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Lyle Vincent on lighting the darkness of The Beast in Me

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Lyle Vincent on lighting the darkness of The Beast in Me

Cinematographer Lyle Vincent on shooting the Netflix series The Beast in Me with Panavision lenses and hard lighting that allow deep shadows to fall into black.

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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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Lyle Vincent on lighting the darkness of The Beast in Me

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

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