Associations & Organizations
The American Society of Cinematographers was founded in Hollywood in 1919 with the purpose of advancing the art and science of cinematography and bringing cinematographers together to exchange ideas, discuss techniques and promote the motion picture as an art form — a mission that continues today.
Industry Publications
American Cinematographer is a magazine[1][2][3] published monthly by the American Society of Cinematographers. It focuses on the art and craft of cinematography, covering domestic and foreign feature productions, television productions, short films, music videos and commercials.
The emphasis is on interviews with cinematographers, but directors and other filmmakers are often featured as well. Articles include technical how-to pieces, discussions of tools and technologies that affect cinematography, and historical features.
Cinematography World celebrates the people and organisations making moving images. Supporting, inspiring and empowering visual storytelling.
- by Kirsty HazlewoodEighty years after World War II, a daughter uncovers her father’s untold story as a D Day combat camera operator. That’s the premise of “D-Day: The Camera Soldier,” a new documentary, produced by TARGO in collaboration with TIME Studios, for Apple Vision Pro. Immersive documentary studio TARGO approached the film as a narrative that moves fluidly across formats, using immersive […] The post Documentary storytelling through spatial video with Blackmagic Design appeared first on Cinematography World.
- by Kirsty HazlewoodCineo Lighting (www.cineolighting.com), an industry leader in innovative lighting technology, announces the launch of its latest LED lighting product, the Cineo LYNX, at Cine Gear Expo Los Angeles in Stage 32. The Lynx series builds upon Cineo’s suite of LED production and broadcast lighting by creating a new family of fixtures that utilise its leading-edge […] The post Cineo Lighting unveils Lynx LED light bars at Cine Gear Expo appeared first on Cinematography World.
- by Kirsty HazlewoodSony is expanding its lineup of LED walls with the debut of Crystal LED Capri. The new Capri series achieves a maximum brightness of 1,500 cd/m2 with a 2.50mm LED pitch size. Key features include high refresh rates and brightness, a wide colour gamut, and anti-reflection. Additional benefits include installation flexibility, familiar structure, streamlined maintenance, and […] The post Sony expands LED display family with launch of Crystal LED Capri appeared first on Cinematography World.
- by Kirsty HazlewoodThe Sony Future Filmmaker Awards announced today the 2025 winners during a special ceremony hosted by Emmy-award winner Denny Directo (Entertainment Tonight) in the iconic Sony Pictures Studios Scenic Arts Building in Culver City. Now in its third edition, this trailblazing global awards program for short films established by Creo and sponsored by Sony ignites […] The post Sony Future Filmmaker Awards announce winners of the 2025 edition appeared first on Cinematography World.
- by Kirsty HazlewoodARRI announces the Network Interface Adapter NIA-1, bridging modern IP workflows and traditional LBUS-based camera and lens control systems. By introducing Ethernet connectivity to the ARRI Electronic Control System (ECS), NIA-1 enables seamless integration, advanced remote control, and scalable multi-device configurations. ECS tools such as the Hi-5 hand unit can now function with negligible latency […] The post New ARRI Network Interface Adapter NIA-1 expands camera and lens control via Ethernet appeared first on Cinematography World.
- by Kirsty HazlewoodMotion Impossible, the company behind the world’s first modular, remote-controlled robotic camera dolly system, has secured exclusive rights to sell Antares, a new and compact yet powerful stabilised remote head from FoMaSystems. Available for purchase direct from Motion Impossible, Antares can be bought either as a standalone unit for UK customers, or bundled with Agito […] The post Motion Impossible partners with FoMaSystems to sell Antares remote head appeared first on Cinematography World.
- by Kirsty HazlewoodFrom the home of Disney+’s A Thousand Blows in London to the home of ITV X’s The Winter King at Patchway in Bristol, a new collaboration gives productions the space to shoot without compromise. What’s On Offer: 4 sound stages | 60,000sq ft combined Two locations – London (Mortlake) & Bristol (Patchway – 75 mins […] The post Patchway Studios partners with London studio – The Story Works appeared first on Cinematography World.
- by Kirsty HazlewoodLABA – Libera Accademia di Belle Arti di Firenze – for years a reference point for training in the visual arts and design – has introduced Sony’s Burano professional camera in its teaching workshops, as a strategic choice aimed at offering students state-of-the-art tools in line with international film industry standards. Burano, the latest generation […] The post LABA Florence invests in the future as Sony Burano arrives in film classes appeared first on Cinematography World.
