Carmen V. Albert is an accomplished Spanish film journalist with over 20 years of experience covering the film industry and audiovisual technology for leading publications. As editor of Camera & Light Magazine since 2012, she transformed the outlet (formerly Cameraman) into an inclusive platform celebrated for its auteur-driven editorial line and amplification of diverse cinematographic perspectives. In 2024, the Spanish Association of Cinematographers (AEC) honored her contributions with an honorary membership. Currently, Carmen continues to lead Camera & Light, serves as the communications director for ALIA (Audiovisual Industry Alliance), and drives innovative projects within the industry.

Bachelor of Fine Arts, Institute of Film and Television, New York University, 1978-1981, Gilles has been a cinematographer for forty years, working on both fiction and documentary films.

There had been important technical developments in the film industry in the last twenty years: digital cameras and LEDs. Gilles has always been very interested in testing and working with these new tools. Thanks to the CST (French Higher Technical Commission for Sound and Images), Gilles have had the opportunity to thoroughly test a wide range of new equipment.

Since 2005, Gilles has also occasionally taught cinematography in several film schools in Paris: Eicar, INA, Gobelins, Ecole Nationale Supérieure Louis Lumière.

Miga is an independent workflow and postproduction consultant with a background ranging from post-supervision to production technology and emerging technologies. He has held senior roles at Amsterdam’s largest image post facility Filmmore and Netflix. At the latter, he led the Creative Technology team for EMEA. With experience spanning local and international productions, he now advises productions and post houses worldwide. Miga also serves as teacher at The Netherlands Film Academy.

Additionally, over the years, Bill has worked on several feature films as a Cameraman, on either the First or Second Unit. Some titles include: Superman III, The Black Stallion Returns, Howard the Duck, To Live and Die in LA, Silverado, American Flyer, The Right Stuff (aerials), Less than Zero (aerials), Bugsy (miniatures), Waiting to Exhale (title sequence), Cocktail (aerials), Dante’s Peak, and Drive. He has also worked as 1st or 2nd unit Cameraman on the Television Series: 24, and The Fosters.

In 2004 Mr. Bennett had the great honor of being invited to join the prestigious American Society of Cinematographers. He served as a Vice President and a member of the Board of Governors for the Society, for over 10 years.

Along with Ron Dexter, ASC in the early 80’s, Mr. Bennett co-invented a device at the request of Robert Dalva, the Director of The Black Stallion Returns, called the Terra- Flite. Designed to allow smooth camera movement over rough terrain, it pre-dated the invention of the Steadicam, and utilized then-new technologies they had to create: gyroscopic stabilization, remote follow-focus, video assist, and remote pan and tilt control. Mr. Bennett was partner with Howard Preston in the design and creation of the Preston Cinema Systems Micro-Force Zoom Control, which has become an indispensable standard of the industry, used on every set around the world.

Mr. Bennett has long been an advisor to Arri in the design of their cameras, having great influence in the design of the 435 film camera, and more recently the Alexa and Alexa Mini digital cameras.

Mr. Bennett is holds a USA Federal Aviation Administration Pilots License, with Commercial, Multi-engine, and Instrument ratings, with 2,880 hours logged flying time. He owns and flies a Beechcraft Bonanza A36 aircraft. He is a PADI certified Scuba Diver with an Open Water rating.

Alex was born in Kazakhstan in 1961 and after graduating from Vadim Yusov’s cinematography class at the VGIK Film Institute in 1983, he became the third generation of Directors f Photography in the family.

Alex has shot more than 15 full-length feature films, including two musicals, more than 5 documentaries, as well as a large number of TVCs and music videos. He has significant business experience, being the owner and creator of a rental and production company with more than 30 years of experience.

Since 2022, he has lived and worked in Germany, for more than 30 years he has been friends and collaborator with the legendary cinematographer Dedo Weigert. Alex is involved in the development of new technologies and projects, including unique lighting equipment, studio complexes for film and television production around the world. Developer of various lighting tools, optical and mechanical systems, special “toys”, elements of production and post-production workflows for the joy of cinematographers and enrichment of cinematography visual storytelling language. Within 20 years participating in various fields of Visual arts technology developments, including cameras like ARRI Digital: ARRI D21, Alexa, special 3D tools for Phantom 65. With fantastic colleagues like Raffael Pollack making various architectural, museum and studio designs worldwide.

