American Cinematographer's Iain Stasukevich speaks with cinematographers John Toll, ASC and Frank Griebe about the Wachowski sibling's feature, Cloud Atlas and how they collaborated on the look of this complicated production shot across multiple countries.'

American Cinematographer's Jim Hemphill talks with cinematographer Russell Carpenter, ASC and director Joshua Michael Stern about the film, Jobs, which explores the life and career of Apple founder Steve Jobs. Working with the budget of an independent film, they created three unique looks to capture the feel of different eras in Job's life, but were careful never to go 'over the top.'

American Cinematographer's Iain Stasukevich speaks with cinematographer Norm Li, CSC and director Panos Cosmatos about their collaboration on Beyond the Black Rainbow, a stylish low budget sci fi thriller, and their decision to shoot 2-perf 35mm film instead of digital or other formats.

American Cinematographer's Jim Hemphill talks with Shane Hurlbut, ASC about the 2012 film, Deadfall, and his choice of mixing film capture with additional DSLR cameras, the effects of combining formats on workflow, and how he selects the best equipment for each film.

American Cinematographer's Jim Hemphill speaks with Claudio Miranda, ASC about his work on Ang Lee's Life of Pi, discussing the unique challenges of shooting digital 3D on this film, set mostly on the open ocean  and how they kept it visually engaging.

American Cinematographer's Iain Stasukevich talks with Peter Deming, ASC about playing with and against traditional horror cliches in the Joss Whedon-produced film, Cabin in the Woods, as well as his past work with directors who explore darker themes: David Lynch, Sam Raimi and Wes Craven.

Director Mikael Salomon, ASC and cinematographer Ben Nott, ACS speak with American Cinematographer's Jim Hemphill about the A&E Miniseries Coma: how former cinematographer Salomon approaches directing, and how they got the most out of a tiny budget.

American Cinematographer's Jim Hemphill talks with director Bart Layton and cinematographer Erik Wilson about the art of creating dramatic, cinematic reenactments in the context of a documentary as well as the challenge of working with previously shot interview footage from cinematographer Lynda Hall.

American Cinematographer's Jim Hemphill talks with Frank Barrera about his collaboration with actor and first-time director Patrick Wang to create a restrained and effective look for this very low budget Indie film shot on the RED camera.

American Cinematographer's Iain Stasukevich talks with Sean Bobbitt, BSC about his work on filmmaker Steve McQueen's independent film, Shame, covering the film's visual style, director McQueen's artistic approach on this film and on Hunger, and how building trust with the crew and actors was an essential element for success in dealing with the subject matter of a sex addict.

Alex Vendler talks with American Cinematographer's Jim Hemphill about shooting The Woman, an independent feature which made a splash at Sundance, and discusses getting the most out of a small budget as well as his creative collaboration with Lucky McKee.

American Cinematographer’s Jim Hemphill speaks with Mátyás Erdély, HSC about the Cannes-nominated film, Miss Bala, and his collaboration with director Gerardo Naranjo on the film's formal, restrained visual style in exploring Mexico’s violent drug cartels.

Oliver Stapleton, BSC speaks with American Cinematographer's Jim Hemphill about Guillermo del Toro's production of Don't Be Afraid of the Dark, why he prefers to capture on film, working with first-time directors and planning for visual effects.

American Cinematographer's Iain Stasukevich goes on location to speak with Fred Murphy about lighting the television series The Good Wife, about becoming comfortable with digital capture and about what makes a good cinematographer.

Chris Menges, ASC, BSC speaks with American Cinematographer’s Jim Hemphill about Stephen Daldry’s Extremely Loud & Incredibly Close and how he shot the film to make it easier for first-time child actor Thomas Horn to focus on his performance, and also about his collaboration with production designer K. K. Barrett to create sets lit almost primarily by practicals and windows. Menges also discusses his experiences using the Arri’s Alexa camera.

Checco Varese, ASC, AMC talks with American Cinematographer’s Jim Hemphill about filming Renny Harlin’s 5 Days of War in the Georgian Republic, including shooting in the remote abandoned village of Tsalka where they cooperated with the Georgian military to recreate a Russian attack using jets, tanks, helicopters, practical explosions and one thousand extras. He also discusses the choice of shooting with a very early build of the RED digital camera.

American Cinematographer’s Jean Oppenheimer hosts a wide-ranging discussion with Conrad Hall, Jr. about the challenges and happy accidents of shooting OKA! in a remote pygmy village in the Central African forest. He details his approach to lighting the film, attempting to capture the natural beauty of the people and the locale with a limited equipment package, as well as working with the local Bayaka tribe as both actors and crew.

American Cinematographer’s Jean Oppenheimer speaks with Amy Vincent, ASC, cinematographer of the 2011 release of Footloose, discussing how the film’s dance sequences advance the story, how she collaborated with hair and makeup to create the ‘look’ for Julianne Hough, and about her repeated collaborations with Craig Brewer

In part two, Michael Slovis, ASC discusses the process Breaking Bad employs to support its directors and provide a consistent feel to the series, as well as how it feels to work in this system.

In part one, Michael Slovis, ASC talks with American Cinematographer’s Iain Stasukevich about how the supportive and collaborative team, from the network through to the crew, work together to capture the New Mexican landscape with a cinematic flair.

