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Inside the October 2025 Issue of American Cinematographer

ASC Staff

The October 2025 issue delves into the art of crafting horror and suspense, and spotlights specialized lighting techniques and camera movement. Our coverage includes in-depth features on HIM, The Knife, Kiss of the Spider Woman and Spinal Tap II: The End Continues, as well as a look at the Fujifilm GFX Eterna 55 demo short film Okay.



President’s Desk


Mandy Walker, ASC, ACS reflects on her affection for the horror genre.


HIM — Framing High-Impact Sports and Surreal Horror


Kira Kelly, ASC's visual strategies for director Justin Tipping's sports-horror feature incorporated the sleek visual language of commercials and some unusual stylistic flourishes to depict football's raw brutality.


Cinematographer Kira Kelly, ASC (right) and key grip Rudy Covarrubias (left) make a helmet-cam adjustment on the set of HIM. (Photo courtesy of Universal Pictures.)

Building Disparate Worlds for Kiss of the Spider Woman


Cinematographer Tobias Schliessler, ASC; director Bill Condon; and production designer Scott Chambliss detail their approach to creating contrasting visual realms for Kiss of the Spider Woman.


Digital Edition Exclusive


Lighting diagrams with commentary from Schliessler provide detailed looks at setups for the film's ballroom, exterior-village and prison-infirmary sets.


On Kiss of the Spider Woman, an elaborate ballroom sequence required cinematographer Tobias Schliessler, ASC and the crew to light for long, wide master shots punctuated by closer beauty shots of the actors. (Photo courtesy of Lionsgate / Roadside Attractions / LD Entertainment.)

Reviving Rock Legends for Spinal Tap II: The End Continues


Director of photography Lincoln Else, director Rob Reiner and concert-lighting designer Mike Baldassari capture Spinal Tap's return to the stage for Spinal Tap II: The End Continues.


Digital Edition Exclusive


Lighting diagrams with Baldassari’s notes reveal how theatrical lighting helped bring the titular band's reunion concert to life.


From left: Cinematographer Lincoln Else, director Rob Reiner and A-camera 1st AC Zach Blosser review a shot on location in New Orleans for Spinal Tap II: The End Continues. (Photo by Kyle Kaplan, courtesy of Bleecker Street.)

The Knife — Drawing Suspense From a Single Location


Alejandro Mejía, AMC illuminates how he built tension in a fixed environment for director Nnamdi Asomugha's chilling psychological drama.


Alejandro Mejía, AMC served as cinematographer on The Knife and performed the majority of the film's camerawork. (Photo courtesy of IAM21 Entertainment.)

Short Takes: Shooting Okay With Fujifilm’s GFX Eterna 55


Cinematographer Oren Soffer takes the new digital motion-picture camera for a test drive on director Andrew Kightlinger's short film.


Cinematographer Oren Soffer wields Fujifilm's GFX Eterna 55 to capture a scene with actor Kathleen Quinlan for the short film Okay. (Photo by Michael Bulbenko, courtesy of Andrew Kightlinger.)

Tools of the Trade


Betty Lights Luminous Reflectors leverage a multifaceted surface coating to produce diffused, booklight-style illumination.


In Memoriam — John S. Bartley, ASC, CSC


Honoring the cinematographer's legacy, which was marked in part by his acclaimed approaches to such landmark series as The X-Files and Lost.


Clubhouse News


The latest bulletin from the Society features a celebration of the 2025 AC Rising Stars of Cinematography.


Wrap Shot — This Is Spinal Tap


A look back at cinematographer Peter Smokler's work on the monumental rock mockumentary, which forever changed satiric filmmaking.


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