In the year 2021 elected as Co-Chairman of IMAGO Technical Committee along with cinematographers Philippe Ros and David Stump.

Miga is an independent workflow and postproduction consultant with a background ranging from post-supervision to production technology and emerging technologies. He has held senior roles at Amsterdam’s largest image post facility Filmmore and Netflix. At the latter, he led the Creative Technology team for EMEA. With experience spanning local and international productions, he now advises productions and post houses worldwide. Miga also serves as teacher at The Netherlands Film Academy.

Bebe Dierken, BSC is a Cinematographer bringing over 20 years of industry experience. She has risen through the ranks, working alongside esteemed cinematographers such as Robert Richardson and Benoît Delhomme. Her journey to becoming a cinematographer included years as a focus puller on major international productions such as Blood Diamond, V for Vendetta, The Bourne Ultimatum, Inglourious Basterds, Hugo Cabret, United 93, and A Most Wanted Man, learning from some of the most accomplished cinematographers in the industry.

Bebe’s most recent work on Midas Man (2024) demonstrates her mastery in continuing to craft a unique visual storytelling throughout her career.

Her artistry is further showcased in the TV series Sexy Beast (2024), Doctor Jekyll (2023), co-DoP’d Netflix’s Bridgerton Season 2 and lensed commercials with brands such as: Air Berlin, Adidas, Ford, IKEA, Indeed and Vodafone to name a few.

Bebe is member of the British Society of Cinematographers, BAFTA, the illuminatrix collective, Cinematographinnen, Women in Cinematography and is represented globally by Innovative Artists and UTA.

His journey led him to Quasar Science, where he played a pivotal role as the Chief Technology Officer during the company’s formative stages. Benjamin’s contributions spanned across all their product lines, and he embraced the concept of virtual production by incorporating and expanding the boundaries of Image-Based Lighting techniques.

Leveraging his profound expertise in lighting control and lighting programming, Benjamin has elevated the landscape of lighting color space control, adding new insight to the way professionals approach their work. Notably, he holds the distinction of being an Unreal Fellowship Alumni for ICVFX. Within Aputure, he is at the forefront of the endeavor to bring virtual production lighting to new heights and lead Sidus Link Pro.Benjamin Dynice serves as the Director of Product: UX/UI at Aputure Lighting, a prominent manufacturer specializing in full-color LED lighting solutions for the film/tv market. With a career steeped in the entertainment industry, Benjamin’s initial role involved him working on set as an IATSE Local 728 Lighting Programmer, working on major blockbuster films for both Marvel and DC, in addition to esteemed commercial clients such as Apple, Nike, and Samsung. His journey led him to Quasar Science, where he played a pivotal role as the Chief Technology Officer during the company’s formative stages. Benjamin’s contributions spanned across all their product lines, and he embraced the concept of virtual production by incorporating and expanding the boundaries of Image-Based Lighting techniques. Leveraging his profound expertise in lighting control and lighting programming, Benjamin has elevated the landscape of lighting color space control, adding new insight to the way professionals approach their work. Notably, he holds the distinction of being an Unreal Fellowship Alumni for ICVFX. Within Aputure, he is at the forefront of the endeavor to bring virtual production lighting to new heights and lead Sidus Link Pro.

He worked as a freelancing cinematographer based in Berlin in the fields of documentary, feature film and commercial. His films got numerously awarded on international festivals (“Testimony“: Prix Europa, “Life Goes On“: Emmy International, “Rain is Falling“: worldwide festivals, “The House is Burning“: Cannes Un Certain Regard,…)

In 2010 he was appointed as Professor for Cinematography at HdM, Stuttgart in the department Electronic Media to teach arts and technologies for cinematography and to supervise student’s film productions (documentary, fictional film, research projects). He is the founder of the “International Cinematography Days, Stuttgart”, the HdM-institute “Visual Media Lab” and its conference aiming at researching fine arts and technologies of cinematography – his fields of research are cinematic “High Dynamic Range” and “High Frame Rates”.

