Michael M. Pessah, ASC and Buddy Squires, ASC talk about the art, history, and current practices of documentary filmmaking.

Cinematographer Jody Lee Lipes, ASC on the benefits and challenges of shooting 16mm for director Savanah Leaf's moving social drama.

Michael Pessah, ASC explores the legacy of Alien and offers an appreciation of its cinematographer, Derek Vanlint, CSC.

"It's all about that creative spark that births a new visual language or idea that maybe could live on its own."

Epic Games’ Los Angeles Lab Director Connie Kennedy and American Cinematographer Virtual Production Editor Noah Kadner join us to talk about the confluence of practical and virtual production, and help shed some light on what virtual production actually is — and isn’t.

Cinematographer Jendra Jarnagin discusses her career path and how it lead to shooting the prime-time CBS series East New York.

Recorded at the ASC Clubhouse in Hollywood, M. David Mullen, ASC and associate members Rob Hummel and Jay Holben talk about the process of writing and editing the 11th edition of the American Cinematographer Manual.

Director BJ McDonnell and cinematographers Michael Dallatorre and Eric Leach talk about making a low-budget horror film with some of the world’s biggest rock stars.

This episode features an interview with James Wong Howe, ASC conducted by film archivist and Society associate member Kemp Niver at the cinematographer’s home on April 3, 1964. 

The cinematographer talks about his work on director David Cronenberg’s return to science-fiction storytelling.

In this episode, visual effects legend Phil Tippett talks about his career, his creative process and the 30-year journey to realizing his epic and disturbing magnum opus Mad God. 

David Nowell, ASC takes to the skies for the supersonic sequel to Tony Scott's 1986 blockbuster.

The cinematographer discusses “going up the river” for Spike Lee’s striking Vietnam War epic, creatively employing multiple formats for image capture.

Exploring new a genre with Armando Iannucci's satirical ensemble sci-fi comedy set in space.

The cinematographer discusses her approach to lighting and the evolution of computer-generated cinematography.

The cinematographer discusses his unique collaboration with director Jim Jarmusch on this comedic horror satire.

The cinematographer discusses his sixth collaboration with director Todd Phillips, which he calls “the most uncompromised thing we’ve done to date.”

The cinematographer discusses his collaboration with director Taika Waititi and how he photographed this satirical black comedy set in Nazi Germany. 

Director of photography Jakob Ihre, FSF discusses his award-winning work on the acclaimed HBO and Sky miniseries, and how projects throughout his career influenced the decision-making process for portraying this historical drama.

Director Terry Gilliam discusses his work on this long-in-the-making passion project and longstanding collaboration with cinematographer Nicola Pecorini.

Cinematographer Nicola Pecorini discusses his camerawork in the picture and longstanding collaboration with director Terry Gilliam.

Lorenzo Senatore, ASC, AIC discuss his work in the comic book adaptation directed by Neil Marshall.

The cinematographer discusses his work in the Netflix science-fiction horror series, for which he has earned two Emmy Award nominations for his camerawork.

Photographed by Greig Fraser, ASC, ACS, Mary Magdalene is a Biblical epic yet produced on a modest budget and lensed spare and simply by Fraser on locations across Italy.

The cinematographer discusses his camerawork in Hulu’s 1980s-homage sci-fi comedy series about a yutzy janitor recruited to do battle against intergalactic foes.

How Sony Pictures Animation’s Oscar and Golden Globe–winning feature re-imagined virtual cinematography and the superhero movie.

The cinematographer discusses his work in the comedic romantic-drama Amazon series, for which he has earned ASC Award and Emmy nominations for his expert photography.

The cinematographer discusses his work in the disturbing 1990 suspense-horror classic, which was his first feature assignment as a young filmmaker working in Chicago.

The cinematographer discusses his work in writer-director Paul Schrader’s latest feature, in which the disillusioned spiritual leader of a small upstate New York parish is given focus when a young, pregnant parishioner seeks his guidance.

After almost 30 years, cinematographer Ueli Steiger, ASC reflects on his camerawork in this provocative 1990 neo-noir crime drama directed by Dennis Hopper.

Cinematographer Doug Emmett discusses this surreal dystopian satire, in which a struggling African-American who finds success as a telemarketer when he’s tipped off by a savvy coworker to use his “white voice.”

The cinematographer details her visual approach to shooting the pilot for this Marvel superhero series, reteaming with director Gina Prince-Bythewood.

