With the highly anticipated release of SINNERS this month, acclaimed cinematographer and AFI Alum Autumn Durald Arkapaw (AFI Class of 2009), ASC, took us behind the scenes of her new project with director Ryan Coogler and star Michael B. Jordan. Known for her luminous visuals and signature use of anamorphic lenses, Autumn has built a genre-spanning career, moving seamlessly between indie films like PALO ALTO and TEEN SPIRIT, the documentary BEASTIE BOYS STORY and major studio projects like LOKI – which earned her an Emmy® nomination – and BLACK PANTHER: WAKANDA FOREVER, starring the late Chadwick Boseman. This year, two of her films are set for a wide theatrical release, THE LAST SHOWGIRL and SINNERS, which reunited her with directors she’s collaborated with previously. In our conversation, Autumn reflects on her evolution as a filmmaker, the formative influence of AFI Cinematography Discipline Head Stephen Lighthill, ASC, and her groundbreaking turn as the first woman ever to shoot a feature film in IMAX 65mm and 65mm large-format on SINNERS.

AFI: You began your career shooting indie films like PALO ALTO and TEEN SPIRIT, then shifted to LOKI, a major Marvel TV series. What was it like going from indie film to a large-scale TV production?

Autumn: It was a shift I was ready for, and I explored it when the time was right. After I had my son, I was offered some well-known TV series, which I had to pass on because it wasn’t the right time for my family. I was fortunate enough to interview with director Kate Herron at the right time. I knew after our first meeting it would be a good fit. We were both on the same page artistically and visually. It’s always great to have more resources at your disposal, and with our amazing Marvel team, we were able to think big and be very creative. I was fortunate enough to make that series at a unique time when Marvel was doing something completely new, and our team wanted to push the envelope and take big swings.

AFI: For BLACK PANTHER: WAKANDA FOREVER, you took the reins as a cinematographer following AFI Alum Rachel Morrison (AFI Class of 2006), who worked on the first film. How did it feel to be entrusted with such an iconic project and how was your experience working with Ryan Coogler for the first time?

Autumn: Rachel has been a dear friend of mine for years. I was honored that she mentioned my name to Ryan when she became unavailable. She knew Ryan and I would get along well and would be a good fit. She is a very thoughtful person, and I knew she wanted to make sure he was in good hands. I was lucky I had just come off LOKI, so I felt very comfortable in the Marvel world and had a great experience shooting in Atlanta. Ryan also loves to do as much as we can in camera, and that was something important to us on LOKI as well.

WAKANDA FOREVER was a year-long project, so when we finished, we were a family. That wasn’t an easy shoot for many reasons, but we all got through it and are better for that amazing experience. Ryan is an old soul and one of the kindest and most thoughtful humans I know, who also happens to be an amazing director. But first and foremost, it’s his good character and altruism that are top-notch. This shows through in the way he makes films and the emotion in his storytelling. It was such an honor to work alongside him and our team to tell the next chapter after the legendary Chadwick passed. It’s a celebration of African heritage, cultural importance and how much that story means to our community. It will always be very close to my heart that I got to lens that picture.

AFI: THE LAST SHOWGIRL marks your third collaboration with Gia Coppola and a return to your indie film roots. How has your creative partnership evolved, and in what ways did this film challenge you?

Autumn: Time is always a challenge because you can never have enough of it, but I didn’t feel that way on this one. It’s always nice if you can work with your best friend and your friends in general. Gia and I have very similar tastes in art, film and enjoy similar things in life, so it makes for a great working relationship on and off set. We just simply have fun together. It’s a lovely collaboration because the trust is always there. When you work with people who trust you and allow you to express yourself artistically, creativity thrives. We had full creative control on this one, and we made it with friends and family. It’s exactly what she set out to do with this project, and it was beyond rewarding to see that audiences appreciated it so much. We also got to shoot on film, which made the experience one of a kind, and the freedom allowed the photography to flourish. Gia and I are very proud of our little film we shot in 18 days.

AFI: SINNERS premieres in theaters April 18. What was it about its story and themes that excited you?

Autumn: SINNERS was one of the best scripts I’ve ever read. The visuals jumped off the page, and I couldn’t put it down once I started. It spoke to me on many levels, and some of the subject matter I could relate to my own family history; my father was born in New Orleans, and my great-great-grandmother was from Mississippi. I was really excited by the characters, the landscape and the genre fluidity in the storytelling. Ryan’s characters are always dripping with humanity and depth. There were so many profound themes in the film to explore that I’d never read in a script before – religion, racial segregation, vampire lore and the legacy of music. He beautifully wrapped all of those things into one wild ride.

AFI: For SINNERS, what was the creative reasoning behind choosing to shoot on Ultra Panavision with a 2.76:1 aspect ratio and 1.43:1 IMAX formats, and how did it affect your overall visual storytelling?

Autumn: The conversation started with a call from the studio asking Ryan if we had thought about shooting any large format. Ryan called me after to discuss it, and we decided to get a test going. He also mentioned exploring THE HATEFUL EIGHT format (2.76:1) for the width to showcase our Mississippi Delta landscape. He was going to be in LA for a day, and I set up a screening at FotoKem with Andrew Oran. I asked Andrew if he had anything from THE HATEFUL EIGHT that we could see in 2.76 and anything else he could get his hands on. Andrew created a little menu of 70mm clips, and Ryan and I met there to screen prints. At one point, he stood up and said, “This is what I’ve been missing,” and I knew exactly what he meant. There is nothing more beautiful and nostalgic than watching a film print in a dark room.

When we finally tested and saw what was possible with these two formats, there was no longer a question. It was jaw-dropping to watch our desert tests in 1.43 in the screening room at IMAX in Playa Vista. The two formats felt far more immersive than anything we had seen. The IMAX sequences are used as a candid look into the characters. The 2.76 anamorphic frame feels so cinematic and accentuates the scope that is in the script. You’re watching a movie through the most beautiful of lenses, and then when you step into the IMAX world, it almost feels like a look behind the curtain and into the soul of the character. This pulls you deeper in, and it becomes an experience.

AFI: Reflecting on your time in the Cinematography program at the AFI Conservatory, were there any specific mentors or experiences that helped shape your journey?

Autumn: Stephen Lighthill will always be one of the most important individuals in my cinematography journey. The first time I applied to AFI, I got an interview but wasn’t accepted. Stephen encouraged me to get more set experience and apply again. That was one of the most important decisions that truly shaped my path. Every path can lead you in multiple directions, but the timing of it all is everything. He didn’t feel I was ready and wanted me to have more experience around the craft. I went and did just that, and had a wonderful year where I worked on a documentary TV series that took me traveling all over the U.S. and the Middle East.

I learned so much during that experience and met many people who were very important in encouraging me to pursue cinematography. I have always believed that your time finds you, not the other way around. Now, being the first woman to shoot a feature film on 65mm on a film like SINNERS means so much to me. There will be lots of girls who will look up who shot our film and be inspired to think big. That will always hold a special place in my heart. Ryan is special like that; he dreams big and turns those dreams into reality.

AFI: For other aspiring filmmakers, what advice would you offer, especially in terms of finding a unique visual style as a cinematographer and navigating the challenges of the industry?

Autumn: Be confident in your own ideas and what you have to offer. Early on, I was fortunate enough to meet collaborators who encouraged me to take risks and be bold with my visual storytelling. You have everything inside of you to have a captivating point of view. It’s up to you to be confident enough to put it out there and make it clear to those around you that it’s important to see.