- by Kirsty HazlewoodThe SOC presents “So You Want to be an A Camera Operator”; a member led Q&A about the process and mentality required to be a top notch “A” Camera Operator. Each attendee will be required, upon sign up, to submit questions pertaining to the job of an A camera operator. The panel of instructors will […] The post Limited seats available for SOC’s ‘So you want to be an A-camera operator’ – Atlanta appeared first on Cinematography World.
- by Kirsty HazlewoodRed Digital Cinema brings industry icons to Cine Gear Expo 2025 with three must-see panels featuring award-winning cinematographers and industry innovators, delivering in-depth discussions on cinematic artistry and technology. Alongside these insightful conversations, Red will demonstrate the new Z Cinema Series, featuring the V-Raptor [X] and Komodo-X camera systems with Nikon’s premier Z Mount, providing […] The post Red Digital Cinema showcases cinematic mastery with panels at Cine Gear Expo 2025 appeared first on Cinematography World.
Filmmaker is a quarterly publication magazine covering issues relating to independent film. The magazine was founded in 1992 by Karol Martesko-Fenster, Scott Macaulay and Holly Willis. The magazine is now published by the IFP, which acts in the independent film community.
- by Lauren WissotOle Juncker’s Tribeca-premiering Take the Money and Run follows Jens Haaning, a Danish conceptual artist to whom the Kunsten Museum of Modern Art Aalborg loaned $83,000 — money that was to be tangibly incorporated into a specific commission for their 2021 group exhibition centered on the future of working life. (Which was not so creatively titled “Work it out.”) Unfortunately for the museum, Haaning decided to incorporate the dollars into his own personal life instead, though he did deliver a piece called Take the Money and Run — a pair of empty frames — along with an email explaining the […]
- by Hugo EmmerzaelIn a contemporary take on Werner Herzog’s The Enigma of Kaspar Hauser (1974), The Wolf, the Fox, and the Leopard depicts a woman who lives amongst wolves being whisked away and plunged into human society. Director David Verbeek presents this jarring story as a kind of apocalyptic fairytale, in which a feral woman learns what it means to be human while humanity itself is bracing for the end of the world as they know it. Mostly set on a repurposed offshore oil rig, the film explores how the interests of men and nature inevitably clash in the face of impending […]
- by Natalia KeoganAlthough the heat has yet to properly arrive, today’s kickoff of the annual Tribeca Festival, now firmly ensconced in its post-Cannes calendar slot, signals the unofficial start to the summer season among the New York City cinema-going sect. Running from June 4 through 15, the program this year boasts 118 feature films with an impressive 95 world premieres among them. Even if the word “film” is no longer centered in the festival’s actual title, it certainly remains the concerted programming focus. Though there are also plenty of offerings in their TV, games, audio, interactive and Tribeca X sections—the latter of […]
- by Filmmaker StaffMetrograph, the New York repertory and first-run cinema, announces today the hiring of Edo Choi as Film Programmer. Choi was most recently the Associate Curator of Film at the Museum of the Moving Image and begins at Metrograph immediately. A New York-based film programmer, projectionist, and critic, between 2014 and 2019 Choi worked as a projectionist and then programmer for the Maysles Documentary Center. From late 2019 to early 2025, he was the Assistant—later Associate—Curator of Film at the Museum of the Moving Image, as well as the Senior Programmer of the Museum’s annual festival First Look, which celebrated its […]
- by Peter RinaldiThe legendary Ian McShane has been acting for more than 60 years, from The Wild and The Willing, The Last of Shelia, and Jesus of Nazareth to Lovejoy, Sexy Beast, and the John Wick films. His two latest films are Ballerina, set in the John Wick universe, and and the action comedy Deep Cover. On this episode he talks about what made his time as Al Swearengen on Deadwood (perhaps his most iconic role) so special, and tells a story about an unforgettable suggestion from creator David Milch. He explains what sets Wick’s Chad Stahalski apart as a director/producer, why […]
- by Tyler CoatesNetflix’s limited series Adolescence picked up three prizes at the second annual Gotham TV Awards, held on June 2 at Cipriani Wall Street in New York City. Among those awards were breakthrough limited series, lead performance in a limited series (Stephen Graham), and supporting performance in a limited series (Owen Cooper). Accepting the top prize, actor and co-creator Graham expressed surprise that Adolescence has already become a worldwide phenomenon. “We’re overwhelmed for you to embrace us the way you have … . This was a small colloquial piece that was made with love, respect, humility and dignity, and we treated […]
