Haskell Boggs on new filming techniques that came about during the run of Bonanza
Haskell Boggs on learning to deal with the smaller sized television screen during his time was director of photography on Bonanza
Haskell Boggs on acting as director of photography for the Bonanza episode "Bushwhacked," and on the importance of a director of photography knowing the script
Haskell Boggs on dealing with the weather and daylight when working on location on Bonanza
Haskell Boggs on how cinematography techniques changed during his time on Bonanza and moving to the Warner Bros. set
Haskell Boggs on the differences between shooting for television and shooting features and on working with Bing Crosby and Bob Hope
Haskell Boggs on advice to aspiring directors of photography
George Spiro Dibie on how being a gaffer helps cinematographers
George Spiro Dibie on making suggestions for D.P.s on various shows
George Spiro Dibie on telling actors to show audience 3/4 and not open up entirely - different from stage acting
George Spiro Dibie on the challenges of lighting women
George Spiro Dibie on the difference between cinematographer and director of photography
Gerald Finnerman on the role of a director of photography
Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show
Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior
Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show
Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer
Gerald Perry Finnerman on being director of photography for Police Woman, being signed to work at Columbia Television, and working with different types of film stock
Gerald Perry Finnerman on the challenges of doing cinematography for made-for-television movies
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on the cinematographer's relationship with the director, and on what he looks for in a gaffer
Thomas Del Ruth on his style of communication and his early projects as a cameraman
Thomas Del Ruth on what a director of photography does and working with directors
Thomas Del Ruth on acting as director of photography on various made-for-television movies and on the technical aspects of the job
Thomas Del Ruth on his visual style
Thomas Del Ruth on the most important developments in television cinematography
Thomas Del Ruth on his advice to an aspiring cinematographer
Joseph M. Wilcots on the challenges of lighting Roots
Joseph M. Wilcots on depth of field and selective focus when shooting; on the use of filters
Joseph M. Wilcots on technological innovations during his career and on working with a crew
Joseph M. Wilcots on advice to an aspiring cinematographer
Joseph M. Wilcots on becoming the first Black member of the cinematographers union
Joseph M. Wilcots on the cinematographers union not being quick to welcome Black members
Ben Wolf on the role of a cinematographer in television
Ben Wolf on how the television cinematographer works with the lighting director
Ben Wolf on the television cinematographer working with the director
Ben Wolf on cinematographers working with assistant directors and stage managers
Ben Wolf on cinematographers establishing a look for a show with lighting directors
Ben Wolf on shot composition
Ben Wolf on advice to someone starting out in the cinematography business
Ben Wolf on how cinematography has changed
Ben Wolf on then-recent technological developments for cameras and then-current cinematography
