2009
Issue 1074 Vol.90#1
January
January
Contents
Revolutionary Road
Based on the novel by Richard Yates, Revolutionary Road depicts the crumbling marriage of an appealing young couple (played by Leonardo DiCaprio and Kate Winslet) who appear to have it all. The picture, set in 1955, reunited director Sam Mendes and cinematographer Roger Deakins, ASC, BSC, and marks a dramatic departure from their first collaboration, Jarhead (2005). Roger's selflessness in adapting his style to the requirements of the story at hand is remarkable - and it is selflessness, Mendes tells AC senior editor Rachael K. Bosley. He's a master at cutting a suit according to its cloth. For this story, says Deakins, the key was simplicity. It's a film about a marriage falling apart in this supposedly idyllic suburbia, he says. When you've got a story like that and two great actors, you want to see them act; you don't need or want to do anything that messes about with that. AC's coverage includes an interview with set decorator Debra Schutt, who was tasked with locating or creating the practicals that were integral to Deakins lighting scheme.
The Curious Case of Benjamin Button
Claudio Miranda discusses his collaboration with director David Fincher on this visually ambitious adapation of F. Scott Fitzgerald's 1922 short story about a man who ages backwards with strange and surreal consequences. Miranda explain his aesthetic approach to the eight decades depicted in the film, and also offers his thoughts on working with the Thomson/Grass Valley Viper FilmStream camera and workflow.
Defiance
Eduardo Serra, ASC, AFC went on location to the Republic of Lithuania with writer/director Ed Zwick to shoot this epic World War II drama. The film tells the tale of three Jewish brothers who escape from Nazi-occupied Poland into the Belarussian Forest, where they join Russian resistance fighters in an attempt to build a village that will help protect themselves and others. Serra discusses the production's location work and his working relationship with Zwick, for whom he previously shot Blood Diamond.
ASC Lifetime Achievement Award
Jack Green, ASC received the ASC Lifetime Achievement Award at the 23rd Annual ASC Awards ceremony that was held in Los Angeles on February 15, 2009. The Lifetime Award is the Society's highest honor, presented annually to an individual cinematographer who has demonstrated a commitment to excellence over an entire career. Green certainly meets the criterium. He has shot many films for actor/director Clint Eastwood, including Unforgiven (for which he earned Academy Award and BAFTA nominations), The Bridges of Madison County (for which he received an ASC Award nomination), Bird, The Dead Pool, White Hunter Black Heart, The Rookie, A Perfect World, Midnight in the Garden of Good and Evil, True Crime and Space Cowboys. His other credits include Pink Cadillac, Rookie of the Year, The Net, Twister, Speed 2: Cruise Control, Secondhand Lions, 50 First Dates, The 40-Year-Old Virgin and My Best Friend's Girl. Rachael Bosley, AC contributor Jon Silberg will pen a comprehensive overview of Green's life and work.
The January issue's departments also offer illuminating insights:
Short Takes breaks down the innovative approach cinematographer Raoul Germain took to the art installation Triangle of Need, which he shot in a variety of different formats.
Production Slate includes an interview with Sal Totino, ASC about this photography for the intense drama Frost/Nixon, directed by Ron Howard. We also seek out cinematographer Maryse Alberti, director Darren Aronofsky and members of their crew to discuss the critically acclaimed indie drama The Wrestler.
Post Focus presents a step-by-step account of how FotoKem helped director Beth McElhenny and cinematographer Chun Ming Huang transfer their short film Still Me from the MiniDV format to 35mm in order to meet the technical requirements for Academy Award consideration.
ASC Close-Up offers a profile of cinematographer Gabriel Beristain, ASC, BSC, whose feature-film credits include Dolores Claiborne, The Spanish Prisoner, Blade: Trinity, The Ring Two and The Invisible.
