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
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
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
Game of Thrones cinematographer Robert McLachlan offers this commentary track for Episode 9 of Season 3, including the infamous Red Wedding scene....more
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....more
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....more
American Cinematographer contributor Iain Marcks speaks with cinematographers John Toll, ASC and Frank Griebe about the Wachowskis' ambitious feature Cloud Atlas....more
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....more