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
Donald A. Morgan on becoming a lighting director under Tommy Schamp's tutelage on Another Day
01:15
Donald A. Morgan on what a lighting director is responsible for
01:40
Donald A. Morgan on what makes a good lighting setup
01:46
Donald A. Morgan on lighting and camera basics - differences between a pedastal and dolly setup
06:10
Donald A. Morgan on shooting on videotape and how that impacts lighting decisions
02:02
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on learning from film cinematographers on films that shot on the KTTV lot during summers
03:00
Donald A. Morgan on becoming a lighting director under Tommy Schamp's tutelage on Another Day
01:15
Donald A. Morgan on what a lighting director is responsible for
01:40
Donald A. Morgan on what makes a good lighting setup
01:46
Donald A. Morgan on lighting and camera basics - differences between a pedastal and dolly setup
06:10
Donald A. Morgan on shooting on videotape and how that impacts lighting decisions
02:02
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on learning from film cinematographers on films that shot on the KTTV lot during summers
03:00
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 becoming a gaffer/electrician/lighting designer
01:14
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 a cinematographer and a director of photography being the same role
02:22
Donald A. Morgan on a cinematographer and a director of photography being the same role
02:22
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