Based on the novel by Richard Yates, Revolutionary Road depicts the crumbling marriage of an appealing young couple (played by Leonardo DiCaprio and Kate Winslet) who appear to have it all. The picture, set in 1955, reunited director Sam Mendes and cinematographer Roger Deakins, ASC, BSC, and marks a dramatic departure from their first collaboration, Jarhead (2005). Roger's selflessness in adapting his style to the requirements of the story at hand is remarkable - and it is selflessness, Mendes tells AC senior editor Rachael K. Bosley. He's a master at cutting a suit according to its cloth. For this story, says Deakins, the key was simplicity. It's a film about a marriage falling apart in this supposedly idyllic suburbia, he says. When you've got a story like that and two great actors, you want to see them act; you don't need or want to do anything that messes about with that. AC's coverage includes an interview with set decorator Debra Schutt, who was tasked with locating or creating the practicals that were integral to Deakins lighting scheme.
The Curious Case of Benjamin Button
Claudio Miranda discusses his collaboration with director David Fincher on this visually ambitious adapation of F. Scott Fitzgerald's 1922 short story about a man who ages backwards with strange and surreal consequences. Miranda explain his aesthetic approach to the eight decades depicted in the film, and also offers his thoughts on working with the Thomson/Grass Valley Viper FilmStream camera and workflow.
Defiance
Eduardo Serra, ASC, AFC went on location to the Republic of Lithuania with writer/director Ed Zwick to shoot this epic World War II drama. The film tells the tale of three Jewish brothers who escape from Nazi-occupied Poland into the Belarussian Forest, where they join Russian resistance fighters in an attempt to build a village that will help protect themselves and others. Serra discusses the production's location work and his working relationship with Zwick, for whom he previously shot Blood Diamond.
ASC Lifetime Achievement Award
Jack Green, ASC received the ASC Lifetime Achievement Award at the 23rd Annual ASC Awards ceremony that was held in Los Angeles on February 15, 2009. The Lifetime Award is the Society's highest honor, presented annually to an individual cinematographer who has demonstrated a commitment to excellence over an entire career. Green certainly meets the criterium. He has shot many films for actor/director Clint Eastwood, including Unforgiven (for which he earned Academy Award and BAFTA nominations), The Bridges of Madison County (for which he received an ASC Award nomination), Bird, The Dead Pool, White Hunter Black Heart, The Rookie, A Perfect World, Midnight in the Garden of Good and Evil, True Crime and Space Cowboys. His other credits include Pink Cadillac, Rookie of the Year, The Net, Twister, Speed 2: Cruise Control, Secondhand Lions, 50 First Dates, The 40-Year-Old Virgin and My Best Friend's Girl. Rachael Bosley, AC contributor Jon Silberg will pen a comprehensive overview of Green's life and work.
The January issue's departments also offer illuminating insights:
Short Takes breaks down the innovative approach cinematographer Raoul Germain took to the art installation Triangle of Need, which he shot in a variety of different formats.
Production Slate includes an interview with Sal Totino, ASC about this photography for the intense drama Frost/Nixon, directed by Ron Howard. We also seek out cinematographer Maryse Alberti, director Darren Aronofsky and members of their crew to discuss the critically acclaimed indie drama The Wrestler.
Post Focus presents a step-by-step account of how FotoKem helped director Beth McElhenny and cinematographer Chun Ming Huang transfer their short film Still Me from the MiniDV format to 35mm in order to meet the technical requirements for Academy Award consideration.
ASC Close-Up offers a profile of cinematographer Gabriel Beristain, ASC, BSC, whose feature-film credits include Dolores Claiborne, The Spanish Prisoner, Blade: Trinity, The Ring Two and The Invisible.