The Oscar-winning cinematographer discusses the film’s profound impact on the creative and emotional trajectory of his career.

The cinematographer discusses his work in this comedic drama, written by Diablo Cody and directed by Jason Reitman.

The cinematographer discusses his work in the HBO period drama, which chronicles seedy and sordid happenings in and around Times Square of the 1970s. 

Fabian Wagner, ASC, BSC discusses his adventure shooting the latest superhero extravaganza, director Zack Snyder’s Justice League. 

Cinematographer Russell Carpenter, ASC generously traveled back in time 20 years to discuss making the film during his recent conversation with AC.

Cinematographer Linus Sandgren, FSF details shooting the true-life comedic drama for directors Jonathan Dayton and Valerie Faris.

Cinematographer Matthew J. Lloyd, CSC discusses his work in the Marvel/Netflix miniseries, in which a quartet of superheroes combat criminals in New York City.

Director of photography James Whitaker discusses his work in the darkly comedic series Patriot, in which a dysfunctional former U.S. spy is compelled to rejoin the globetrotting world of covert ops.

Oscar-winning cinematographer John Toll, ASC discusses his work in the ambitious sci-fi thriller series Sense8, in which a diverse group of eight individuals located around the world find that they are connected via a mysterious form of telepathy.

Cinematographer Toby Oliver, ACS discusses his work in the horror hit written and directed by Jordan Peele, which has received near-unanimous critical acclaim.

Cinematographer Anthony Dod Mantle, ASC, BSC, DFF discusses his work in the political thriller Snowden (2016), which details the real-life story of whistleblower Edward Snowden.

Recorded at the 2016 Camerimage Film Festival in Bydgoszcz, Poland, American Cinematographer magazine contributor Iain Marcks leads ASC members Vittorio Storaro, Robert Yeoman, Roberto Schaefer and Edward Lachman in a wide-ranging panel discussion on issues of technology and creativity.

Cinematographer Crescenzo Notarile, ASC discusses his work in the stylish series Gotham, which chronicles the intrigue and drama surrounding a young Bruce Wayne long before he became Batman.

Cinematographer M. David Mullen, ASC speaks with journalist Steve Macfarlane to discuss his work in The Love Witch, a stylish feminist homage to 1950s horror films.

James Chressanthis, ASC, GSC discusses his documentary, No Subtitles Necessary: Laszlo & Vilmos, the influence of László Kovács and Vilmos Zsigmond on the field of cinematography, and their influence on his own development as a director of photography.

Director of photography James Hawkinson connects with filmmaker and American Cinematographer contributor Iain Marcks to discuss his work in the imaginative Amazon Studios series The Man in the High Castle.

Director of photography Jakob Ihre sits down with filmmaker Jim Hemphill to discuss his work on the acclaimed independent film Louder Than Bombs.

The cinematographer talks about his dynamic visual approach to this action classic. Citing an affinity for a proactive camera and experimental lighting, he details how he and his collaborators achieved “the right style for the right moment.”

Jack N. Green, ASC, connects with AC via Skype to discuss his work on Clint Eastwood’s acclaimed Western.

Cinematographer Christopher Manley, ASC, discusses his work on the acclaimed drama Mad Men, including what he learned from taking some turns in the director’s chair, the production’s transition to digital capture, and his unique collaboration with Phil Abraham, who shot the pilot and moved on to direct many episodes of the series.

Cinematographer Tat Radcliffe connects with AC via Skype to discuss the gritty period thriller ’71, which he calls “a political piece, a documentary piece and a psychodrama.”

Russ Alsobrook, ASC, discusses his approach to the drama Black or White, in which a grieving widower struggles to retain custody of his young granddaughter in the wake of his wife’s death. Alsobrook explains why the filmmakers made last-minute decisions to go digital and to shoot widescreen, how they made the most of the 2.40:1 frame, and how he used lighting to illuminate the story’s complicated emotional terrain.

Cinematographer John Bailey, ASC discusses his work on the acclaimed drama Ordinary People, which marked Robert Redford’s directorial debut and was one of Bailey’s earliest feature credits. 

AC correspondent Iain Marcks surveys the scene at the 22nd annual Camerimage International Film Festival in Bydgoszcz, Poland. One of the largest gatherings of cinematographers in the world, Camerimage features several categories of competition, honors select filmmakers for their career achievements, includes seminars and panel discussions, and showcases some of the latest cinematography equipment. Featured in this podcast are cinematographer Michael Neubauer, BVK; director David Scott Smith; Phil Greenstreet of Rosco Laboratories; Sarah Priestnall of Codex; Mike Hibarger of Panavision; and AC correspondents Benjamin B and David Heuring.

