• Commercial cinematography — especially car work — is a distinct specialty, and in this short video, leading commercials cameraman Bill Bennett, ASC details his basic lighting approach to a classic automobile hero shot: Like this video? Join Friends of the ASC for hours of in-depth discussion and instructional clips featuring some of the world’s finest cinematographers. — Mat Newman

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  • Shelly Johnson, ASC is hosting the ASC Instagram this month. He takes over from Jon Joffin, ASC, who shared photos with followers in March. Johnson is a California native and graduated from the Art Center College of Design in 1980. Inspired in part by the camera crews his father worked with as a television director, Johnson focused on cinematography, soon establishing himself

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  • An interview with cinematographer Hoyte van Hoytema, FSF, NSC, and gaffer David Smith about some of their lighting setups for the James Bond movie Spectre. This post expands on my November article in American Cinematographer. 

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  • This post complements my article about Sicario, directed by Denis Villeneuve with cinematography by Roger Deakins, ASC, BSC, in the October issue of American Cinematographer. In this interview, Roger focuses on several lighting examples from the film.

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  • I spoke to Gabriel Beristain, ASC, BSC, recently about his work on Marvel’s period TV series Agent Carter, and that sparked an interesting conversation about the evolution of filmmaking technology. Gabriel is using a combination of the latest digital technologies and analog techniques to achieve a look that harks back to the late 1940s —

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  • This post continues my in-depth look at scenes from the wonderful Polish film IDA, which I covered in an article in the May issue of the American Cinematographer. Once again I offer video and high-resolution images not available in the print version to present detailed examples of scene lighting. This 2nd post is intended to be

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  • This post complements my article about the stunning Polish film IDA in the May issue of the American Cinematographer, and offers video and high-resolution images not available in the print version. It’s also an opportunity to present detailed examples of scene lighting. Click on any image in this post to see a bigger version. +++

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  • This post complements my article about the stunning Polish film IDA in the May issue of the American Cinematographer, and offers video and high-resolution images not available in the print version. It’s also an opportunity to present detailed examples of scene lighting. Click on any image in this post to see a bigger version. +++ IDA

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  • I had the great privilege of spending some time with the late Harris Savides, ASC, years ago at Camerimage, when he came to present American Gangster, the film he shot for Ridley Scott. I share here part of our lengthy, impromptu audio interview in 2007 in the Camerimage café in Lodz. +++ Harris Savides, ASC

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  • This is Part 4 of the Lighting Workshop that I organized with cinematographer Eric Kress during Gokinema at Gothenburg Film Studios. Here I offer a video summary of the workshop, along with links to download the dailies. The first 3 parts have generated many comments, questions and encouragements, in various blogs on the net, via

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  • This is Part 3 of the Lighting Workshop I organized with cinematographer Eric Kress during Gokinema at Gothenburg Film Studios. Thanks again for all the encouragements and thoughtful comments about Parts 1 & 2 ! If you haven’t seen them, I strongly recommend viewing the 2 earlier videos — starting with PART 1 — before

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  • This is Part 2 of the Lighting Workshop I organized with cinematographer Eric Kress during Gokinema at Gothenburg Film Studios. PART 1 of Eric Kress’ workshop has been very popular. Thank you for all the encouragements and thoughtful comments ! If you haven’t seen PART 1, I strongly recommend viewing it before watching PART 2,

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  • For the past 3 years I have organized cinematography workshops & master classes at the Gothenburg Film Studios during their annual Gokinema event. The Danish cinematographer Eric Kress led the first of these workshops, demonstrating the lighting of matched close-ups. This is the first of several posts about Eric’s workshop Eric Kress Eric Kress, DFF,

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  • Happy New Year! I continue the popular DPs and Gaffers series. Here is part 5 from the seminar held at Camerimage 2012 in collaboration with my friends at K5600 Lighting. In Part 1, the panel discussed who does what, and the difference between the American & European systems. In Parts 2 and 3, they discussed

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  • Merry Christmas and Happy Holidays! I continue the popular DPs and Gaffers series. Here is part 4 from the seminar with DPs and gaffers, held at Camerimage 2012 in collaboration with my friends at K5600 Lighting. In Part 1, the panel discussed who does what, and the difference between the American & European systems. In

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  • The first 2 posts of DPs and Gaffers have been very popular, with many people saying it was helpful, so I am continuing the series. So here is part 3 from the seminar with DPs and gaffers, held at Camerimage 2012 in collaboration with my friends at K5600 Lighting. In Part 1, the panel discussed

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  • This is part 2 from the seminar with DPs and gaffers, held at Camerimage 2012 in collaboration with my friends at K5600 Lighting. The subject here is the lighting list. In Part 1, the panel discussed who does what, and the difference between the American & European systems. (click on any image in this post

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  • The relationship between cinematographers and gaffers is essential to lighting. During last year’s Camerimage, I had the pleasure to moderate a seminar with American and European cinematographers and gaffers, in collaboration with my friends at K5600 Lighting. To my knowledge this is the first time gaffers are panelists at the festival. In part 1, the

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