Stefan is member of the German society of cinematographers (BVK) and a full member of the IMAGO technical committee (ITC), the educational committee (IEC) and is an editor of the scientific journal for cinematography CITO.

With over 20 years of industry experience, Uwe has become a trusted collaborator across European cinema and television. He is recognized for his expert command of lighting tools and technologies, including advanced systems like Lightbridge CRLS, and is valued for his ability to adapt lighting design to narrative and aesthetic demands.

Uwe’s film portfolio features a range of critically acclaimed titles, including: Curveball – A True Story. Unfortunately. (2020) Schwesterlein (My Little Sister) (2020) Styx (2018) 3 Days in Quiberon (2018), a Berlinale favorite about Romy Schneider The Captain (Der Hauptmann) (2017), a stark WWII drama

In television, Uwe played a key lighting role on some of Germany’s most ambitious and internationally distributed series, such as:
Babylon Berlin (Seasons 3–4, 2019–2023), an Emmy-nominated noir crime epic
4 Blocks (2017–2019), a critically acclaimed urban crime series
Dogs of Berlin (2018, Netflix)
Criminal: Germany (2019, Netflix)
Wir Kinder vom Bahnhof Zoo (2021, Amazon Prime)

As a member of the International Cinematographers Lighting Society (ICLS), Uwe also contributes to the craft through educational sessions, lighting demonstrations, and technical workshops—sharing real-world insights with aspiring filmmakers and peers in the industry.

Miga is an independent workflow and postproduction consultant with a background ranging from post-supervision to production technology and emerging technologies. He has held senior roles at Amsterdam’s largest image post facility Filmmore and Netflix. At the latter, he led the Creative Technology team for EMEA. With experience spanning local and international productions, he now advises productions and post houses worldwide. Miga also serves as teacher at The Netherlands Film Academy.

His artistic journey bridges South Asia and Europe, reflecting a deep commitment to cinematic storytelling and education.

Since 1998 she is working as freelance cinematographer/DOP mainly on documentaries and feature films but also with artists on experimental/ avantgarde-films and presentations for exhibitions. Her list of works includes „Marhaba Cousine“ and „My house stood in Sulukule“, two feature documentaries she also directed.

She taught at various film schools, most notably as Professor for Cinematography at the University of Music and Performing Arts in Vienna.

Since 2009 she is the president of the AAC, representing Austria at IMAGO, International Federation of Cinematographers, where she was member of the Master Class Committee from 2007 until 2019 organizing 5 “IMAGO Inspiration” international Cinematographers Forums – awarded with the IMAGO Honorary Member Award.

Astrid Heubrandtner is member of the European Film Academy and Austrian Film Academy (Akademie des österreichischen Films), dok.at, Cinematographinnen.net, ICFC International Collective of Female Cinematographers and FC-Gloria Frauen Vernetzung Film.

In 2024, Daniel and Martin received a scholarship to develop their software plugin EDISON to improve the creative workflow with Higher Frame Rates footage in post- production.

In 2023, she was able to win Claudia Csanky, who had previously worked at BVK – German Society of Cinematographers for eight years, as a colleague. Since then Ulrike Weis-Wulfes and Claudia Csanky are representing together as a DoP.

He went on to work as an assistant director on german tv films and started his journey as a freelance filmmaker. In 2023, he continued his studies at the renowned film school in Ludwigsburg in the directors program for journalistic films.

After 11 years as an international focus puller, Philippe worked as director/cinematographer on music videos and more. He specializes in hand-held camera and ergonomic issues and is fully acquainted with digital shooting systems and post-production workflows. He has worked as:

• Cinematographer on more than six documentaries and on several famous TV series
• Digital Imaging Director and cinematographer for five years on “Oceans” a film directed by Jacques Perrin and Jacques Cluzaud,
• Digital imaging supervisor for eighteen months on “Home” directed by Yann Arthus-Bertrand,
• Consultant for a major TV series production to redesign the workflow, the choice of lenses and the lighting design.

