2001
Issue 978
January 2001
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<span class='bodybold'>Cast Away</span><li> Sole Survivor, <span class='bodyitalic'>Cast Away</span> Strands Tom Hanks on a Remote Island.</li><li> High-Flying Adventure, <span class='bodyitalic'>Crouching Tiger, Hidden Dragon</span> Blends Action and Emotion.</li><li> Enter The Dragon, Director Ang Lee Lends His Artful Eye to a Martial Arts Epic.</li><li> Poison Pen, <span class='bodyitalic'>Quills</span> Gives The Marquis De Sade a Captive Audience.</li><li> The Way of The West, Cowboys Earn their Spurs In <span class='bodyitalic'>All The Pretty Horses</span>.</li><li> Saving Film History, Preservation and Restoration Experts Assess The Damage.</li><li> Man with a Camera, Actor Lon Chaney Found Another Passion In Home Movies. Production Slate: '<span class='bodyitalic'>Faithless</span>', '<span class='bodyitalic'>Before Night Falls</span>'</li>
Issue 979
February 2001
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Issue 980
March 2001
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<span class='bodybold'>Blow</span><li> Life In The Fast Lane, <span class='bodyitalic'>Blow</span> Tracks a Drug Dealer Through Five Decades.</li><li> The Frozen Moment, a Still Camera Array Adds Stylish Twists to <span class='bodyitalic'>Swordfish</span>.</li><li> Women In Love, <span class='bodyitalic'>Aimee and Jaguar</span> Explores an Unconventional Romance.</li><li> An Enlightening Introduction, Lending a Glow to The Stars of To<span class='bodyitalic'>wn and Country</span>.</li><li> Using Reflectors: a Shortcut to Stylish Lighting, Stephen Burum, ASC offers Some Hands-on Tips.</li><li> Painting with(Virtual) Light, Experts Discuss The New Art of Digital Illumination.</li><li> Impeccable British Instincts, Billy Williams, BSC Recounts His Stellar Career. Production Slate: 'The<span class='bodyitalic'> Claim</span>'</li>
Issue 981
April 2001
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<span class='bodybold'>Captain Corelli's Mandolin</span><li> A Call to Arms, John Toll, ASC Shoots <span class='bodyitalic'>Captain Corelli's Mandolin</span> In Cephallonia.</li><li> Girl Trouble, a Femme Fatale Plays Men Like a Fiddle In <span class='bodyitalic'>One Night At McCool's</span>.</li><li> A Favorable Verdict for 24p, <span class='bodyitalic'>100 Centre Street</span> Gives HiDef Its Day In Court.</li><li> Horror In HiDef, <span class='bodyitalic'>Session 9</span> Uses HD to Tell a Horrifying Tale.</li><li> Striking 'Digital Prints', Tips on Transferring Digital Video Imagery to Film.</li><li> Flooding to Sundance, Hordes Descend Upon The Annual Film Fest In Park City, Utah. </li><li> Production Slate: '<span class='bodyitalic'>Amores Perros</span>'</li>
Issue 982
May 2001
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<span class='bodybold'>Pearl Harbor</span><li> One Nation Under The Siege, <span class='bodyitalic'>Pearl Harbor</span> Revisits an Infamous Day.</li><li> Earning their Wings, Crack Aerial Cameraman Take Flight for <span class='bodyitalic'>Pearl Harbor</span>.</li><li> Searching for Clues, Roy Wagner, ASC Creates a Unique Visual Style for <span class='bodyitalic'>C.S.I.: Crime Scene Investigation</span>.</li><li> Television's Top Guns, ASC's TV Award Nominees Expound on their Work.</li><li> Tripping The Light Fantastic, a Pictorial Review of The ASC Awards Gala.</li><li> Learning By Doing, Surveying Several of The Top U.S. Film Schools.</li><li> A Blast From Baseballs Past, Haskell Wexler, ASC Plays Hardball on <span class='bodyitalic'>61*</span>. Production Slate: 'The<span class='bodyitalic'> Fast and The Furious</span>', '<span class='bodyitalic'>Beastmaster' TV Show</span>
