High-stakes gambler Lord Doyle (Colin Farrell) hits a hot streak that brings him unwanted fame in Ballad of a Small Player, shot by James Friend, ASC, BSC. (Photo courtesy of Netflix.)
News

Inside the November 2025 Issue of American Cinematographer

ASC Staff

The November 2025 issue presents coverage of Ballad of a Small Player, One Battle After Another, Caught Stealing, Highest 2 Lowest, Tron: Ares and Truth & Treason, as well as looks at the launch of the ASC Todd-AO Lenses and incorporating Gaussian-splat technology into production workflow. Featured throughout are spotlights on on-set monitoring and virtual production.



President’s Desk


Mandy Walker, ASC, ACS considers the many ways cinematographers seek inspiration.


Ballad of a Small Player — Capturing a Gambler's Chaotic Odyssey


James Friend, ASC, BSC and director Edward Berger discuss creating two divergent looks to depict a high-stakes card player's strange journey in Macau.


Cinematographer James Friend, ASC, BSC (kneeling) works out a shot with director Edward Berger (far right) on the set of Ballad of a Small Player. (Photo courtesy of Netflix.)

Shooting One Battle After Another in VistaVision


Cinematographer Mike Bauman, camera operator Colin Anderson and 1st camera assistant Sergius Nafa detail their contributions to Paul Thomas Anderson’s political thriller, which was shot with three vintage Beaumont VistaVision cameras.


Cinematographer Mike Bauman (right, in blue shirt) and the crew prepare to shoot a driving sequence for Paul Thomas Anderson's One Battle After Another. (Photo by Merrick Morton, SMPSP, courtesy of Warner Bros. Pictures.)

Two From Matthew Libatique, ASC, LPS


The cinematographer continues his long-running creative partnerships with Darren Aronofsky and Spike Lee on the directors' latest respective features, Caught Stealing and Highest 2 Lowest.


Cinematographer Matthew Libatique, ASC, LPS (right) on location with 1st AC Aurelia Winborn during production on Darren Aronofsky's Caught Stealing. (Photo by Niko Tavernise, courtesy of Sony Pictures.)

Tron: Ares — Bringing Digital Beings Into the Real World


Jeff Cronenweth, ASC; director Joachim Rønning; and crew break down their approach to the neon-inflected sci-fi action feature.


Cinematographer Jeff Cronenweth, ASC eyes a frame on the set of Tron: Ares. (Photo by Leah Gallo, courtesy of Disney.)

Introducing the ASC Todd-AO Lenses


ASC members Steve Gainer, Shelly Johnson, Greig Fraser and Mandy Walker, and ASC associate member Alex Nelson of Zero Optik, discuss the collective endeavor to produce the ASC Todd-AO Lenses, and Christian Sprenger, ASC describes using the restored vintage optics in the field.


The ASC Todd-AO lenses, restored by Zero Optik. (Photo by Alex Nelson.)

Global Village: Re-Creating Early-1940s Germany for Truth & Treason


Cinematographer Bianca Cline illuminates her approach to the World War II-era drama, directed by Matt Whitaker.

Cinematographer Bianca Cline and director Matt Whitaker behind the camera for Truth & Treason. (Photo courtesy of Angel.)

The Virtual World


Roberto Schaefer, ASC, AIC discusses his recent work with Gaussian splats, a 3D visualization technology that holds promise for cinematographers.


In Memoriam: Eduardo Serra, ASC, AFC


Reflecting on the cinematographer's impactful works, which included Girl with a Pearl Earring, Unbreakable and two Harry Potter films.


Clubhouse News


The latest bulletins from the Society feature new members Valentina Caniglia,
Max Da-Yung Wang
and Mike Berlucchi; the unveiling of the ASC Todd-AO Lenses; a New Zealand Cinematographers Society welcome for Shelly Johnson; a celebration of the 2025 Emmy-nominated cinematographers; and an ASC Mini Master Class.


Wrap Shot — Casino Royale (2006)


A look back at one of the James Bond film series' most transformative entries, shot by Phil Méheux, BSC and directed by Martin Campbell.


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