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.

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 about the concepts behind visualizing the work of artists Bob Dylan and Allen Ginsberg, especially on the indie Howl.

Phedon Papamichael, ASC discusses the complexities of shooting the big-budget, effects-filled Tom Cruise movie, Knight and Day, comparing this large and highly technical shoot with some his previous, smaller films.

John Bartley, ASC, CSC discusses his work on the J.J. Abrams series Lost — including the peculiarities of shooting on location in Hawaii and working a show with multiple cinematographers.

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

Russell Carpenter, ASC, discusses shooting the action-comedy Killers, directed by Robert Luketic.

Steven Fierberg, ASC discusses setting the look the HBO series on location in New York, his career in New York's lower East side and choosing digital or photochemical.