Issue 983
June 2001
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<span class='bodybold'>Moulin Rouge</span><li> Bohemian Rhapsody, <span class='bodyitalic'>Moulin Rouge</span> Puts Postmodern Spin on The Musical Genre.</li><li> Wonder Woman, To<span class='bodyitalic'>mb Raider </span>Brings Lara Croft to Life.</li><li> Unholy Ground, Egyptian Evil Is Resurrected In <span class='bodyitalic'>The Mummy Returns</span>.</li><li> Memory and Loss, <span class='bodyitalic'>Angel Eyes</span>, offers Compelling Camerawork By The Late Piotr Sobocinski.</li><li> Images for The Ages, ASC and Academy Honor 2000's Top Cinematography. Production Slate: '<span class='bodyitalic'>Startup.Com</span>'</li>
Issue 984
July 2001
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<span class='bodybold'>A.I.</span><li> Boy Wonder, Spielberg Salutes Kubrick with <span class='bodyitalic'>A.I.</span></li><li> Space Oddities, <span class='bodyitalic'>Evolution </span>Tells a Rollicking Cosmic Joke.</li><li> Love on The Rocks, a Husband and Wife Lock Horns In <span class='bodyitalic'>The Anniversary Party</span>.</li><li> A Big Bang In The Bahamas, Ricky Martin Shimmies and Swims In 'She Bangs'.</li><li> Night Fever, a Sexy Siren Entices The Backstreet Boys In 'The Call'.</li><li> Crowd Control, 'Mad Season' Throws Matchbox Twenty to a Mob. Production Slate: '<span class='bodyitalic'>Hedwig and The Angry Inch</span>', Super 8 on The Big Screen</li>
Issue 985
August 2001
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<span class='bodybold'>Planet of The Apes</span><li> Antisocial Darwinism, <span class='bodyitalic'>Planet 0f The Apes</span> Re-Imagines a Sci-Fi Classic.</li><li> Feats of Flexibility, Detectives Lee and Carter Hit The Road In <span class='bodyitalic'>Rush Hour 2</span>.</li><li> Visual Effects Review: AC Explores The Summer's Most Striking Effects Work Monkey Man,<span class='bodyitalic'> Planet of The Apes</span> ;Views of The Future <span class='bodyitalic'>A.I.</span> ; Allied Powers, <span class='bodyitalic'>Pearl Harbor</span> ; Eyes on The Prize, <span class='bodyitalic'>Driven</span> ; Peeved Pets, <span class='bodyitalic'>Cats & Dogs</span>.</li><li> Exploring a New Dimension, a New HiDef 3D Camera Rig May Help to Free Up Filmmakers.</li><li> Production Slate: 'The<span class='bodyitalic'> Score</span>', '<span class='bodyitalic'>Crazy / Beautiful</span>'</li>
Issue 986
September 2001
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<span class='bodybold'>Band of Brothers</span><li> Close Combat, HBO's <span class='bodyitalic'>Band of Brothers</span> Takes Viewers to The Front Lines of World War 2.</li><li> A Perilous Pursuit, <span class='bodyitalic'>The Affairs of The Necklace</span> offers 18thcentury Intrigue.</li><li> Tracking The Giant Panda, <span class='bodyitalic'>China: The Panda Adventure</span> Uses Imax Format to Tell a Fascinating Tale.</li><li> Digital Cinema, By George, George Lucas Analyzes His State-of-The-Art Storytelling Methods.</li><li> Framing The Future, David Tattersall, BSC offers a Preview of His Work on <span class='bodyitalic'>Star Wars: Episode 2</span>.</li><li> The Road to Hell, Horror Thriller <span class='bodyitalic'>Jeepers Creepers</span> Aims for The Jugular. Production Slate: '<span class='bodyitalic'>Amelie From Montmartre</span>', 'The<span class='bodyitalic'> Vertical Ray of The Sun</span>'</li>
