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Christian Sprenger on building the horror-comedy Widow’s Bay

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Christian Sprenger on building the horror-comedy Widow’s Bay

Christian Sprenger, ASC on balancing horror and comedy in Widow's Bay with lighting, practical effects, and years of trust built with producer Hiro Murai.

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Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look

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Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look

Peter Konczal, ASC on Black Rabbit's deliberately low-tech-analog toolkit, customized blue bounce light, and the gradual unraveling of its visual style episode by episode.

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Suburban street photography and voyeurism in DTF St. Louis

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Suburban street photography and voyeurism in DTF St. Louis

DP James Whitaker, ASC breaks down the look of HBO's DTF St. Louis: street photographs, a brutalist style police station, and inobtrusively lighting intimacy.

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Christian Sprenger on building the horror-comedy Widow’s Bay

Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look

Suburban street photography and voyeurism in DTF St. Louis

Smoke, spotlights, Silicon Valley secrets in The Audacity

Bonus Episode: Peter Deming, ASC

Shooting in the dark: the making of Spider Noir

James Laxton, ASC Frames Class and Generation Gaps in Beef 2

Evoking dread in Something Very Bad is Going to Happen

Lawrence Sher ASC: filming Apex in the Australian wilderness

Tari Segal, ASC: visual magic in Margo’s Got Money Troubles

DP Greta Zozula on the look of The Testaments

The scrappy, indie production of Hunting Matthew Nichols

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