BarMitzvah, the executive producers at Jigsaw, Sarah, Sue, and many others, worked tirelessly to push the project forward. We faced numerous rejections and heard the tired line “nobody watches women’s sports,” despite the growing viewership numbers proving otherwise. In fact, Sue’s advocacy and activism have been instrumental in shifting that perception. When we learned that the film was accepted into Sundance, we were all thrilled. In Sue’s words, “We were told nobody cares, and then we got into f*cking Sundance!”

Watching the final cut for the first time in the theater, I felt a mix of estrangement and anticipation due to the long gap between production and premiere. I was relieved to see how the audience embraced Sue’s story and how her character shone through. The audience was really enthusiastic and receptive to Sue’s remarkable presence and legacy.

One of my favorite moments in the film is a one minute clip of Sue and Megan sitting on the couch at home, reflecting on the evolution of ‘being gay’ over the years. The scene is a perfect example of the “flow state” I mentioned earlier - where in the moment, I was completely tuned in, operating handheld, and using one lens (in this case a 50mm CP.3) to influence my camera movements in direct harmony with the exchange unfolding between Sue and Megan. The result is a continuous shot that holds on Sue dissecting outdated “lesbian tropes”, slowly drifting and eventually landing on Megan, who is dressed precisely to fit the stereotype Sue described - they crack up together on screen and the theater filled up with resounding laughter, the audience joining in.

Witnessing the audience connect with the film and more importantly connect with Sue, made me feel that I had done my job well. It was a meaningful reminder of the intimate, instinctive nature of filmmaking and the joy of seeing a story resonate.