American Cinematographer's Iain Marcks goes on location to speak with Fred Murphy, ASC 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 and lit the film to make it easier for first-time child actor Thomas Horn to focus on his performance.

Checco Varese, ASC, AMC talks with American Cinematographer's Jim Hemphill about filming Renny Harlin's 5 Days of War in the Georgian Republic, about working with the Georgian military to stage a massive military attack and his use of an early RED camera.

American Cinematographer's Jean Oppenheimer hosts a wide-ranging discussion with Conrad W. Hall about the challenges and happy accidents of shooting OKA! in a remote pygmy village in Africa with limited equipment and using locals as actors and crew.

Amy Vincent, ASC, discusses how the film's dance sequences advance the story, how she collaborated with hair and makeup to create the “look” for actress Julianne Hough, and about her repeated collaborations with Craig Brewer.

In part two of this podcast, 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.

Michael Slovis, ASC, talks with American Cinematographer's Iain Stasukevich about cast and crew on Breaking Bad work together to capture the New Mexican landscape with cinematic flair.

American Cinematographer's Iain Marcks goes on location to Berlinale 2011 and speaks to: Wim Wenders about using 3-D on his documentary, Pina; Guy Maddin about his use of found footage; and Przemyslaw Wojcieszek about the look of Made.

American Cinematographer's Iain Marcks 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 film over video.

Rabbit Hole director John Cameron Mitchell and cinematographer Frank DeMarco discuss using the Red One camera, shooting with older lenses and shooting unobtrusively for great performances from their cast.