Michael Seresin, BSC, connects with AC via Skype to revisit his work on Alan Parker’s Angel Heart, a dark, atmospheric thriller that has gained iconic status in cinematography circles since its theatrical release in 1987. 

To mark the 20th anniversary of the release of The Crow, Dariusz Wolski, ASC, revisits his work on the film, which helped launch his and director Alex Proyas’ careers in Hollywood. 

Director of photography Marvin V. Rush, ASC, describes his work on Hell on Wheels, a drama set in the aftermath of the Civil War that is currently in its fourth season on AMC. Among the topics he discusses are the importance of embracing the natural world in his overall approach to the show, which is shot on location in Alberta, Canada; how MacTech LEDs have transformed his day-interior lighting; why he prefers to reserve the close-up for important storytelling moments; and how he approached directing an episode for the first time.

Cinematographer Ron Garcia, ASC recalls shooting the Twin Peaks pilot for director David Lynch. He discusses why he was an unlikely choice for the project, how he coaxed the desired warm tones out of his Fuji negative, and the importance of working with a great gaffer.

Director of photography Michael Seresin, BSC, discusses the new film Dawn of the Planet of the Apes, detailing how he and director Matt Reeves strove to bring “a film aesthetic” to the native 3-D digital production.

Cinematographer Goert Giltay, NSC, and director Jos Stelling join AC’s Iain Marcks on a Skype call from the Netherlands to discuss their approach to the drama The Girl and Death. The longtime collaborators cover the choice of shooting digitally with an Arri Alexa, how they achieved the expressionistic visuals, and the flexible lighting approach that was necessitated by the actors’ availability.

Cinematographer Trent Opaloch discusses his work on Captain America: The Winter Soldier, describing in detail the nuts and bolts of lighting, managing and scheduling this mammoth production, as well as how his work on District 9 and Elysium influenced this film.

The cinematographer discusses his expert camerawork on this brutal sci-fi satire directed by Paul Verhoeven.

American Cinematographer's Iain Marcks talks with cinematographer Philippe Le Sourd, ASC, AFC about filming Wong Kar-wai's martial-arts drama The Grandmaster. Among the topics are how the project evolved over its three years of production in China, as well as how Le Sourd collaborated with the director.

John Schwartzman, ASC discusses his work on the modestly budgeted character-driven movie, Saving Mr. Banks, discussing the choice to shoot on film and how they recreated 1960s Los Angeles using no digital mattes or effects.

Elliot Davis describes his work on Man of Tai Chi — shooting in China, working with director Keanu Reeves, and his approach to shooting a commercial martial arts film, as well as his views on film vs. digital.

Nebraska cinematographer Phedon Papamichael, ASC discusses working with Alexander Payne, the benefits of shooting black-and-white in the digital age and shooting a road movie in real locations with many local actors.

Riddick cinematographer David Eggby, ACS on returning to the Pitch Black franchise and reuniting with director David Twohy to create a gritty, side-lit and contrasty atmosphere on a film with budget issues.

American Cinematographer’s Jim Hemphill talks with The Conjuring cinematographer John R. Leonetti, ASC about creating an ultra-realistic feeling by shooting the set as is it were a location they did not pull walls and used practical lighting as much as possible. He also discusses how their frequent use of a wide angle lens enhanced the audience's feeling of tension and unease.

Game of Thrones cinematographer Robert McLachlan offers this commentary track for Episode 9 of Season 3, including the infamous Red Wedding scene.

Pain and Gain cinematographer Ben Seresin, ASC, BSC discusses working with director Michael Bay — they often shot 60-90 setups a day and used over 20 different cameras for various effects.

American Cinematographer's Jim Hemphill talks with Between Us cinematographer Nancy Schreiber, ASC and writer/director Dan Mirvish about the challenges of shooting this polished drama with a micro budget and many volunteer crew members.

American Cinematographer contributor Iain Marcks speaks with cinematographers John Toll, ASC and Frank Griebe about the Wachowskis' ambitious feature Cloud Atlas.

Russell Carpenter, ASC and director Joshua Michael Stern about creating three distinct looks, on a tight budget, for each time period in this indie biopic about Apple founder Steve Jobs.

