All Episodes

DP Matheus Bastos on making budget indie films Gazer and Anima

Inside the IMAX Camera Department with Scott "Smitty" Smith

DP Doug Emmett on shooting the crime drama Furious

Never After Dark: filming a ghost story in Japan using camera magic

Wesley Wang on building a studio for the internet generation

Special Episode: Remembering Rodney Charters, ASC, CSC, NZSC

DP Brett Pawlak’s vision for Spider-Man: Brand New Day

Building a nearly silent crime drama in Motor City

Bringing indie instincts to Voicemails for Isabelle

Michael Bauman on building horror for Monster: The Ed Gein Story

Shooting mud, fog and firelight in A Knight of the Seven Kingdoms

Matt Ball on shooting in remote regions for Tucci in Italy

Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear

Lyle Vincent on lighting the darkness of The Beast in Me

Christian Sprenger on building the horror-comedy Widow’s Bay

Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look

Suburban street photography and voyeurism in DTF St. Louis

Smoke, spotlights, Silicon Valley secrets in The Audacity

Bonus Episode: Peter Deming, ASC

Shooting in the dark: the making of Spider Noir

James Laxton, ASC Frames Class and Generation Gaps in Beef 2

Evoking dread in Something Very Bad is Going to Happen

Lawrence Sher ASC: filming Apex in the Australian wilderness

Tari Segal, ASC: visual magic in Margo’s Got Money Troubles

DP Greta Zozula on the look of The Testaments

The scrappy, indie production of Hunting Matthew Nichols

Two horror films, one DP: They Will Kill You, Faces of Death

Ted Hope, Hope For Film: the rebirth of independent cinema

Two DPs, one vision: creating the look of Pluribus

Lawrence Sher, ASC reimagines Frankenstein for The Bride!

2026 Academy Awards nominations with Jenelle Riley

James Whitaker: Good Luck Have Fun Don’t Die’s visual chaos

Danny Cohen, BSC: Slow Horses ‘dirty London’ cinematography

Into the Dark Ages: the gothic vision of The Dreadful

Special Episode: Frederick Wiseman, acclaimed filmmaker

Adolpho Veloso: capturing memory, naturalism in Train Dreams

Sean Bobbitt on 28 Years Later: The Bone Temple’s madness

Russell Carpenter, ASC: Lighting the world of Fire and Ash

DP Michael Bauman on One Battle After Another’s improv style

Amy Vincent, ASC on the visual heart of Song Sung Blue

Caleb Heymann: the cinematic playground of Stranger Things

Steve Yedlin’s gothic look for Knives Out: Wake Up Dead Man

BONUS EPISODE: Sinners DP Autumn Durald Arkapaw, ASC

Bryan Fuller and Nicole Whitaker: Dust Bunny’s nightmare whimsy

Eric Lin and Lyle Vincent tell a tragic story in Rosemead

Alice Brooks, ASC returns to Oz in Wicked: For Good

DP Jess Hall’s retro look on The Fantastic Four: First Steps

Jeff Cutter: melding the alien worlds of Predator: Badlands

Jeff Cronenweth, ASC: stepping out of the grid on TRON: ARES

Cinematographer Dan Laustsen brings Frankenstein to life

Tobias Datum: creating the sci-fi world of Murderbot

Pål Ulvik Rokseth: forging the fiery world of The Lost Bus

Ula Pontikos, BSC captures unease in The Man in My Basement

Cinematographer Kira Kelly, ASC on the unique visuals of HIM

Bryn Mooser and Paul Trillo of Asteria on AI in filmmaking

Matty Libatique: the NY of Highest 2 Lowest, Caught Stealing

John Conroy on grounding the political thriller Zero Day

Alien: Earth director/DP Dana Gonzales reimagines a classic

Larkin Seiple on shaping the horror of Weapons

Matthew Chuang: bringing an authentic look to Chief of War

Art of the one shot: Adolescence cinematographer Matt Lewis

Cinematographer Matt Ball’s recipe for Tucci in Italy

Art of Deception: DP Christopher Ross, The Day of the Jackal

Michael Dallatorre: creating claustrophobia in Locked

Mihai Mălaimare Jr.: creating poetic reality in Megalopolis

Adam Newport-Berra on capturing chaos in The Studio

Stephen Murphy, BSC, ISC: embracing darkness in Say Nothing

Color, light and menace: DP Kim Ji-yong, Squid Game season 2

Luke Cormack’s unseen magic on David Blaine: Do Not Attempt

Christophe Nuyens on crafting the world of Andor: Season 2

The Last of Us Season 2 DPs Ksenia Sereda & Catherine Goldschmidt

Jacques Jouffret, ASC: American Primeval’s frigid frontier

Descent into darkness: Baz Irvine on Silo Season 2

Scott Siracusano’s inventive cinematography on Control Freak

Jessica Lee Gagné: Pushing Boundaries in Severance Season 2

Special: Hacks DP Adam Bricker, Live Podcast in Las Vegas

Johanna Coelho: creating intense ER reality on The Pitt

Daredevil: Born Again DPs Hillary Spera and Pedro Millán

Last Take: Rust and the Story of Halyna director Rachel Mason

Grace Point indie film director Rory Karpf & DP Al Francesco

Stephen Murphy, BSC: balancing love and terror in Heart Eyes

Andrew Bird: editing The Seed of the Sacred Fig in secret

2025 Academy Awards nominations with Jenelle Riley, Variety

Paul Guilhaume, AFC: opera and realism in Emilia Pérez

Sugarcane filmmakers Emily Kassie and Christopher LaMarca

Pierre Gill, CSC: lighting the darkness in Dune: Prophecy

The beauty of The Brutalist: Lol Crawley, BSC

Rina Yang, BSC: Igniting The Fire Inside

Jarin Blaschke: Crafting Darkness in Nosferatu

Media and the Munich massacre: September 5 DP Markus Förderer

Phedon Papamichael: Unveiling Bob Dylan in A Complete Unknown

Lawrence Sher, ASC on ShotDeck, Joker: Folie à Deux

Anora’s distinctive style: cinematographer Drew Daniels

The whimsical world of Wicked: Alice Brooks, ASC

Special Episode: A tribute to Adam Somner, Assistant Director, Producer for Ridley Scott, Steven Spielberg, Martin Scorsese, Paul Thomas Anderson, Alejandro González Iñárritu

From grunge to Gladiator II: John Mathieson, BSC

Capturing the Chaos of Saturday Night: Eric Steelberg, ASC

Action comedy redefined: Thelma director Josh Margolin and DP David Bolen

Jules O’Loughlin: Balancing action and character in The Old Man Season 2

The creepy cinematography of Smile 2: DP Charlie Sarroff