Haskell Boggs on new filming techniques that came about during the run of Bonanza
01:14
Haskell Boggs on learning to deal with the smaller sized television screen during his time was director of photography on Bonanza
01:45
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
03:31
Haskell Boggs on dealing with the weather and daylight when working on location on Bonanza
01:49
Haskell Boggs on how cinematography techniques changed during his time on Bonanza and moving to the Warner Bros. set
01:23
Haskell Boggs on the differences between shooting for television and shooting features and on working with Bing Crosby and Bob Hope
02:57
Haskell Boggs on advice to aspiring directors of photography
02:21
George Spiro Dibie on how being a gaffer helps cinematographers
00:34
George Spiro Dibie on making suggestions for D.P.s on various shows
00:35
George Spiro Dibie on telling actors to show audience 3/4 and not open up entirely - different from stage acting
00:57
George Spiro Dibie on the challenges of lighting women
01:08
George Spiro Dibie on the difference between cinematographer and director of photography
01:11
Gerald Finnerman on the role of a director of photography
01:51
Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show
03:17
Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior
03:46
Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show
03:19
Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer
00:58
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
09:05
Gerald Perry Finnerman on the challenges of doing cinematography for made-for-television movies
01:30
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
08:03
Gerald Perry Finnerman on the cinematographer's relationship with the director, and on what he looks for in a gaffer
04:20
Donald A. Morgan on how he became a director of photography
04:53
Donald A. Morgan on the responsibilities of a director of photography
06:22
Donald A. Morgan on calling cues
02:10
Donald A. Morgan on lighting cars, and a memorable setup on Last Man Standing
03:46
Donald A. Morgan on working with a fifth camera, often a jib
02:04
Donald A. Morgan on working on multiple shows at once and how his weekly schedule is divided for prep and production
09:24
Donald A. Morgan on where he physically is during shooting
01:19
Donald A. Morgan on the crew that he oversees and who has to be where when
05:46
Donald A. Morgan on how involved he is with post-production and on working with a colorist
03:20
Donald A. Morgan on advice to aspiring cinematographers
00:36
Donald A. Morgan on cinematographers who have influenced or mentored him and on cinematographers he has mentored
02:41
Donald A. Morgan on loving the creativity he gets to have with his work
02:19
Donald A. Morgan on how cinematography for television has changed since he first started in the business
01:06
Donald A. Morgan on his work as a mentor
02:08
Donald A. Morgan on advice to aspiring cinematographers
00:37
Donald A. Morgan on his signature style
01:31
Thomas Del Ruth on his style of communication and his early projects as a cameraman
01:50
Thomas Del Ruth on what a director of photography does and working with directors
04:41
Thomas Del Ruth on acting as director of photography on various made-for-television movies and on the technical aspects of the job
03:54
Thomas Del Ruth on his visual style
02:32
Thomas Del Ruth on the most important developments in television cinematography
01:40
Thomas Del Ruth on his advice to an aspiring cinematographer
02:26
Joseph M. Wilcots on the challenges of lighting Roots
03:53
Joseph M. Wilcots on depth of field and selective focus when shooting; on the use of filters
05:47
Joseph M. Wilcots on technological innovations during his career and on working with a crew
05:46
Joseph M. Wilcots on advice to an aspiring cinematographer
01:04
Joseph M. Wilcots on becoming the first Black member of the cinematographers union
04:09
Joseph M. Wilcots on the cinematographers union not being quick to welcome Black members
06:05
Ben Wolf on the role of a cinematographer in television
05:06
Ben Wolf on how the television cinematographer works with the lighting director
01:55
Ben Wolf on the television cinematographer working with the director
03:37
Ben Wolf on cinematographers working with assistant directors and stage managers
02:27
Ben Wolf on cinematographers establishing a look for a show with lighting directors
02:19
Ben Wolf on shot composition
02:44
Ben Wolf on advice to someone starting out in the cinematography business
02:32
Ben Wolf on how cinematography has changed
01:42
Ben Wolf on then-recent technological developments for cameras and then-current cinematography
02:16