Revolutionary Road
Based on the novel by Richard Yates, Revolutionary Road depicts the crumbling marriage of an appealing young couple (played by Leonardo DiCaprio and Kate Winslet) who appear... more
Based on the novel by Richard Yates, Revolutionary Road depicts the crumbling marriage of an appealing young couple (played by Leonardo DiCaprio and Kate Winslet) who appear... more
Issue 1075
February
February
Contents
Coraline
Creative talents from all over the world have spent the last two years in Oregon working on Coraline, the first 3-D digital stop-motion-animated feature. Based on Neil Gaiman's creepy tale about a girl who discovers a dangerous, hidden world behind the walls of her new home, Coraline is the third feature collaboration between director Henry Selick and cinematographer Pete Kozachik, ASC, who previously teamed on The Nightmare Before Christmas and James and the Giant Peach. Kozachik has penned a first-person account of this groundbreaking production for AC.
The Spirit
After his apparent murder, idealistic sleuth Denny Colt dons a mask, fedora and red tie and exacts revenge on the underworld as the vigilante known as the Spirit. Based on the comic-book series created by Will Eisner in 1940, the film marks the solo directorial debut of Frank Miller, who enlisted cinematographer Bill Pope, ASC and visual-effects supervisor Stu Maschwitz to help lead the production through its technological twists and turns. Pope details the benefits and challenges of shooting the movie primarily against greenscreen with a mix of Panavision's Genesis camera and Vision Research's Phantom HD high-speed camera. AC's coverage also includes an interview with Maschwitz explaining the project's color pipeline and visual-effects workflow, which includes 10 vendors from around the globe.
He's Just Not That Into You
In a Q&A with New York correspondent Patricia Thomson, cinematographer John Bailey, ASC discuss his work on the ensemble comedy He's Just Not That Into You and explains why the picture was well-suited to his favorite format, anamorphic 2.40:1. 'One of the things I love about anamorphic in a character-driven dialogue film is that you use much longer lenses [than with Super 35mm], so you have more control of the background,' he says. 'Being able to throw the background out of focus really helps you be present with the actor.' After lobbying Panavision to develop more anamorphic lenses, Bailey was able to benefit from two new ones, both zoom lenses, on the show. 'Panavision's new anamorphic lenses have been quite successful, and I think the company is having a difficult time supplying enough of them to meet demand,' he notes. 'There is no anamorphic-lens system in the world as good as Panavision's.'
ASC International Award
Australian-born cinematographer Donald McAlpine, ASC, ACS received the ASC International Award at the 23rd annual ASC Awards ceremony, held in Los Angeles on February 15, 2009. The International Award is one of the Society's most prestigious honors, presented annually to an individual cinematographer who was born on foreign soil and whose work reflects the highest standard of excellence. McAlpine's long and varied list of credits certainly meets this criterium. His early Australian credits include The Adventures of Barry McKenzie, Don's Party, My Brilliant Career (which led to his being named Cinematographer of the Year by the Australian Cinematographers Society) and Breaker Morant (which won an Australian Film Institute Award); his Hollywood resume includes the major studio features Moscow on the Hudson, Predator, Parenthood, Patriot Games, Mrs. Doubtfire, Clear and Present Danger, Romeo + Juliet (for which he received an Award of Distinction from the ACS), Moulin Rouge! (which won an Australian Film Institute Award and earned him both Academy Award and BAFTA nominations) and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.
The February issue's departments also offer illuminating insights:
Short Takes offers cinematographer Thomas Kloss's account of his partnership with director Francis Lawrence (Constantine) on a kinetic music video for the song "Circus" by Britney Spears.
Production Slate present an interview with cinematographer Frank Griebe about the aptly titled thriller The International, which was shot throughout Europe - in Germany, Italy and Turkey - and also in New York. This section of the magazine also offer an intriguing look at a test film (titled Reverie) shot by cinematographer Vincent Laforet with Canon's EOS 5D Mark II SLR camera, which offered impressive latitude in nighttime shooting situations..
Post Focus reports on Lowry Digital's recent restoration of the 1920 art film Manhatta, which takes viewers on a strikingly photographed 10-minute tour of period life in New York City.
ASC Close-Up profile Society member Peter Suschitzky, whose extensive resume includes The Rocky Horror Picture Show, Star Wars: Episode V - The Empire Strikes Back and many films for director David Cronenberg, including Dead Ringers, Naked Lunch, Crash, eXistenz, Spider, A History of Violence and Eastern Promises.