Issue 987
October 2001
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<span class='bodybold'>From Hell</span><li> a Ripping Yarn, <span class='bodyitalic'>From Hell</span> Explores The Sinister Legend of Jack The Ripper.</li><li> The Root(S) of All Evil, Black-and-White Images Lend Noir Ambience to <span class='bodyitalic'>The Man Who Wasn't there</span>.</li><li> Discovering Life In Death, <span class='bodyitalic'>Life As a House</span> Dramatizes one Man's Dream.</li><li> Shattered Lives, Orphaned Siblings Are Trapped In <span class='bodyitalic'>The Glass House</span>.</li><li> Capturing Ads on The Fly, Peter Gilbert Brings a Documentary Eye to Commercial Projects.</li><li> 'Tini Time, a New Absolut Ad Salutes The Classic Martini.</li><li> An Ode to Teamwork, Ford's New Campaign Blends Stylish Photography and Post Effects.</li><li> Production Slate: '<span class='bodyitalic'>L.I.E</span>'</li>
Issue 988
November 2001
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<span class='bodybold'>Ali</span> <li> Ring Leader, <span class='bodyitalic'>Ali</span> Examines The Life of an International Icon.</li><li> The Ultimate Self-Destruction, Ahero Battles His Dark Side In <span class='bodyitalic'>The one</span>.</li><li> The Final Frontier, <span class='bodyitalic'>Enterprise</span> Takes The Star Trek Franchise Back In Time.</li><li> Fighting Back, NBC's <span class='bodyitalic'>Uprising</span> Salutes The Jewish Freedom Fighters of World War 2.</li><li> Stylish TV Signals, a List of This Year's Emmy-Nominated Cinematographers.</li><li> Special Report: Protecting Our Heritage: AC Examines Hollywood's ongoing Effort to Preserve and Restore Moving Images, The State of The Art, Studios Report on their Progress, Second Chances, Cinematographers Strive to Save their Work, The Learning Curve, Labs and Storage Facilities Develop New Methods.</li><li> Production Slate: '<span class='bodyitalic'>Point of Origin</span>'.</li>
Issue 989
December 2001
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2002
Issue 990
January 2002
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<span class='bodybold'>Ocean's Eleven </span><li> Smooth Operators, Steven Soderbergh Goes for Broke with <span class='bodyitalic'>Ocean's Eleven</span>.</li><li> Intellectual Angst, <span class='bodyitalic'>The Royal Tenebaums</span> Analyzes a Clan of Eccentrics.</li><li> Ancestral Travels, <span class='bodyitalic'>The Shipping News</span> Brings an Acclaimed Novel to The Big Screen.</li><li> Upstairs, Downstairs, <span class='bodyitalic'>Gosford Park</span> Revives The Civilized Whodunit.</li><li> A Labor of Love (Sans Hate), <span class='bodyitalic'>The Night of The Hunter</span> Is Restored to Its Full Visual Brilliance. </li><li> Production Slate: '<span class='bodyitalic'>Frailty</span>', 'The<span class='bodyitalic'> Dancing Cow</span>'.</li>
Issue 991
February 2002
Main Cover
<span class='bodybold'>We Were Soldiers </span><li> Brothers In Arms, <span class='bodyitalic'>We Were Soldiers</span> ' Copters In 'Nam.</li><li> A Demon From Above, an Airborne Entity Haunts <span class='bodyitalic'>The Mothman Prophecies</span>.</li><li> A Dream Fulfilled, Laszlo Kovacs, ASC Earns The ASC Lifetime Achievement Award.</li><li> Mr. Steadicam, Garrett Brown Receives The ASC Presidents Award.</li><li> Close Focus, Camera Assistants Discuss their Craft.</li><li> Acing The Shot, Operators offer Tips and Trade Secrets.</li><li> Illuminating Views, Gaffers Reveal their Tactics and Techniques.</li><li> A Firm Grasp of their Craft, Grips Detail Some of their Favorite Rigs. Production Slate: '<span class='bodyitalic'>Lantana</span>', '<span class='bodyitalic'>What Time Is It there?</span>'.</li>
