The cinematographer discusses his expert camerawork on this brutal sci-fi satire directed by Paul Verhoeven.

American Cinematographer's Iain Marcks talks with cinematographer Philippe Le Sourd, ASC, AFC about filming Wong Kar-wai's martial-arts drama The Grandmaster. Among the topics are how the project evolved over its three years of production in China, as well as how Le Sourd collaborated with the director.

John Schwartzman, ASC discusses his work on the modestly budgeted character-driven movie, Saving Mr. Banks, discussing the choice to shoot on film and how they recreated 1960s Los Angeles using no digital mattes or effects.

Elliot Davis describes his work on Man of Tai Chi — shooting in China, working with director Keanu Reeves, and his approach to shooting a commercial martial arts film, as well as his views on film vs. digital.

Nebraska cinematographer Phedon Papamichael, ASC discusses working with Alexander Payne, the benefits of shooting black-and-white in the digital age and shooting a road movie in real locations with many local actors.

Riddick cinematographer David Eggby, ACS on returning to the Pitch Black franchise and reuniting with director David Twohy to create a gritty, side-lit and contrasty atmosphere on a film with budget issues.

American Cinematographer’s Jim Hemphill talks with The Conjuring cinematographer John R. Leonetti, ASC about creating an ultra-realistic feeling by shooting the set as is it were a location they did not pull walls and used practical lighting as much as possible. He also discusses how their frequent use of a wide angle lens enhanced the audience's feeling of tension and unease.

Game of Thrones cinematographer Robert McLachlan offers this commentary track for Episode 9 of Season 3, including the infamous Red Wedding scene.

Pain and Gain cinematographer Ben Seresin, ASC, BSC discusses working with director Michael Bay — they often shot 60-90 setups a day and used over 20 different cameras for various effects.

American Cinematographer's Jim Hemphill talks with Between Us cinematographer Nancy Schreiber, ASC and writer/director Dan Mirvish about the challenges of shooting this polished drama with a micro budget and many volunteer crew members.