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		<title>American Cinematographer Podcasts</title>
		<itunes:author>American Cinematographer Magazine</itunes:author>
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		<description><![CDATA[American Cinematographer magazine interviews cinematographers, directors and other key collaborators involved in creative process of bringing film and television projects to the screen.]]></description>
		<itunes:subtitle>American Cinematographer magazine interviews cinematographers, directors and other key collaborators involved in creative process of bringing film and television projects to the screen.</itunes:subtitle>
		<itunes:summary>American Cinematographer magazine interviews cinematographers, directors and other key collaborators involved in creative process of bringing film and television projects to the screen.</itunes:summary>
		<language>en</language>
		<copyright>American Cinematographer</copyright>
		<itunes:owner>
			<itunes:name>American Cinematographer</itunes:name>
			<itunes:email>jon@e-a-media.com</itunes:email>
		</itunes:owner>
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			<title>American Cinematographer Podcasts</title>
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		<category>TV &amp; Film</category>
		<itunes:category text="TV &amp; Film" />
		<category>Visual Arts</category>
		<itunes:category text="Arts">
			<itunes:category text="Visual Arts" />
		</itunes:category>
		<itunes:keywords>American Cinematographer, magazine, cinematography, director of photography, movies, films, filmmaking, cinematographer</itunes:keywords>
		<itunes:explicit>no</itunes:explicit>
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			<title>Crazy Heart: Barry Markowitz, ASC</title>
			<itunes:author>American Cinematographer Magazine</itunes:author>
			<description><![CDATA[Cinematographer Barry Markowitz, ASC talks with American Cinematographer's Iain Stasukevich about his work on the film, Crazy Heart, discussing working with actor/directors, shooting this low budget film on location and working with actor Jeff Bridges.]]></description>
			<itunes:subtitle>Cinematographer Barry Markowitz, ASC talks with American Cinematographer&apos;s Iain Stasukevich about his work on the film, Crazy Heart, discussing working with actor/directors, shooting this low budget film on location and working with actor Jeff Bridges.</itunes:subtitle>
			<itunes:summary>Cinematographer Barry Markowitz, ASC talks with American Cinematographer&apos;s Iain Stasukevich about his work on the film, Crazy Heart, discussing working with actor/directors, shooting this low budget film on location and working with actor Jeff Bridges.</itunes:summary>
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			<pubDate>Mon, 15 Mar 2010 13:33:15 -0700</pubDate>
			<category>TV &amp; Film, Visual Arts</category>
			<itunes:explicit>no</itunes:explicit>
			<itunes:duration>00:34:40</itunes:duration>
			<itunes:keywords>American Cinematographer, magazine, cinematography, director of photography, movies, films, filmmaking, cinematographer, Crazy Heart, Barry Markowitz, Jeff Bridges, Scott Cooper</itunes:keywords>
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		<item>
			<title>Bad Lieutenant: Peter Zeitlinger and Werner Herzog</title>
			<itunes:author>American Cinematographer Magazine</itunes:author>
			<description><![CDATA[Cinematographer Peter Zeitlinger and filmmaker Werner Herzog talk with American Cinematographer's Iain Stasukevich about Herzog's unique shooting style, and how his freestyle approach fosters great performances and requires much flexibility from the crew.]]></description>
			<itunes:subtitle>Cinematographer Peter Zeitlinger and filmmaker Werner Herzog talk with American Cinematographer&apos;s Iain Stasukevich about Herzog&apos;s unique shooting style, and how his freestyle approach fosters great performances and requires much flexibility from the crew.</itunes:subtitle>
			<itunes:summary>Cinematographer Peter Zeitlinger and filmmaker Werner Herzog talk with American Cinematographer&apos;s Iain Stasukevich about Herzog&apos;s unique shooting style, and how his freestyle approach fosters great performances and requires much flexibility from the crew.</itunes:summary>
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			<pubDate>Tue, 02 Feb 2010 09:37:44 -0800</pubDate>
			<category>TV &amp; Film, Visual Arts</category>
			<itunes:explicit>no</itunes:explicit>
			<itunes:duration>00:26:01</itunes:duration>
			<itunes:keywords>American Cinematographer, magazine, cinematography, director of photography, movies, films, filmmaking, cinematographer, Bad Lieutenant, Port of Call, New Orleans, Peter Zeitlinger, Werner Herzog, Nicholas Cage, Erik Söllner, Iain Stasukevich</itunes:keywords>
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			<title>That Evening Sun: Rodney Talyor, ASC</title>
			<itunes:author>American Cinematographer Magazine</itunes:author>
			<description><![CDATA[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.]]></description>
			<itunes:subtitle>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.</itunes:subtitle>
			<itunes:summary>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.</itunes:summary>