Issue 992
March 2002
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<span class='bodybold'>Panic Room</span><li> Home Invasion, Conrad W. Hall Helps David Fincher Push The Audience's Buttons with <span class='bodyitalic'>Panic Room</span>.</li><li> The Man Behind The Mask, John Toll, ASC Plots Out a Key Sequence From <span class='bodyitalic'>Vanilla Sky</span>.</li><li> Illuminating a Dark Deed, Roger Deakins, ASC, BSC Reconstructs The Murder Scene From <span class='bodyitalic'>The Man Who Wasn't there</span>.</li><li> Hot on The Trail, Jonathan West, ASC and Michael Barrett Discuss their Work on <span class='bodyitalic'>C.S.I.</span>.</li><li> Lighting a Fast Track, Steve Mason, ASC, Acs Augments a High-Tech Rink In <span class='bodyitalic'>Rollerball</span>.</li><li> Bringing Time to a Standstill, Tim Suhrstedt, ASC Captures a Frozen Moment In <span class='bodyitalic'>Clockerstoppers</span>.</li><li> A Versatile Legacy, Douglas Slocombe, BSC Recalls His Illustrious Career. Production Slate: 'The<span class='bodyitalic'> Believer</span>', '<span class='bodyitalic'>Stolen Summer</span>'.</li>
Issue 993
April 2002
Main Cover
<span class='bodybold'>Hotel</span> <li> A Hostile Lodging, <span class='bodyitalic'>Hotel</span> Tells a Disturbing Tale In DV Format. </li><li> A Master Sleuth, The 'French Sherlock Holmes' Tackles a Case In <span class='bodyitalic'>Vidocq</span>.</li><li> Lessons In HiDef, <span class='bodyitalic'>The Education of Max Bickford</span> Brings 24p to Primetime TV. </li><li> A Marriage Under Siege, <span class='bodyitalic'>High Crimes</span> Teams Theo Van De Sande, ASC with Director Carl Franklin. </li><li> Sundance 2002: New Directions, This Year's Festival offered Eye-Opening Fare. Production Slate: '<span class='bodyitalic'>Peak Experience</span>'</li>
Issue 994
May 2002
Main Cover
<span class='bodybold'>Insomnia</span> <li> Sleepless In Alaska, <span class='bodyitalic'>Insomnia</span> Finds a Detective Out of His Element. </li><li> Caught In a Quagmire, HBO's <span class='bodyitalic'>Path to War</span> Tracks a U.S. Presidents Downfall. </li><li> A First Orbit for 3D, <span class='bodyitalic'>Space Station</span> Takes Imax Cameras to The Final Frontier. </li><li> A Legacy of Invention, Cinematographers Continue to Lend an Artistic Eye to Post-Production. </li><li> No Flipping, The ASC Honors Television's Top Cinematographers. </li><li> An Elegant Evening, Snapshots From The 16th Annual ASC Awards. </li><li> The Wizards Behind The Curtain, The Academy SciTech Awards Honor The Industry's 'Best and Brightest'. </li><li> Production Slate: 'The<span class='bodyitalic'> Piano Teacher</span>', '<span class='bodyitalic'>Time Out</span>'.</li>
Issue 995
June 2002
Main Cover
<span class='bodybold'>Spiderman</span> <li> Spider's Stratagem, Don Burgess, ASC Takes on <span class='bodyitalic'>Spiderman</span>. </li><li> Crawling The Walls, Effects Experts Get Spidey Swinging. </li><li> Broken Vows, <span class='bodyitalic'>Unfaithful</span> Probes The Sin of Adultery. </li><li> Speaking In Tongues, <span class='bodyitalic'>Windtalkers</span> Reveals Navajo Codes of World War 2.</li><li> Screen Gems, The ASC and Academy Honor 2001's Top Feature Cinematographers. </li><li> A Cameraman for All Seasons, a Look At The Legacy of Wilkie Cooper, BSC.</li><li> Production Slate: '<span class='bodyitalic'>Divine Secrets of The Ya Ya Sisterhood</span>', '<span class='bodyitalic'>Gangster No. 1</span>'.</li>