Creative talents from all over the world have spent the last two years in Oregon working on Coraline, the first 3-D digital stop-motion-animated feature. Based on Neil Gaiman's creepy tale about a girl who discovers a dangerous, hidden world behind the walls of her new home, Coraline is the third feature collaboration between director Henry Selick and cinematographer Pete Kozachik, ASC, who previously teamed on The Nightmare Before Christmas and James and the Giant Peach. Kozachik has penned a first-person account of this groundbreaking production for AC.
The Spirit
After his apparent murder, idealistic sleuth Denny Colt dons a mask, fedora and red tie and exacts revenge on the underworld as the vigilante known as the Spirit. Based on the comic-book series created by Will Eisner in 1940, the film marks the solo directorial debut of Frank Miller, who enlisted cinematographer Bill Pope, ASC and visual-effects supervisor Stu Maschwitz to help lead the production through its technological twists and turns. Pope details the benefits and challenges of shooting the movie primarily against greenscreen with a mix of Panavision's Genesis camera and Vision Research's Phantom HD high-speed camera. AC's coverage also includes an interview with Maschwitz explaining the project's color pipeline and visual-effects workflow, which includes 10 vendors from around the globe.
He's Just Not That Into You
In a Q&A with New York correspondent Patricia Thomson, cinematographer John Bailey, ASC discuss his work on the ensemble comedy He's Just Not That Into You and explains why the picture was well-suited to his favorite format, anamorphic 2.40:1. 'One of the things I love about anamorphic in a character-driven dialogue film is that you use much longer lenses [than with Super 35mm], so you have more control of the background,' he says. 'Being able to throw the background out of focus really helps you be present with the actor.' After lobbying Panavision to develop more anamorphic lenses, Bailey was able to benefit from two new ones, both zoom lenses, on the show. 'Panavision's new anamorphic lenses have been quite successful, and I think the company is having a difficult time supplying enough of them to meet demand,' he notes. 'There is no anamorphic-lens system in the world as good as Panavision's.'
ASC International Award
Australian-born cinematographer Donald McAlpine, ASC, ACS received the ASC International Award at the 23rd annual ASC Awards ceremony, held in Los Angeles on February 15, 2009. The International Award is one of the Society's most prestigious honors, presented annually to an individual cinematographer who was born on foreign soil and whose work reflects the highest standard of excellence. McAlpine's long and varied list of credits certainly meets this criterium. His early Australian credits include The Adventures of Barry McKenzie, Don's Party, My Brilliant Career (which led to his being named Cinematographer of the Year by the Australian Cinematographers Society) and Breaker Morant (which won an Australian Film Institute Award); his Hollywood resume includes the major studio features Moscow on the Hudson, Predator, Parenthood, Patriot Games, Mrs. Doubtfire, Clear and Present Danger, Romeo + Juliet (for which he received an Award of Distinction from the ACS), Moulin Rouge! (which won an Australian Film Institute Award and earned him both Academy Award and BAFTA nominations) and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.
The February issue's departments also offer illuminating insights:
Short Takes offers cinematographer Thomas Kloss's account of his partnership with director Francis Lawrence (Constantine) on a kinetic music video for the song "Circus" by Britney Spears.
Production Slate present an interview with cinematographer Frank Griebe about the aptly titled thriller The International, which was shot throughout Europe - in Germany, Italy and Turkey - and also in New York. This section of the magazine also offer an intriguing look at a test film (titled Reverie) shot by cinematographer Vincent Laforet with Canon's EOS 5D Mark II SLR camera, which offered impressive latitude in nighttime shooting situations..
Post Focus reports on Lowry Digital's recent restoration of the 1920 art film Manhatta, which takes viewers on a strikingly photographed 10-minute tour of period life in New York City.