American Cinematographer’s Iain Stasukevich goes on location to Berlinale 2011 and speaks to: Wim Wenders about using 3-D on his dance documentary, Pina; Guy Maddin and his producer Jody Shapiro about his use of found footage in Fragments; and Przemyslaw Wojcieszek creative process that led to the look of Made in Poland.

American Cinematographer’s Iain Stasukevich sits with Eduard Grau, cinematographer of Buried, discussing the creative and technical challenges of setting the entire film within the constraints of a coffin, as well as the decision to shoot 35mm film over video.

American Cinematographer’s Iain Stasukevich talks with Rabbit Hole director John Cameron Mitchell and cinematographer Frank DeMarco about shooting with the Red camera, their use of older lenses and shooting unobtrusively for great performances from the cast.

American Cinematographer’s Jim Hemphill interviews director Nicolas Winding Refn about how shooting Valhalla Rising in the remote Scottish Highlands impacted his creative vision, and he discusses using the Red camera with cinematographer Morten Søborg.

Edward Lachman, ASC talks with American Cinematographer’s Iain Stasukevich about visualizing the work of poet Allen Ginsberg, and maintaining an emotinal truth, in his work on the recent film, Howl.

Phedon Papamichael, ASC talks with American Cinematographer’s Jim Hemphill about the complexities of shooting the big budget, effects-filled Tom Cruise movie, Knight and Day, comparing this large and highly technical shoot with some of his previous, smaller films.

John Bartley, ASC talks with American Cinematographer's Iain Stasukevich about his work on the J.J. Abram's television series, Lost — including the peculiarities of shooting on location in Hawaii and working a show with multiple cinematographers.

Russell Carpenter, ASC discusses using a digital anamorphic camera, mixing film and digital on effects shots, and the complexities of shooting the action comedy Killers with American Cinematographer’s Jim Hemphill.

Steven Fierberg, ASC speaks with American Cinematographer’s Iain Stasukevich about setting the look for HBO's series How To Make It In America on location in New York, his career in New York’s lower East side, and the pros and cons of choosing digital or photochemical.

Cinematographer Peter Biagi talks with AC’s John Pavlus about shooting the feature Under New Management. Biagi discusses maintaining a career in the Chicago area, shooting on location in New York and working as a camera operator for Robert Altman on his last two features.

Stephen Goldblatt, ASC, BSC, cinematographer of Percy Jackson & the Olympians: The Lightning Thief, talks with Jim Hemphill about shooting this digital effects extravaganza on a limited budget, and the increasing presence of digital tools in production.

Cinematographer Barry Markowitz, ASC talks with American Cinematographer's Iain Stasukevich about his experiences working with actor/directors like Scott Cooper, shooting this low budget film on location and working with actor Jeff Bridges.

Cinematographer Peter Zeitlinger and director Werner Herzog talk with American Cinematographer's Iain Stasukevich about Herzog's unique shooting style; how its seemingly freestyle approach fosters great performances and requires great flexibility from the crew.

Rodney Taylor, ASC, cinematographer of That Evening Sun, talks with AC’s Jim Hemphill about shooting a low-budget anamorphic feature on location and finishing using old school photochemical techniques.

Mihai Malaimare Jr., cinematographer of Francis Ford Coppola’s Tetro, speaks with American Cinematographer’s Jim Hemphill about his work, delving into the specifics of the film’s unique visual style as well as the process of shooting High Definition Video.

Newton Thomas Sigel, ASC, cinematographer of Valkyrie, speaks with American Cinematographer’s Jon Silberg about shooting in Germany and the US. more >

Cinematographer Matthew Leonetti, ASC and visual effects supervisor Richard Edlund, ASC sit down with American Cinematographer’s Iain Stasukevich to discuss some of the classic techniques on display in the 1982 film Poltergeist.

Guillermo Navarro, ASC, cinematographer of Hellboy II: The Golden Army, discusses shooting tooth fairies and elementals, creating otherworldly environments and working alongside Guillermo del Toro with American Cinematographer’s Iain Stasukevich.

Stephen Pizzello, executive editor of American Cinematographer magazine, talks with Alik Sakharov, ASC, the main director of photography about HBO’s The Sopranos, and reveals secrets about the show’s final scene.

Victor Kemper, ASC reviews his work on the 1973 film starring Robert Mitchum, and shot entirely on location in Boston and Connecticut, with fellow ASC member Richard Crudo.

Part 2 of a two-part podcast:
Lance Acord, ASC shares the artists who have inspired him as well as his own path from photography to film with fellow ASC member Rodney Taylor.

Part 1 of a two-part podcast:
Lance Acord, ASC cinematographer of Spike Jonze’ Where the Wild Things Are, discusses the creative underpinnings of the film, and the techniques he used to tackle its artistic challenges, with fellow ASC member Rodney Taylor.

Owen Roizman, ASC chats about his lighting aesthetic, reveals his technique for flashing film stock and shares anecdotes from the set of the 1974 version of The Taking of Pelham One Two Three with fellow ASC member Rodney Taylor.

Wally Pfister, ASC discusses working on The Dark Knight, the use of IMAX and shooting single camera, as well as his long term working relationship with Christopher Nolan in this interview with fellow cinematographer Daryn Okada, ASC.

Willy Kurant, ASC, AFC is interviewed by Denis Lenoir, ASC, AFC about his work on Orson Welles’ 1969 production created for French television, Une Historie Immortelle (The Immortal Story). more >