Issue 996
July 2002
Main Cover
<span class='bodybold'>Minority Report </span><li> Criminal Intent, <span class='bodyitalic'>Minority Report </span>Visits a Bleak and Ominous Future</li><li> A Chilling Chamber, High-Tech Jail Cell Deters Murders In <span class='bodyitalic'>Minority Report</span></li><li> A Mouse on The Move, <span class='bodyitalic'>Stuart Little 2 </span>Continues a Mouse's Adventures</li><li> Illegal Aliens, Extraterrestrials Run Amok In <span class='bodyitalic'>Men in Black II</span></li><li> A Murderous Thirst, Aardan Animatons Brews a Fun and Frothy Ad</li><li> The Few, The Proud, a Marine Corps Campaign Challenges Potential Recruits</li><li> Scaring Up Laughs, Beastly Creatures Promote Mike's Hard Lemonade and Hard Iced Tea</li>
Issue 997
August 2002
Main Cover
<span class='bodybold'>Road to Perdition</span><li> Emotional Triggers, a Farther Steers His Son Away From Mob Life In <span class='bodyitalic'>Road to Perdition</span></li><li> Designs Upon The Earth, Hostile Aliens Make their Mark In Signs</li><li> Hardcore Action, XXX Jacks Up The Spy Genre to a New Level of Action </li><li> Sexy Beast, George Michael Is a Carnal King In His New Video </li><li> An Icon's New Gear, Two New Paul McCartney Videos Show The Star In Reflective Mood</li>
Issue 998
September 2002
Main Cover
<span class='bodybold'>Ghost Ship</span><li> Voyage of The Damned, <span class='bodyitalic'>Ghost Ship</span> Sails on Waves of Fear.</li><li> Expanding The Universe, George Lucas Discusses Digital Cinema and <span class='bodyitalic'>Star Wars: Episode II</span>.</li><li> Brave New Worlds, Visual Effects Cinematographers Analyze their Work on <span class='bodyitalic'>Attack of The Clones.</span></li><li> A Deadly Connection, <span class='bodyitalic'>Feardotcom</span> Tells a Tale of Internet Terror.</li><li> A Corpse for Christmas, <span class='bodyitalic'>Morgan Callar</span> Leaves Scotland for Spain.</li><li> The Thrill of Cinerama, The Three-Camera Format Celebrates Its 50th Anniversary.</li>
Issue 999
October 2002
Main Cover
A Dynamic Portrait: An artists triumphs over adversity in Frida.<BR>
A Familiar Fiend: Hannibal Lecter returns in Red Dragon.<BR>
DVD Playback: Recent DVD Releases are reviewed: The Hustler, Pulp Fiction and A Beautiful Mind.
Issue 1000
November 2002
Main Cover
<span class='bodybold'>Die Another Day</span><li> No Holds Barred, <span class='bodyitalic'>Die Another Day</span> Brings James Bond to The Big Screen.</li><li> Death Watch, Horrific Images Kill Viewers In <span class='bodyitalic'>The Ring.</span></li><li> Cold Call, a Man's Life Is Put on Hold By a Sniper In <span class='bodyitalic'>Phone Booth.</span></li><li> Family Plots, <span class='bodyitalic'>Six Feet Under</span> Lends Mordant Wit to Mortuary Drama.</li><li> Espionage 101, a Coed Spy Lives In <span class='bodyitalic'>Alias.</span></li><li> Varied Visions, Emmy Voters Cast their Ballots for TV's Top Cinematographers.</li>
Issue 1001
December 2002
Main Cover
A Fellowship in Peril: The epic Lord of the Rings trilogy continues with The Two Towers.<BR>
A Scandal in Suburbia: Far From Heaven pays homage to the films of Douglas Sirk.<BR>
DVD Playback: Reviews of current and upcoming DVD releases: Amadeus: Director's Cut, In the Mood for Love: Special Edition, Unforgiven: Special Edition.<BR>
Adaptation.<BR>
Interview with the Assassin.<BR>
Narc.<BR>
The 1967 documentary, Don't Look Back.