ASC Close-Up profile Society member Peter Suschitzky, whose extensive resume includes The Rocky Horror Picture Show, Star Wars: Episode V - The Empire Strikes Back and many films for director David Cronenberg, including Dead Ringers, Naked Lunch, Crash, eXistenz, Spider, A History of Violence and Eastern Promises.
Coraline
Creative talents from all over the world have spent the last two years in Oregon working on Coraline, the first 3-D digital stop-motion-animated feature. Based on Neil Gaiman's... more
Creative talents from all over the world have spent the last two years in Oregon working on Coraline, the first 3-D digital stop-motion-animated feature. Based on Neil Gaiman's... more
Issue 1076
March
March
Contents
Dexter
Romeo Tirone earned a 2008 Emmy Award nomination for his striking cinematography on this popular and critically acclaimed series, which tracks the movements of a Miami forensics expert who also happens to be a justice-seeking serial killer. Tirone takes AC behind the scenes to reveal his methods on the show's various locations and Los Angeles-based sets.
The Unusuals
Roy Wagner, ASC tailors the imagery on this brand-new TV series, following the blueprint laid down in the pilot by fellow Society member Peter Levy, ASC, ACS. The show follows the drama and comic insanity encountered by a female detective (Amber Tamblyn) who is transferred to the NYPD's homicide unit, where she and her partner (Jeremy Renner) work on cases with the department's eccentric cast of characters. Both Wagner and Levy assess their contributions to the program's look.
True Blood
Matt Jensen creates an appropriately Gothic ambience for this Louisiana-based vampire drama from executive producer Alan Ball (Six Feet Under), in which a barmaid (Anna Paquin) with the ability to read people's minds finds herself romantically entangled with a brooding, courtly bloodsucker (Bill Compton). Jensen outlines his approach to the show's Southern milieu and undead characters.
Life on Mars
Working from the style created in a Pilot shot by fellow ASC member Kramer Morgenthau, Frank Prinzi and Craig DiBona share the visual workload on this distinctive-looking detective series, in which a present-day cop (Jason O'Mara) is transported back in time to the year 1973 after being hit by a car. All three cinematographers details the techniques used to transport viewers back in time.
ASC Career Achievement in Television Award
The Society honors the stellar accomplishments of Robert Liu, ASC, when he receive this prestigious award during the annual ASC Outstanding Achievement Awards gala, that was held at the Century Plaza Hotel in Los Angeles.
Liu's career highlights include a 1982 Emmy Award nomination for Outstanding Cinematography that recognized his work on the dramatic series Lou Grant, and a 1989 Emmy nomination for Outstanding Lighting Direction on the popular sitcom Family Ties. His resume also includes stints as director of photography on the comedy series The Nanny and The Steve Harvey Show, as well as considerable experience as a camera operator on many landmark TV shows, including Little House on the Prairie, The Rockford Files, Columbo, The White Shadow, The Bob Newhart Show, Baretta, The Incredible Hulk and many others.
All of these accomplishments and more were saluted in a piece penned by David Heuring.
ASC Presidents Award
Isidore Mankofsky, ASC be feted by his peers for his many accomplishments as a cinematographer in both the television and feature-film realms. Over the course of his impressive career, Mankofsky has earned many awards for his work, including an ASC Award for the 1983 TV miniseries Trade Winds; ASC Award nominations for the miniseries Love, Lies and Murder and the telefilm Davy Crockett: Rainbow in the Thunder; and three Emmy Award nominations, for Love, Lies and Murder and the telefilms Afterburn and Polly.
His long list of credits includes the theatrical features The Muppet Movie, Somewhere in Time, The Jazz Singer, Better Off Dead and Skin Deep, along with many teleproductions, including Jacqueline Bouvier Kennedy, In the Custody of Strangers, Hobson's Choice, The Burning Bed, Stompin' at the Savoy and The Heidi Chronicles.
Mankofsky's achievements be chronicled in a biographical tribute written by Douglas Bankston.