- by Nicolas RapoldMascha Schilinski’s Sound of Falling was so rapturously acclaimed upon its premiere on the first full day of Cannes 2025 that some thought they’d already seen a possible Palme d’Or winner. In the end, her film shared the Jury Prize with another adored Competition title, Sirât, whose end-times death-trip might seem to overshadow the ordinary-sounding logline for Sound of Falling: four generations of girls on a farm in Germany. But this film swiftly establishes itself as an equally virtuosic secret history and sustained experiment in female subjectivity in kaleidoscopic form, drawing on scenes and notes from journals and voices from […]
- by Matt MulcaheyIn A24’s Bring Her Back, a grieving mother (Sally Hawkins) takes a pair of orphaned siblings into her secluded home with nefarious ulterior motives. It’s another slice of southern Australian horror steeped in trauma and grief from Talk to Me twins Mark and Danny Philippou, infused with ample gore and unsettling dental carnage. The brothers’ sophomore directorial effort reteams them with Talk to Me cinematographer Aaron McLisky, who spoke to Filmmaker about their latest venture on the eve of its theatrical release. Filmmaker: I saw Talk to Me in the theater when it came out and loved it, but I didn’t know anything […]
- by Inney PrakashRaoul Peck’s new documentary Orwell: 2+2=5 opens with a credit sequence featuring images of what appear to be microscopic larvae wriggling across the screen. The message seems clear: something nefarious is afoot on this globe, but still in its incipient stages. If we fail to act, it’s going to get much worse. In recent years, the filmmaker has made direct, no-nonsense use of the nonfiction form to address, from various angles, the rot of white supremacy, its historical roots and its unchecked future. Building on I Am Not Your Negro, Silver Dollar Road, the miniseries Exterminate All the Brutes and […]
- by Peter RinaldiYou know Bobby Naderi from his subtle and sometimes hilarious work in films like Bright and The Beekeeper. Now he brings that same aliveness to the new Amazon series The Better Sister, where he plays Detective Matt Bowen. On this episode, he talks about how his nomadic youth shaped his life and work, how failures paved the way for breakthroughs, why he stopped anticipating how a scene will play out, how his mother’s blunt criticism of his acting work helped him get better, and much more. Back To One can be found wherever you get your podcasts, including Apple Podcasts, […]
- by Filmmaker StaffProducers Joe Pirro and Caroline Clark attended the 2025 Cannes Film Festival as Gotham Cannes Producer Network Fellows. Pirro is with the New York company Symbolic Exchange, and Clark L.A.’s Kindred Spirit. The two recently collaborated on Andrew Ahn’s The Wedding Banquet, and here, in a part one of a two-part conversation, that share their festival debrief. First up, Clark querying Pirro. Clark: You were awarded this year’s Sundance Institute | Amazon MGM Studios Producers Award for Fiction at the Sundance Film Festival. From a decorated producer’s point of view, how do you like to prioritize your time at Cannes, […]
- by Blake WilliamsThe cinema world was quick to juxtapose an image from the climax of this year’s award ceremony—where Iranian director Jafar Panahi took home the Palme d’Or for his generously-received It Was Just an Accident—alongside one in which this year’s jury president Juliette Binoche protested Panahi’s 2010 arrest and imprisonment while she accepted her Best Actress prize for Certified Copy. The latter image, one of the most indelible of recent Cannes history, also circulated a bit after the lineup was announced several weeks before the festival began, as many doubted Binoche’s capacity for impartiality. Whether or not Panahi’s film needed only […]
- by Leonardo GoiThe film festival world can be so depressingly homogenous that to come across a title straying beyond its aesthetic and storytelling conventions is nothing short of exhilarating. The Last One for the Road is one such film. Conversant as it may be with a long and varied set of influences—from 1960s Italian comedies all the way to Aki Kaurismäki—Francesco Sossai’s second feature synthesizes its touchstones into something that feels bracingly alive. It heralds its writer-director as a new talent to watch, and confirms that the most exciting Italian cineastes working today are those shooting a long way away from the […]
