May 2014 | News
ASC Nominates 12 for Heritage Awards
The ASC has nominated 12 student filmmakers for 2014 ASC Linwood Dunn Heritage Awards....more
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April 2014 | Podcasts
RoboCop (1987) / Jost Vacano, ASC
The cinematographer discusses his expert camerawork on this brutal sci-fi satire directed by Paul Verhoeven....more
March 2014 | Podcasts
The Grandmaster / Philippe Le Sourd, ASC, AFC
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....more
January 2014 | Podcasts
Saving Mr. Banks / John Schwartzman, ASC
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....more
December 2013 | Podcasts
Man of Tai Chi / Elliot Davis
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....more
December 2013 | Podcasts
Nebraska / Phedon Papamichael, ASC
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....more
October 2013 | Podcasts
Riddick / David Eggby, ACS
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....more
September 2013 | Podcasts
The Conjuring / John R. Leonetti, ASC
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....more