American Cinematographer's Iain Stasukevich speaks with cinematographer Norm Li, CSC, and director Panos Cosmatos about their collaboration on Beyond the Black Rainbow, a stylish low budget sci fi thriller, they discuss the films they turned to for inspiration as well as their decision to shoot 2-perf 35mm film instead of digital or other formats.

American Cinematographer's Jim Hemphill talks with Shane Hurlbut, ASC about Deadfall and his choice of mixing film capture with additional DSLR cameras, the effects of combining formats on workflow, and how he selects the best equipment for each film.

Claudio Miranda, ASC discusses his work on Ang Lee's Life of Pi, discussing the unique challenges of shooting digital 3D on this film — set mostly on the open ocean — and how they kept it visually engaging.

American Cinematographer contributor Iain Marcks talks with Peter Deming, ASC about playing with and against traditional horror cliches in the Joss Whedon-produced film, Cabin in the Woods, as well as working with directors Lynch, Raimi and Craven.

Director Mikael Salomon, ASC and cinematographer Ben Nott, ACS speak with American Cinematographer's Jim Hemphill about the A&E Miniseries Coma: how former cinematographer Salomon approaches directing, and how they got the most out of a tiny budget.

American Cinematographer's Jim Hemphill talks with director Bart Layton and cinematographer Erik Wilson about the art of creating dramatic, cinematic reenactments in the context of a documentary as well as having two different cinematographers on the film

Cinematographer Frank Barrera discusses his collaboration with actor and first-time director Patrick Wang to create a restrained and effective look for this Indie film, as well as their visual influences.

Sean Bobbitt, BSC discusses his work on director Steve McQueen's independent film Shame, covering the film's visual style and how trust on the set was essential with the film's difficult subject matter.

Alex Vendler talks about shooting The Woman, an independent feature which made a splash at Sundance, and discusses getting the most out of a small budget as well as his creative collaboration with director Lucky McKee.

Mátyás Erdély, HSC discusses his Cannes-nominated film, Miss Bala, and his collaboration with director Gerardo Naranjo on its formal, restrained visual style in exploring Mexico's violent drug cartels.

Oliver Stapleton, BSC speaks with American Cinematographer's Jim Hemphill about Guillermo del Toro's production of Don't Be Afraid of the Dark, why he prefers to capture on film, working with first-time directors and planning for visual effects.

American Cinematographer's Iain Marcks goes on location to speak with Fred Murphy, ASC about lighting the television series The Good Wife, about becoming comfortable with digital capture and about what makes a good cinematographer.

Chris Menges, ASC, BSC speaks with American Cinematographer's Jim Hemphill about Stephen Daldry's Extremely Loud & Incredibly Close and how he shot and lit the film to make it easier for first-time child actor Thomas Horn to focus on his performance.

Checco Varese, ASC, AMC talks with American Cinematographer's Jim Hemphill about filming Renny Harlin's 5 Days of War in the Georgian Republic, about working with the Georgian military to stage a massive military attack and his use of an early RED camera.

American Cinematographer's Jean Oppenheimer hosts a wide-ranging discussion with Conrad W. Hall about the challenges and happy accidents of shooting OKA! in a remote pygmy village in Africa with limited equipment and using locals as actors and crew.

Amy Vincent, ASC, discusses how the film's dance sequences advance the story, how she collaborated with hair and makeup to create the “look” for actress Julianne Hough, and about her repeated collaborations with Craig Brewer.

In part two of this podcast, Michael Slovis, ASC discusses the process Breaking Bad employs to support its directors and provide a consistent feel to the series, as well as how it feels to work in this system.

Michael Slovis, ASC, talks with American Cinematographer's Iain Stasukevich about cast and crew on Breaking Bad work together to capture the New Mexican landscape with cinematic flair.

American Cinematographer's Iain Marcks goes on location to Berlinale 2011 and speaks to: Wim Wenders about using 3-D on his documentary, Pina; Guy Maddin about his use of found footage; and Przemyslaw Wojcieszek about the look of Made.

American Cinematographer's Iain Marcks sits with Eduard Grau, cinematographer of Buried, discussing the creative and technical challenges of setting the entire film within the constraints of a coffin, as well as the decision to shoot film over video.

Rabbit Hole director John Cameron Mitchell and cinematographer Frank DeMarco discuss using the Red One camera, shooting with older lenses and shooting unobtrusively for great performances from their cast.