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			<pubDate>Tue, 12 Jan 2010 09:06:42 -0800</pubDate>
			<category>TV &amp; Film</category>
			<itunes:explicit>no</itunes:explicit>
			<itunes:duration>00:43:49</itunes:duration>
			<itunes:keywords>American Cinematographer, magazine, cinematography, director of photography, movies, films, filmmaking, cinematographer, Hal Holbrook, Rodney Taylor, Raymond McKinnon, Scott Teems, Jim Hemphill</itunes:keywords>
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			<title>Tetro: Mihai Malaimare Jr.</title>
			<itunes:author>American Cinematographer Magazine</itunes:author>
			<description><![CDATA[Cinematographer Mihai Malaimare Jr. speaks with American Cinematographer's Jim Hemphill about his work on Francis Ford Coppola's film Tetro, delving into the specifics of the film's unique visual style, shooting on location in Argentina, and his experiences shooting High Definition Video.]]></description>
			<itunes:subtitle>Cinematographer Mihai Malaimare Jr. speaks with American Cinematographer&apos;s Jim Hemphill about his work on Francis Ford Coppola&apos;s film Tetro, delving into the specifics of the film&apos;s unique visual style as well as shooting High Definition Video.</itunes:subtitle>
			<itunes:summary>Cinematographer Mihai Malaimare Jr. speaks with American Cinematographer&apos;s Jim Hemphill about his work on Francis Ford Coppola&apos;s film Tetro, delving into the specifics of the film&apos;s unique visual style, shooting on location in Argentina, and his experiences shooting High Definition Video.</itunes:summary>
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			<pubDate>Mon, 21 Sep 2009 10:27:00 -0700</pubDate>
			<category>TV &amp; Film</category>
			<itunes:explicit>no</itunes:explicit>
			<itunes:duration>00:47:10</itunes:duration>
			<itunes:keywords>Tetro, Mihai, Malaimare, Coppola, jim Hemphill, American Cinematographer, magazine, cinematography, director of photography, movies, films, filmmaking, cinematographer</itunes:keywords>
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			<title>Valkyrie: Newton Thomas Sigel, ASC</title>
			<itunes:author>American Cinematographer Magazine</itunes:author>
			<description><![CDATA[Newton Thomas Sigel, ASC, cinematographer of Valkyrie, speaks with American Cinematographer's Jon Silberg about the film stocks, lens and digital intermediate processes that created the look of the film as well as the impact of Tom Cruise signing on to what had originally been a small and low-budget project.]]></description>
			<itunes:subtitle>Newton Thomas Sigel, ASC, cinematographer of Valkyrie, speaks with American Cinematographer&apos;s Jon Silberg about the film stocks, lenses and digital intermediate processes used on the film as well as the impact of Tom Cruise joining the project.</itunes:subtitle>
			<itunes:summary>Newton Thomas Sigel, ASC, cinematographer of Valkyrie, speaks with American Cinematographer&apos;s Jon Silberg about the film stocks, lens and digital intermediate processes that created the look of the film as well as the impact of Tom Cruise signing on to what had originally been a small and low-budget project.</itunes:summary>
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			<guid>http://www.theasc.com/podcasts/ac_podcasts/04_AC_Podcast_Valkyrie.mp3</guid>
			<pubDate>Thu, 26 Feb 2009 13:55:21 -0800</pubDate>
			<category>TV &amp; Film</category>
			<itunes:explicit>no</itunes:explicit>
			<itunes:duration>00:27:22</itunes:duration>
			<itunes:keywords>American Cinematographer, magazine, cinematography, director of photography, movies, films, filmmaking, cinematographer,Newton Thomas, Sigel, Brad Singer, Tom Cruise, Valkyrie,Jon Silberg </itunes:keywords>
		</item>
		<item>
			<title>Poltergeist: Matthew Leonetti, ASC and Richard Edlund, ASC</title>
			<itunes:author>American Cinematographer Magazine</itunes:author>
			<description><![CDATA[Cinematographer Matthew Leonetti, ASC and visual effects supervisor Richard Edlund, ASC sits down with American Cinematographer's Iain Stasukevich to discuss some of the classic techniques on display in the 1982 film Poltergeist.]]></description>
			<itunes:subtitle>Cinematographer Matthew Leonetti, ASC and visual effects supervisor Richard Edlund, ASC sit down with American Cinematographer&apos;s Iain Stasukevich to discuss some of the classic techniques on display in the 1982 film Poltergeist.</itunes:subtitle>
			<itunes:summary>Cinematographer Matthew Leonetti, ASC and visual effects supervisor Richard Edlund, ASC sits down with American Cinematographer&apos;s Iain Stasukevich to discuss some of the classic techniques on display in the 1982 film Poltergeist.</itunes:summary>
			<enclosure url="http://www.theasc.com/podcasts/ac_podcasts/03_AC_Podcast_Poltergeist.mp3" type="audio/mpeg" length="15258878" />
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			<guid>http://www.theasc.com/podcasts/ac_podcasts/03_AC_Podcast_Poltergeist.mp3</guid>
			<pubDate>Wed, 31 Dec 2008 12:31:16 -0800</pubDate>
			<category>TV &amp; Film</category>
			<itunes:explicit>no</itunes:explicit>
			<itunes:duration>00:31:42</itunes:duration>
			<itunes:keywords>American Cinematographer, cinematography, cinematographer, Poltergeist, Matthew Leonetti, Richard Edlund, Steven Spielberg</itunes:keywords>