The March issue's departments also offer illuminating insights:
Short Takes break down the innovative approach cinematographer Khristian Olivares Puya took to the experimental music video 'Clap Your Brains Off' for the band No Somos Machos Pero Somos Muchos (NSMPSM).
Production Slate presents an interview with cinematographer Marco Onorato about his work on the award-winning Italian Mafia film Gomorrah; this section will also offer the thoughts of Japanese cinematographer Akiko Ashizawa and director Kiyoshi Kurosawa about their collaboration on the acclaimed drama Tokyo Sonata.
Filmmakers' Forum offers a firsthand account by Peter Sova, ASC about his work in Hong Kong on the action-packed sci-fi thriller Push, directed by Sova's longtime collaborator Paul McGuigan (Gangster No. 1, Lucky Number Slevin).
ASC Close-Up offers a profile of Society member Peter Wunstorf, whose credits as a cinematographer include pilots for the television series Millennium, Dark Angel and Smallville, as well as the TV movie Mob Princess and the upcoming feature film Surveillance.
Romeo Tirone earned a 2008 Emmy Award nomination for his striking cinematography on this popular and critically acclaimed series, which tracks the movements of a Miami forensics expert who also happens to be a justice-seeking serial killer. Tirone takes AC behind the scenes to reveal his methods on the show's various locations and Los Angeles-based sets.
The Unusuals
Roy Wagner, ASC tailors the imagery on this brand-new TV series, following the blueprint laid down in the pilot by fellow Society member Peter Levy, ASC, ACS. The show follows the drama and comic insanity encountered by a female detective (Amber Tamblyn) who is transferred to the NYPD's homicide unit, where she and her partner (Jeremy Renner) work on cases with the department's eccentric cast of characters. Both Wagner and Levy assess their contributions to the program's look.
True Blood
Matt Jensen creates an appropriately Gothic ambience for this Louisiana-based vampire drama from executive producer Alan Ball (Six Feet Under), in which a barmaid (Anna Paquin) with the ability to read people's minds finds herself romantically entangled with a brooding, courtly bloodsucker (Bill Compton). Jensen outlines his approach to the show's Southern milieu and undead characters.
Life on Mars
Working from the style created in a Pilot shot by fellow ASC member Kramer Morgenthau, Frank Prinzi and Craig DiBona share the visual workload on this distinctive-looking detective series, in which a present-day cop (Jason O'Mara) is transported back in time to the year 1973 after being hit by a car. All three cinematographers details the techniques used to transport viewers back in time.
ASC Career Achievement in Television Award
The Society honors the stellar accomplishments of Robert Liu, ASC, when he receive this prestigious award during the annual ASC Outstanding Achievement Awards gala, that was held at the Century Plaza Hotel in Los Angeles.
Liu's career highlights include a 1982 Emmy Award nomination for Outstanding Cinematography that recognized his work on the dramatic series Lou Grant, and a 1989 Emmy nomination for Outstanding Lighting Direction on the popular sitcom Family Ties. His resume also includes stints as director of photography on the comedy series The Nanny and The Steve Harvey Show, as well as considerable experience as a camera operator on many landmark TV shows, including Little House on the Prairie, The Rockford Files, Columbo, The White Shadow, The Bob Newhart Show, Baretta, The Incredible Hulk and many others.
All of these accomplishments and more were saluted in a piece penned by David Heuring.
ASC Presidents Award
Isidore Mankofsky, ASC be feted by his peers for his many accomplishments as a cinematographer in both the television and feature-film realms. Over the course of his impressive career, Mankofsky has earned many awards for his work, including an ASC Award for the 1983 TV miniseries Trade Winds; ASC Award nominations for the miniseries Love, Lies and Murder and the telefilm Davy Crockett: Rainbow in the Thunder; and three Emmy Award nominations, for Love, Lies and Murder and the telefilms Afterburn and Polly.