American Cinematographer’s Jim Hemphill interviews director Nicolas Winding Refn about how shooting Valhalla Rising in the remote Scottish Highlands impacted his creative vision, and he discusses using the Red camera with cinematographer Morten Søborg.

Edward Lachman, ASC, talks about the concepts behind visualizing the work of artists Bob Dylan and Allen Ginsberg, especially on the indie Howl.

Phedon Papamichael, ASC discusses the complexities of shooting the big-budget, effects-filled Tom Cruise movie, Knight and Day, comparing this large and highly technical shoot with some his previous, smaller films.

John Bartley, ASC, CSC discusses his work on the J.J. Abrams series Lost — including the peculiarities of shooting on location in Hawaii and working a show with multiple cinematographers.

Victor J. Kemper, ASC reviews his work on the 1973 film The Friends of Eddie Coyle, starring Robert Mitchum and shot entirely on location in Boston and Connecticut, with fellow ASC member Richard Crudo.

Russell Carpenter, ASC, discusses shooting the action-comedy Killers, directed by Robert Luketic.

Steven Fierberg, ASC discusses setting the look the HBO series on location in New York, his career in New York's lower East side and choosing digital or photochemical.

Cinematographer Peter Biagi talks with American Cinematographer about shooting the 2009 feature Under New Management about maintaining a career in the Chicago area, shooting on location in New York and working as a camera operator for Robert Altman.

Stephen Goldblatt, ASC, BSC, cinematographer of Percy Jackson & the Olympians: The Lightning Thief, talks about shooting this digital effects extravaganza on a limited budget, and the increasing presence of digital tools in production.

Cinematographer Barry Markowitz, ASC talks with American Cinematographer's Iain Marcks about his work on Scott Cooper's film Crazy Heart, discussing working with actor/directors, shooting this modestly budgeted indie film on location and working with actor Jeff Bridges. 

Cinematographer Peter Zeitlinger and filmmaker Werner Herzog talk with American Cinematographer's Iain Marcks about Herzog's unique shooting style, and how his freestyle approach fosters great performances and requires much flexibility from the crew.

Rodney Taylor, ASC, cinematographer of That Evening Sun, talks with AC’s Jim Hemphill about shooting a low-budget anamorphic feature on location and finishing using old school photochemical techniques.

Lance Acord, ASC, cinematographer of Where the Wild Things Are, continues his conversation with fellow ASC member Rodney Taylor, focusing on his career and the art scene in Los Angeles and San Francisco in the 1980s.

Lance Acord, ASC sits down with fellow ASC cinematographer Rodney Taylor to discuss Spike Jonze’s adaptation of Maurice Sendak’s classic book.

Cinematographer Mihai Malaimare Jr. speaks with American Cinematographer's Jim Hemphill about his work on Francis Ford Coppola's film Tetro, delving into the specifics of the film's unique visual style, shooting on location in Argentina, and his experiences shooting High Definition Video.

Owen Roizman, ASC chats about his lighting aesthetic, reveals his technique for flashing film stock and shares anecdotes from the set of the 1974 version of The Taking of Pelham One Two Three with fellow ASC member Rodney Taylor.

Newton Thomas Sigel, ASC talks about the film stocks, lenses and digital intermediate processes that he employed to create the look of the film, as well as the impact of Tom Cruise signing on to what had originally been a small and low-budget project.

Cinematographer Matthew F. Leonetti, ASC and visual effects supervisor Richard Edlund, ASC discuss some of the classic techniques on display in this 1982 horror classic directed by Tobe Hooper.

Wally Pfister, ASC discusses working on The Dark Knight, the use of IMAX and shooting single camera, as well as his long term working relationship with Christopher Nolan in this interview with fellow cinematographer Daryn Okada, ASC.

Guillermo Navarro, ASC, AMC — cinematographer of Hellboy II: The Golden Army — discusses shooting tooth fairies and elementals, creating otherworldly environments and working alongside director Guillermo del Toro with American Cinematographer contributor Iain Marcks.

Willy Kurant, ASC, AFC is interviewed by Denis Lenoir, ASC, AFC about his work on Orson Welles’ 1969 production created for French television, Une Historie Immortelle (The Immortal Story).

Part 2 of a wide-ranging interview with Alik Sakharov, ASC that reveals secrets about the show’s controversial ending and offers an in-depth overview of his work on the series.

Part 1 of a wide-ranging interview with Alik Sakharov, ASC that reveals secrets about the show’s controversial ending and offers an in-depth overview of his work on the series.