American Cinematographer

08/19/2026

Adam Bricker, ASC re-created the opening oner of the Hacks pilot for the series finale, matching the original shot beat for beat six years later. Shot on a Red V-Raptor 8K VV with a 35mm Panavision Primo 70 lens on a Steadicam operated by Joel Marsh — who operated the pilot oner — the finale scene reproduced the pilot's exposure (T2.8/4 split at 1,600 ISO), backlight and blocking.

Read more at https://theasc.com/article/hacks-finale-cinematography-adam-bricker/

08/18/2026

Tari Segal, ASC Tari Segal, ASC and Marshall Adams, ASC Marshall Adams break down the visual approaches behind their Apple TV Apple TV series in a new Clubhouse Conversations roundtable moderated by Dave Perkal, ASC Dave Perkal, ASC . Segal, who shared shooting duties with co-cinematographer Carl Herse on Margo’s Got Money Troubles, built a deliberately imperfect naturalism for the comedy, using symbolic teals, purples and pinks and a Petzval lens in the Emmy-nominated “Flamingoes” episode. Adams re-teamed with showrunner Vince Gilligan on the grounded sci-fi series Pluribus, chasing in-camera solutions over VFX — from a car-mounted LED rig for a shadow-free driving sequence to individually-lit radio dishes at the Very Large Array.

Read more at the link in bio.

08/18/2026

Tari Segal, ASC and Marshall Adams, ASC join a Clubhouse Conversations roundtable moderated by Dave Perkal, ASC to break down the cinematography of their Apple TV series, Margo's Got Money Troubles and Pluribus. Segal leaned into deliberately imperfect naturalism for the comedy — using symbolic color and a Petzval lens in the Emmy-nominated "Flamingoes" episode — while Adams chased in-camera solutions over VFX on Pluribus, from a car-mounted LED rig to individually-lit radio dishes at the Very Large Array.

Read more at

ASC members Tari Segal and Marshall Adams discuss the cinematography for their respective series, 'Margo’s Got Money Troubles' and 'Pluribus.'

08/14/2026

Tari Segal, ASC capped five months of L.A. production on Margo's Got Money Troubles with three days shooting on the Las Vegas Strip, bringing location authenticity to Episode 5, "Flamingoes." Across 12 locations, Segal and director Dearbhla Walsh built an old-school Vegas palette — warm tungsten and gold tones for Shyanne's (Michelle Pfeiffer) world — while solving on-the-fly problems on a live casino floor, a moving High Roller pod, and a Fremont Street steakhouse.

Segal lit the never-stopping Ferris wheel pod with hidden Titan Tubes in a pinkish-purple hue to contrast the blue-teal hotel scenes, hid Astera Tubes and bounced Fiilex G6s to avoid blocking casino security cameras, and revived a dead chandelier at Oscar's Steakhouse using three ground-placed Lekos.

Read more at https://theasc.com/article/margos-got-money-troubles-cinematography-segal/

https://theasc.com/article/margos-got-money-troubles-cinematography-segal/

Inside Episode 5 of 'Margo's Got Money Troubles': how Tari Segal, ASC faked old-school Vegas on a stage, then shot three days on the Strip.

08/14/2026

The ASC Master Class is built for cinematographers looking to sharpen an intermediate-to-advanced skill set through hands-on instruction in lighting, camera technique, and current workflow practices. The four-day seminar takes place in Hollywood September 22–25, 2026, with all necessary equipment provided.

Tari Segal, ASC has been confirmed as the first instructor for this session. Segal traces her visual sensibility to the Chicago jazz scene, where she was surrounded by artists who frequented her father's club, the Jazz Showcase; the improvisational, expressive qualities of that music continue to inform her cinematography.

After earning a cinematography degree from Columbia College, Segal relocated to Los Angeles, where she interned on the Oscar-nominated Sideways before moving into work as a director of photography across shorts, music videos, and features. Her television credits include Presumed Innocent, Long Bright River, Interior Chinatown, and Poker Face, and she is currently shooting Margo's Got Money Troubles.

Additional faculty will be announced as instructors are confirmed. Read more at https://store.ascmag.com/products/asc-master-class-september-22-25-2026

08/13/2026

Dana Gonzales, ASC Dana Gonzales and Andrew Wehde Drew Wehde explore the visual approaches shaping FX’s FX Networks sci-fi thriller Alien: Earth Alien: Earth and the Emmy-nominated kitchen drama The Bear The Bear in this roundtablThe Bearted by Checco Varese, ASC Checco Varese . Gonzales bChecco Varesearth as a reverent homage to Ridley Scott’s original, anchoring the look in 3,200K tungsten light and integrating fixtures into set architecture for naturalistic, one-light setups. Wehde has evolved The Bear’s aesthetic since its pilot, pushing into dreamlike RGB registers and bold stop differences between spaces—a visual language tracking Carmy’s state of mind across the series.

Watch at the link in bio.

08/13/2026

Dana Gonzales, ASC and Andrew Wehde discuss the craft behind FX's Alien: Earth and the Emmy-nominated The Bear in a new Clubhouse Conversations roundtable moderated by Checco Varese, ASC. Gonzales built Alien: Earth as an homage to Ridley Scott's 1979 film, using 3,200K tungsten as his baseline and integrating light directly into set architecture. Wehde has shaped The Bear's evolving look across seasons, using bold RGB palettes and precise stop differences to track chef Carmy's emotional journey.

Watch at:

Cinematographers behind FX's Alien: Earth (Dana Gonzales, ASC) and The Bear (Andrew Wehde) discuss their productions, techniques and more.

08/13/2026

Emmy® Nominee
Outstanding Cinematography for a Series (One Hour)
Episode 101: "Step Into My Office"
Darran Tiernan, ISC, Director of Photography

08/12/2026

Jamie D. Ramsay, BSC, SASC put a premium on highlights and shadows to frame the meteorological drama behind D-Day in Pressure, shooting 3.4K open gate for a 1.78:1 aspect ratio with Cooke S4/i primes to favor the deeper depth of field of smaller-sensor cameras. Staying around T5.6 with an EI near 800, Ramsay drew on the documentary cinematography of the era, recreating the Omaha and Utah beach landings at Camber Sands using natural backlight, billowing smoke and fire in place of heavy grip equipment on the protected coastline.

Read the full article in the August issue.

08/11/2026

Last week, UTA Production Arts hosted a special screening of Josephine with American Cinematographer, followed by a moderated Q&A between cinematographer Greta Zozula and American Cinematographer writer Carolyn Giardina. The Beth de Araújo drama — about an eight-year-old who witnesses a crime in Golden Gate Park — swept Sundance 2026, taking both the US Grand Jury Prize and the Audience Award; Zozula shot on the ALEXA 35 with Panavision VA lenses, holding on faces so the tension lives in the composition.