His long list of credits includes the theatrical features The Muppet Movie, Somewhere in Time, The Jazz Singer, Better Off Dead and Skin Deep, along with many teleproductions, including Jacqueline Bouvier Kennedy, In the Custody of Strangers, Hobson's Choice, The Burning Bed, Stompin' at the Savoy and The Heidi Chronicles.
Mankofsky's achievements be chronicled in a biographical tribute written by Douglas Bankston.
The March issue's departments also offer illuminating insights:
Short Takes break down the innovative approach cinematographer Khristian Olivares Puya took to the experimental music video 'Clap Your Brains Off' for the band No Somos Machos Pero Somos Muchos (NSMPSM).
Production Slate presents an interview with cinematographer Marco Onorato about his work on the award-winning Italian Mafia film Gomorrah; this section will also offer the thoughts of Japanese cinematographer Akiko Ashizawa and director Kiyoshi Kurosawa about their collaboration on the acclaimed drama Tokyo Sonata.
Filmmakers' Forum offers a firsthand account by Peter Sova, ASC about his work in Hong Kong on the action-packed sci-fi thriller Push, directed by Sova's longtime collaborator Paul McGuigan (Gangster No. 1, Lucky Number Slevin).
ASC Close-Up offers a profile of Society member Peter Wunstorf, whose credits as a cinematographer include pilots for the television series Millennium, Dark Angel and Smallville, as well as the TV movie Mob Princess and the upcoming feature film Surveillance.
Dexter
Romeo Tirone earned a 2008 Emmy Award nomination for his striking cinematography on this popular and critically acclaimed series, which tracks the movements of a Miami forensics expert... more
Romeo Tirone earned a 2008 Emmy Award nomination for his striking cinematography on this popular and critically acclaimed series, which tracks the movements of a Miami forensics expert... more
Issue 1077
April
April
Contents
Watchmen
After taking Frank Miller's graphic novel 300 from the printed page to the silver screen, director Zack Snyder and cinematographer Larry Fong set their sights on the comic-book world's holy grail, Watchmen, written by Alan Moore and drawn by Dave Gibbons. Set in a version of 1985 in which Richard Nixon still inhabits the White House and masked vigilantes have been outlawed by an act of Congress, the plot follows a group of embittered superheros who are being killed off one by one as the world teeters on the brink of nuclear Armageddon. Along with production designer Alex McDowell, visual-effects supervisor John "D.J." DesJardin and rigging gaffer Jarrod Tiffen, Snyder and Fong will discuss their approach to this ambitious and hotly anticipated epic.
Knowing
Simon Duggan, ACS used the Red One camera to shoot this mindbending action thriller directed by Alex Proyas (The Crow; Dark City; I, Robot) about a teacher (Nicolas Cage) who opens a time capsule that reveals terrifying predictions about the future - and sets out to prevent them from coming true. Duggan will offer his thoughts on the Red camera's performance on the big-budget production, which shot at various locations in Australia.
Sundance Film Festival
Each January, industry insiders flock to Park City, Utah to attend this key festival, which has launched the careers of many independent filmmakers. AC's team of writers will scout out the most visually compelling entries for our annual roundup, which will spotlight the event's most promising cinematographers.
Restoration of The Robe
The technical wizards at Lowry Digital and Audio Mechanics lent their skills to the digital restoration of this classic 1953 motion picture. The restoration was a collaboration between the Academy Film Archive and 20th Century Fox, with funding from The Film Foundation. AC will offer an overview of the complex undertaking with analysis by the principals involved. "As the first CinemaScope film, The Robe represents an important milestone in cinema history," says Schawn Belston, vice president of Asset Management and Film Preservation at 20th Century Fox. "The restoration of the film was a unique and complicated challenge."
The April issue's departments also offer illuminating insights:
Production Slate presents an interview with cinematographer Sean Bobbitt about his work on the acclaimed IFC Films drama Hunger and Brandon Trost about his use of digital video cameras on Crank 2: High Voltage.
Post Focus offers an overview of the new Autodesk Lustre and an inside look at the postproduction work by Digital Jungle on the mixed-format indie film My Suicide.