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		<item>
			<title>Hellboy II: The Golden Army - Guillermo Navarro, ASC</title>
			<itunes:author>American Cinematographer Magazine</itunes:author>
			<description><![CDATA[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.]]></description>
			<itunes:subtitle>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&apos;s Iain Stasukevich.</itunes:subtitle>
			<itunes:summary>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&apos;s Iain Stasukevich.</itunes:summary>
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			<pubDate>Thu, 31 Jul 2008 17:58:21 -0700</pubDate>
			<category>TV &amp; Film</category>
			<itunes:explicit>no</itunes:explicit>
			<itunes:duration>00:37:01</itunes:duration>
			<itunes:keywords>American Cinematographer, cinematography, cinematographer, Wally Pfister, Hellboy, Guillermo del Toro, Hellboy II:  The Golden Army</itunes:keywords>
		</item>
		<item>
			<title>The Sopranos Alik Sakharov, ASC Pt. 2</title>
			<itunes:author>American Cinematographer magazine</itunes:author>
			<description><![CDATA[Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, has revealed that the show’s controversial ending was partly inspired by the mindbending climax of Stanley Kubrick’s metaphysical space opera 2001: A Space Odyssey — an homage he planned carefully with the show’s creator, David Chase. “We talked about 2001 quite a bit,” Sakharov says in an exclusive, hour-long podcast that can be heard by clicking on the accompanying link. In a wide-ranging interview with Stephen Pizzello, executive editor of American Cinematographer magazine, Sakharov reveals other secrets about the show’s final scene and offers an in-depth overview of his work on the series.]]></description>
			<itunes:subtitle>Part 2 of a wide-ranging interview with Stephen Pizzello, Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, reveals secrets about the show’s controversial ending and offers an in-depth overview of his work on the series.</itunes:subtitle>
			<itunes:summary>Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, has revealed that the show’s controversial ending was partly inspired by the mindbending climax of Stanley Kubrick’s metaphysical space opera 2001: A Space Odyssey — an homage he planned carefully with the show’s creator, David Chase. “We talked about 2001 quite a bit,” Sakharov says in an exclusive, hour-long podcast that can be heard by clicking on the accompanying link. In a wide-ranging interview with Stephen Pizzello, executive editor of American Cinematographer magazine, Sakharov reveals other secrets about the show’s final scene and offers an in-depth overview of his work on the series.</itunes:summary>
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			<pubDate>Tue, 10 Jul 2007 10:16:19 -0700</pubDate>
			<category>TV &amp; Film</category>
			<itunes:explicit>no</itunes:explicit>
			<itunes:duration>00:24:42</itunes:duration>
			<itunes:keywords>cinematography, ASC, HBO, The Sopranos, American Cinematographer, magazine, Alik Sakharov, Stephen Pizzello</itunes:keywords>
		</item>
		<item>
			<title>The Sopranos Alik Sakharov, ASC Pt. 1 </title>
			<itunes:author>American Cinematographer Magazine</itunes:author>
			<description><![CDATA[Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, has revealed that the show’s controversial ending was partly inspired by the mindbending climax of Stanley Kubrick’s metaphysical space opera 2001: A Space Odyssey — an homage he planned carefully with the show’s creator, David Chase. “We talked about 2001 quite a bit,” Sakharov says in an exclusive, hour-long podcast that can be heard by clicking on the accompanying link. In a wide-ranging interview with Stephen Pizzello, executive editor of American Cinematographer magazine, Sakharov reveals other secrets about the show’s final scene and offers an in-depth overview of his work on the series.]]></description>
			<itunes:subtitle>Part 1 of a wide-ranging interview with Stephen Pizzello, Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, reveals secrets about the show’s controversial ending and offers an in-depth overview of his work on the series.</itunes:subtitle>
			<itunes:summary>Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, has revealed that the show’s controversial ending was partly inspired by the mindbending climax of Stanley Kubrick’s metaphysical space opera 2001: A Space Odyssey — an homage he planned carefully with the show’s creator, David Chase. “We talked about 2001 quite a bit,” Sakharov says in an exclusive, hour-long podcast that can be heard by clicking on the accompanying link. In a wide-ranging interview with Stephen Pizzello, executive editor of American Cinematographer magazine, Sakharov reveals other secrets about the show’s final scene and offers an in-depth overview of his work on the series.</itunes:summary>
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			<pubDate>Fri, 06 Jul 2007 17:49:17 -0700</pubDate>
			<category>TV &amp; Film</category>
			<itunes:explicit>no</itunes:explicit>
			<itunes:duration>00:27:00</itunes:duration>
			<itunes:keywords>cinematography, ASC, HBO, The Sopranos, American Cinematographer, magazine, Alik Sakharov, Stephen Pizzello</itunes:keywords>
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