- by Vadim RizovIn a piece about the documentaries at this year’s Cannes, Slate’s Sam Adams noted the existence of Put Your Soul on Your Hand and Walk but declined to name the section it was in, referring to it only as “a low-profile sidebar devoted to independent productions.” That would be ACID, which—with the possible exception of the CINEF section that shows film school shorts—is, yes, probably the lowest-profile of the Cannes premieres sections. To decide ACID isn’t worth naming is a reminder of the infinite proliferation of hierarchies at Cannes; there are dark rumors that even though the press badges are […]
- by Ritesh MehtaIcelandic filmmaker Hlynur Pálmason’s epic 2022 film Godland mapped the crisis of faith experienced by a 19th-century Danish priest on a mission to Iceland. A majestic tapestried shot of a horse skeleton lifts viewers from the difficult physical and emotional terrain of the film’s narrative world into a realm that is more formal, ethereal, and symbolic. Similarly, Pálmason’s fourth feature, The Love That Remains, which premiered at Cannes last weekend, is only in some layers a dark comedy about the varied pains experienced by a rural Icelandic family undergoing a separation of parents Anna (Saga Garðarsdóttir) and Magnús (Sverrir Guðnason). Horses […]
- by Blake WilliamsSpike Lee’s maligned 2013 update of Park Chan-wook’s 2003 revenge picture, Oldboy, did little to inspire confidence in his latest reimagining of an Asian classic, this time relocating Akira Kurosawa’s High and Low (1963) to DUMBO in Brooklyn. Given a very Spike title of Highest 2 Lowest, the Denzel Washington vehicle is expectedly brimming with the director’s signature expressive filmmaking—wildly cubist jump cut coverage within establishing shots, double-take character greetings and spontaneous shifts into saturated 16mm footage of New York abound—and tends to feel more like another excuse to create a cinematic love letter to his hometown and the Black […]
- by Vadim RizovSentenced by the Iranian government in 2010 on spurious grounds to six years in prison, a punishment that came with a 20-year ban on making movies, Jafar Panahi immediately set about violating the latter. Title notwithstanding, 2011’s This is Not a Film was what I’d call an “actual movie,” spry and self-reflexive like his first two features, 1995’s The White Balloon and 1997’s The Mirror. The post-Film features that followed—Closed Curtain, Taxi, 3 Faces and No Bears—merited that first post-ban title more. Leaning upon his undeniably courageous status as a (since) multiple-times-jailed dissident filmmaker, those works foregrounded the director as a benign […]
- by Matt MulcaheyIn the latest Marvel Cinematic Universe entry Thunderbolts*, a reluctant squad of antiheroes team up to save New York City. Behind the scenes, another superteam comprised of A24 alumni joined forces. As this trailer breaks down, Thunderbolts* is brought to you by “the writers and director of Beef, the cinematographer of The Green Knight, the production designer of Hereditary, the editor of Minari and the composers of Everything Everywhere All at Once.” That Green Knight cinematographer would be Andrew Droz Palermo, whose resume includes work for both Marvel (the Disney+ series Moon Knight) and A24 (David Lowery’s A Ghost Story and […]
- by Ani SchroeterProducer Ani Schroeter (Bunnylovr) attended the 2025 Cannes Film Festival as The Gotham Cannes Producers Network Fellow. Below find her wrap on the festival and her experiences at the Producers Network. I feel like I’m coming down from my first week as a high school freshman. The Cannes Film Festival was daunting, invigorating and I cannot wait to go back. While at most U.S. festivals, running into film friends on the street is the norm, at Cannes, they are few and far between. At least for a newbie like me. This was my first year at Cannes, and I am […]
- by Filmmaker StaffThe American Pavilion at the Cannes Film Festival has announced the winners of this year’s Emerging Filmmaker Showcase sponsored by Gold House. Gold House awarded the inaugural Cultural Impact award to Andy “Celeste” Diep for Happy New Year, Ms. Luna. This award was conceived to recognize a filmmaker across the showcase’s categories whose work exemplifies excellence in multicultural narratives or underrepresented perspectives. “Happy New Year, Ms. Luna” also won the Emerging Filmmaker LGBTQ+ Award. The film’s director, Andy “Celeste” Diep is a AmPav Student Program Alumni from 2015. “It’s been wonderful to have almost all the 25 filmmakers with their […]
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