ASC Close-Up offers a profile of Society member Thomas Ackerman, whose credits as a cinematographer include the features Beetle Juice, Christmas Vacation, Jumanji, The Muse, Anchorman: The Legend of Ron Burgundy, Scary Movie 4 and Superhero Movie.
After taking Frank Miller's graphic novel 300 from the printed page to the silver screen, director Zack Snyder and cinematographer Larry Fong set their sights on the comic-book world's holy grail, Watchmen, written by Alan Moore and drawn by Dave Gibbons. Set in a version of 1985 in which Richard Nixon still inhabits the White House and masked vigilantes have been outlawed by an act of Congress, the plot follows a group of embittered superheros who are being killed off one by one as the world teeters on the brink of nuclear Armageddon. Along with production designer Alex McDowell, visual-effects supervisor John "D.J." DesJardin and rigging gaffer Jarrod Tiffen, Snyder and Fong will discuss their approach to this ambitious and hotly anticipated epic.
Knowing
Simon Duggan, ACS used the Red One camera to shoot this mindbending action thriller directed by Alex Proyas (The Crow; Dark City; I, Robot) about a teacher (Nicolas Cage) who opens a time capsule that reveals terrifying predictions about the future - and sets out to prevent them from coming true. Duggan will offer his thoughts on the Red camera's performance on the big-budget production, which shot at various locations in Australia.
Sundance Film Festival
Each January, industry insiders flock to Park City, Utah to attend this key festival, which has launched the careers of many independent filmmakers. AC's team of writers will scout out the most visually compelling entries for our annual roundup, which will spotlight the event's most promising cinematographers.
Restoration of The Robe
The technical wizards at Lowry Digital and Audio Mechanics lent their skills to the digital restoration of this classic 1953 motion picture. The restoration was a collaboration between the Academy Film Archive and 20th Century Fox, with funding from The Film Foundation. AC will offer an overview of the complex undertaking with analysis by the principals involved. "As the first CinemaScope film, The Robe represents an important milestone in cinema history," says Schawn Belston, vice president of Asset Management and Film Preservation at 20th Century Fox. "The restoration of the film was a unique and complicated challenge."
The April issue's departments also offer illuminating insights:
Production Slate presents an interview with cinematographer Sean Bobbitt about his work on the acclaimed IFC Films drama Hunger and Brandon Trost about his use of digital video cameras on Crank 2: High Voltage.
Post Focus offers an overview of the new Autodesk Lustre and an inside look at the postproduction work by Digital Jungle on the mixed-format indie film My Suicide.
ASC Close-Up offers a profile of Society member Thomas Ackerman, whose credits as a cinematographer include the features Beetle Juice, Christmas Vacation, Jumanji, The Muse, Anchorman: The Legend of Ron Burgundy, Scary Movie 4 and Superhero Movie.
Watchmen
After taking Frank Miller's graphic novel 300 from the printed page to the silver screen, director Zack Snyder and cinematographer Larry Fong set their sights on the comic-book world's... more
After taking Frank Miller's graphic novel 300 from the printed page to the silver screen, director Zack Snyder and cinematographer Larry Fong set their sights on the comic-book world's... more
Issue 1078
May
May
Issue 1079 Vol.90#6
June - Vol. 90 #6
June - Vol. 90 #6
Issue 1080 Vol.90#7
July
July
Issue 1081 Vol.90#8
August
August
Issue 1082 Vol.90#9
September
September
Contents
The Baader Meinhof Complex, Mesrine, Inglourious Basterds, North Face, District 9, Camera-Assessment Series: Part 2, Restorations of The Red Shoes & Mr. Hulot's Holiday
The Baader Meinhof Complex, Mesrine, Inglourious Basterds, North Face, District 9, Camera-Assessment Series: Part 2, Restorations of The Red Shoes & Mr. Hulot's Holiday...
more
Issue 1083 Vol. 90 #10
October
October
Issue 1084 Vol. 90 #11
November
November
