Russ Alsobrook, ASC, discusses his approach to the drama Black or White, in which a grieving widower struggles to retain custody of his young granddaughter in the wake of his wife’s death. Alsobrook explains why the filmmakers made last-minute decisions to go digital and to shoot widescreen, how they made the most of the 2.40:1 frame, and how he used lighting to illuminate the story’s complicated emotional terrain.

Cinematographer John Bailey, ASC discusses his work on the acclaimed drama Ordinary People, which marked Robert Redford’s directorial debut and was one of Bailey’s earliest feature credits. 

AC correspondent Iain Marcks surveys the scene at the 22nd annual Camerimage International Film Festival in Bydgoszcz, Poland. One of the largest gatherings of cinematographers in the world, Camerimage features several categories of competition, honors select filmmakers for their career achievements, includes seminars and panel discussions, and showcases some of the latest cinematography equipment. Featured in this podcast are cinematographer Michael Neubauer, BVK; director David Scott Smith; Phil Greenstreet of Rosco Laboratories; Sarah Priestnall of Codex; Mike Hibarger of Panavision; and AC correspondents Benjamin B and David Heuring.

Michael Seresin, BSC, connects with AC via Skype to revisit his work on Alan Parker’s Angel Heart, a dark, atmospheric thriller that has gained iconic status in cinematography circles since its theatrical release in 1987. 

To mark the 20th anniversary of the release of The Crow, Dariusz Wolski, ASC, revisits his work on the film, which helped launch his and director Alex Proyas’ careers in Hollywood. 

Director of photography Marvin V. Rush, ASC, describes his work on Hell on Wheels, a drama set in the aftermath of the Civil War that is currently in its fourth season on AMC. Among the topics he discusses are the importance of embracing the natural world in his overall approach to the show, which is shot on location in Alberta, Canada; how MacTech LEDs have transformed his day-interior lighting; why he prefers to reserve the close-up for important storytelling moments; and how he approached directing an episode for the first time.

Cinematographer Ron Garcia, ASC recalls shooting the Twin Peaks pilot for director David Lynch. He discusses why he was an unlikely choice for the project, how he coaxed the desired warm tones out of his Fuji negative, and the importance of working with a great gaffer.

Director of photography Michael Seresin, BSC, discusses the new film Dawn of the Planet of the Apes, detailing how he and director Matt Reeves strove to bring “a film aesthetic” to the native 3-D digital production.

Cinematographer Goert Giltay, NSC, and director Jos Stelling join AC’s Iain Marcks on a Skype call from the Netherlands to discuss their approach to the drama The Girl and Death. The longtime collaborators cover the choice of shooting digitally with an Arri Alexa, how they achieved the expressionistic visuals, and the flexible lighting approach that was necessitated by the actors’ availability.

Cinematographer Trent Opaloch discusses his work on Captain America: The Winter Soldier, describing in detail the nuts and bolts of lighting, managing and scheduling this mammoth production, as well as how his work on District 9 and Elysium influenced this film.