Since 2003, he has given numerous conferences and workshops around the world. Philippe is:

• Honorary Member of the CSC (Canadian Society of Cinematographers)
• Graduate of the French National Film School Louis Lumiere

John Christian began his career as an actor at Rogaland Theatre at the age of ten and started making short films on Super 8 at eight. This early start led to a lifelong journey in film and TV drama. He has worked on 48 feature films, including several of Norway’s official Oscar submissions, and has received over 25 awards and nominations. His accolades include the Amanda Award, the Aamot Statuette, Gullruten, an Emmy, The Golden Clapperboard, and the FNF Honorary Award (2017). He has twice been named “Cinematographer of the Year.” Alongside his work as award winning Cinematographer, he has been a leading force in developing of new tools for the film industry.

He is founder of:

• Drylab Media Tech. Leading metadata based dailies content software for the International film industry.
• Softlights, the first and only both digital Wi-Fi and DMX controlled Tube light system.
• Remotion, the world first pan-bar operated system ever made.

In addition to his award-winning cinematography, John Christian is a co-founder of the Technical Committee of IMAGO and has played a key role in developing tools and technologies used in the global film industry.

Nic graduated film school in Australia in 1986 and spent the early years of his career as 1st AC to John Mathieson BSC. A Cinematographer since 1995, he has shot over 200 music videos, 30 concert films, 500 TV commercials, numerous shorts, TV shows and features in over 60 countries.

After moving to LA in 2015 he co-founded the company Chemical Wedding. In 2008 Artemis Director’s Viewfinder was released, going on to become one of the most widely used applications in the film industry to this day.

In 2018 Nic was awarded a Technical and Engineering Emmy, followed by the British Society of Cinematographers Bert Easey Award in 2024. The contributions of Artemis and Helios were described as “The most important inventions in the film industry since the espresso machine” by LaLaLand Cinematographer, Linus Sandgren at the BSC award ceremony.

Nic has an ongoing photographic partnership with Julia Sandberg Hansson. The works of SHSadler have been published in the art-house magazines worldwide and is best know for their Fresh Meat series of images, winning the Grand Prize at the Tokyo International Foto Awards in 2021.

Nic latest projects include Artemis XR (a radical new Viewfinder tool that bridges the divide between Game-Engine pre-vis and the traditional “on-set” world of filmmaking), and Athena (a production planning tool designed specifically for image based communication) in June 2025.

Since 2000 Nic has been lecturing around the world. Notably at the ACS, University of London, Swinburne, UC Santa Barbara, UC Northridge, Chapman, LA Film School, NYU and the American Film Institute.

His extended credits include work in immersive media including Unreal Engine/LED extended reality production, circular and hemispherical VR environments, virtual cinematography of all kinds, virtual camera design, light field cinematography, multi camera photogrammetry, volumetric capture and immersive military training environment design.

David authored the book “Digital Cinematography – Fundamentals, Techniques and Workflows” first edition (available in both English and Mandarin Chinese) and second edition, and is a contributing author to both the “VES Handbook” and the “ASC Manual 11th Edition”.

Originally from Latvia, Estere moved to London at the age of 20 to pursue a career in the creative industries. She joined WPA a decade ago and has played a role in the company’s growth, while also carving out a strong professional path for herself within it. With a deep understanding of the production landscape and a passion for championing creative talent, Estere has spent several years representing some of the top below-the-line professionals in the business. As a DOP Agent, she brings a sharp eye for emerging talent and a strategic mindset to building long-term careers for her clients behind the camera. Known for her dedication, instinct, and industry insight, Estere continues to be a trusted advocate for exceptional cinematographers and below-the-line artists across commercials and music videos 

Marijke Van Kets developed a theoretically-based insight into the perception of cinematography with her work titled “The emotions of a lens”.

Over the past twenty years, Marijke also taught a variety of cinematography courses at film schools in Singapore and Belgium.

Vanessa shot the 2018 BAFTA and Royal Television Society Award-winning drama Murdered for Being Different, for director Paul Andrew Williams for the BBC, and teamed up with him again to shoot the six-part ITV series A Confession, written by Jeff Pope and starring Martin Freeman, Imelda Staunton, Joe Absolom and Siobhan Finneran, which was nominated for Best Mini Series at the BAFTA TV Awards 2020, Best New Drama at The National Television Awards and Best Drama Series at the Broadcast Awards.