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
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