September 2025 American Cinematographer Reveals Behind-the-scenes of Blockbuster & Indie shoots, AI Discussions & Film Stock Updates

hollywood, CA – August 29, 2025 – the September issue of American Cinematographer drops today, offering an exclusive deep dive into the visual creation of several highly anticipated projects, from Marvel’s fantastic Four: First Steps to the Argentinian sci-fi epic The Eternaut. The issue also features a thorough report on the ASC AI Summit and significant advancements in Kodak’s Vision3 film stocks.

Here’s a breakdown of the key features within the September 2025 issue:

Blockbuster Visual Effects Breakdown: The Fantastic Four: First Steps

The magazine provides a detailed look at the in-camera and visual effects techniques employed on Marvel Studios’ The Fantastic Four: First Steps. Cinematographer jess Hall, ASC, BSC (known for his work on The Batman and Tenet) shares insights into bringing the iconic characters and their powers to life. The article specifically highlights the challenges of realistically portraying the elasticity of Mr. Fantastic and the Invisible Woman, and the creation of the Thing’s rocky exterior. Production took place primarily at Pinewood Studios in Iver Heath, Buckinghamshire, England, with extensive green screen work and motion capture.Fragmented narrative: Hundertdreizehn – A german/Austrian Six-Part Saga

Hundertdreizehn (“One Hundred and Thirteen”) is a six-episode series filmed across Austria and Germany. Cinematographer Ralph Kaechele, BVK (previously recognized for his work on Bad Banks) discusses his approach to the series’ unique narrative structure, described as “fragments of time.” Kaechele details how he and the team used distinct visual styles for each episode to represent different perspectives and timelines, employing a mix of Arri Alexa Mini LF cameras and vintage lenses to achieve a specific aesthetic. The series stars Robert Stadlober,Lia von Blarer,and Maeve Metelka.

Argentinian Sci-Fi: The Eternaut Blends VFX & Virtual Production

Bringing the classic Argentinian comic The Eternaut to the screen presented significant visual challenges. Cinematographer Gastón Girod details his innovative use of virtual production and VFX to create a believable and immersive sci-fi world. The article focuses on the techniques used to depict the alien invasion central to the story, and the integration of practical effects with digital enhancements. Filming took place in Buenos Aires, Argentina, utilizing a 360-degree LED volume stage at Ludevid Studios.

ASC AI Summit: Navigating the Future of Visual Artistry

The american Society of Cinematographers (ASC) recently hosted the “visual Artistry in the Age of AI” summit, bringing together industry professionals to discuss the implications of generative AI. The article summarizes key discussions around the ethical considerations, potential benefits, and challenges posed by AI tools for cinematographers and visual effects artists. Speakers included representatives from companies like Adobe, Nvidia, and several independent AI developers. The summit highlighted concerns about copyright, artistic ownership, and the potential displacement of jobs.

Kodak Vision3 Film Stock Enhancements: A Commitment to Analog

Kodak has announced upgrades to its Vision3 film stocks, focusing on both technical improvements and environmental sustainability. The enhancements include reduced chemical usage in processing and improved emulsion stability. The company emphasizes its continued commitment to film as a vital medium for filmmakers,despite the increasing prevalence of digital cinematography. Specific improvements were made to the 5219 (500T) and 5207 (250D) stocks.

Documentary Filmmaking in Remote Azerbaijan: The Return of the Projectionist

The Return of the Projectionist, a documentary recently awarded at the Salem Film Fest in Massachusetts, faced unique logistical hurdles during production. Cinematographer Daniel Guliyev and director Orkhan Aghazadeh recount the challenges of filming in remote regions of Azerbaijan with limited resources. The film tells the story of Samid, a former film projectionist attempting to revive a forgotten cinema. The filmmakers relied heavily on available light and resourceful problem-solving to capture the film’s intimate and poignant narrative.

classic Influence: Night of the Living Dead Revisited

In the “Wrap Shot” section, Richard Crudo, ASC reflects on the enduring legacy of George A.Romero’s Night of the living Dead (1968). Crudo analyzes the film’s groundbreaking cinematography and its lasting impact on the horror genre, noting its innovative use of low-budget techniques to create a sense of dread and realism.

Key Angles for Further Coverage:

* AI’s Impact: A deeper

Streaming Series Lighting Illuminates New Cinematic Frontiers

The art of lighting is constantly evolving, especially within the realm of streaming series. New techniques and technologies are showcased in the latest issue, highlighting the creative choices behind some of today’s most visually stunning shows.

Severance Season 2: A Deep Dive

The second season of Severance has brought the creative collaboration of several artists. These include cinematographer/director/producer Jessica Lee Gagné, and cinematographers David Lanzenberg and Suzie Lavelle along with director/executive producer Ben Stiller. They worked together to capture the show’s surreal atmosphere.

The crew of Severance Season 2 at work.

“The filmmakers’ discussion reveals how the Apple TV Plus thriller series’ lighting techniques enhance the dual realities depicted in its story.”

—From the source material

Lighting Styles in Black Mirror and Beyond

The magazine also delves into the diverse visual styles of other shows. Cinematographers such as Jo Willems, Stephan Pehrsson, Philipp Haberlandt, and Álvaro Gutiérrez discuss their unique approaches to Netflix’s Black Mirror. The use of lighting to construct a science fiction aesthetic is a key element in the show.

Another episode of Doctor Who, “The Story & the Engine,” is highlighted. Cinematographer Ashley Barron brought new visual ideas to the BBC/Disney Plus series. The crew’s lighting ideas helped elevate the time-travel theme.

Inside AC’s July 2025 Issue — **Ashley Barron** on the set of Doctor Who.

The episode of Adolescence has been examined, with Matthew Lewis, and gaffer Max Hodgkinson sharing their techniques. The focus was on balancing social realism and family dynamics, achieved through lighting and camera movement.

Superhero Stories and Virtual Production Techniques

For Daredevil: Born Again, cinematographers Hillary Fyfe Spera and Pedro Gómez Millán brought the grit of 1970s cinema to a modern superhero story. They worked to create a perilous showdown set in a penthouse using carefully planned lighting.

The entertainment industry is actively adopting virtual production methods. One report indicates that the global virtual production market is anticipated to reach $8.17 billion by 2028 (Fortune Business Insights).

The Punisher (aka Frank Castle, played by Jon Bernthal) and Daredevil (Charlie Cox) confer in the aftermath of a vicious battle with rogue cops in Daredevil: Born Again. (Photo by Giovanni Rufino, courtesy of Marvel Television / Disney Plus.) — The Punisher and Daredevil in *Daredevil: Born Again*.

Remembering a Legend

The publication also includes a tribute to the visual-effects expert Bruce Logan, known for his work on films like 2001: A Space Odyssey and Tron. The article also revisits Gordon Willis‘ work on The Godfather (1972), particularly the famous restaurant scene.

Gordon Willis, ASC checks his light as director Francis Coppola confers with camera operator Michael Chapman in the background on the set of The Godfather. (Photo courtesy of the ASC Archive.) — **Gordon Willis** on the set of *The Godfather*.

The latest issue offers an overview of the technical and creative innovations that shape modern visual storytelling.

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