2003
Issue 1002
January 2003
Main Cover
Issue 1003
February 2003
Main Cover
<span class='bodybold'>Chicago</span> <ul> <li>Fulfilled by His Calling, ASC Member Bill Butler receives the Society's Lifetime Achievement Award</li> <li>Razzle Dazzle, <span class='bodyitalic'>Chicago</span> brings Bob Fosse's bold, brassy musical to the big screen</li> <li>A Colorful Con, <span class='bodyitalic'> The Music Man </span>fine tunes a charlatan's song and dance for television</li> <li>Shooting from the Hip, <span class='bodyitalic'>Robber Homicide</span>stages hard-hitting action for HD cameras.</li> <li>Divine Interventions, A disillusioned priest-in-training seeks the holy truth in <span class='bodyitalic'>Miracles</span></li> <li>Boys from Brazil, <span class='bodyitalic'>City of God</span>the latest cinematic stunner from South America.</li>
Issue 1004
March 2003
Main Cover
<span class='bodybold'>Daredevil</span><ul><li> Footsteps Worth Following, Witold Sobocinski, PSC receives the ASC International Achievement Award</li><li> Man Without Fear, <span class='bodyitalic'>Daredevil</span> brings a comic book hero to the big screen</li><li> Illuminating an Idea, Shedding light on Chuck Barris in <span class='bodyitalic'>Confessions of a Dangerous Mind</span></li><li> Forging a Nation, <span class='bodyitalic'>Gods and Generals</span> marches through the Civil War</li><li> Grace Under Pressure, <span class='bodyitalic'>Coral Reef Adventure</span> plumbs the ocean's depths</li><li> A Pair of Aces, John Seitz, ASC proved to be an ideal cinematographer for director Billy Wilder</li>
Issue 1005
April 2003
Main Cover
<span class='bodybold'>X-Men 2</span><ul> <li>A Universe X-pands, <span class='bodyitalic'>X-Men 2</span> continues the X-men_s adventures</li> <li>Infintie Abilities, effects experts aim to blow away minds with <span class='bodyitalic'>X-Men 2</span></li> <li>Icy Chills, <span class='bodyitalic'>Dreamcatcher</span> freezes a group of friends with fear</li> <li>Countdown to Catastrophe, the earth is imperiled in <span class='bodyitalic'>The Core</span></li> <li>A Flexible Finish, Digital intermediates impact the art of image control</li> <li>Sundance 2003: Varied Plattes, Well-shot films from this years festival</li>
Issue 1006
May 2003
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Issue 1007
June 2003
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<span class='bodybold'>The Matrix: Reloaded</span><ul><li>Rebooting a Sci-Fi Spectacular, <span class='bodyitalic'>The Matrix Reloaded</span> aims to blow minds.</li> <li>Simulated Cinema, <span class='bodyitalic'>Reloaded's</span> effects are driven by virtual cinematography. </li> <li>A Golden Fleecing, a daring double cross sets <span class='bodyitalic'>The Italian Job</span> in motion.</li> <li>Mata Haris, <span class='bodyitalic'>Charlies Angels: Full Throttle</span> lives up to its title.</li> <li>Memorable Eras, period cinematography is honored at both the ASC and Academy Awards.</li> <li>Lauding a Landmark, <span class='bodyitalic'>Sunrise</span> is saluted in this classic 1984 appreciation penned by the late Nestor Almendros, ASC.</li>
Issue 1008
July 2003
Main Cover
<span class='bodybold'>The Hulk</span><ul><li>Temper, Temper, <span class='bodyitalic'>The Hulk</span> brings Marvel_s angriest superhero to the big screen.</li> <li>Growing Pains, ILM creates a digital Hulk and a virtual encironment.</li> <li>Taking the Plunge, <span class='bodyitalic'>Ghosts of the Abyss</span> explores the <span class='bodyitalic'>Titanic</span> wreckage in hi-def 3-d Imax.</li> <li>Up, Up and Way, 14 cinematographers capture bird_s-eye views for <span class='bodyitalic'>Winged Migration</span>.</li> <li>All the Rage, Cannibalistic, undead creatures overrun england in <span class='bodyitalic'>28 Days Later</span>.</li>
Issue 1009
August 2003
Main Cover
<span class='bodybold'>Terminator 3</span><ul> <li>Heavy Metal, The unstoppable cyborg returns in <span class='bodyitalic'>Terminator 3</span>. </li> <li>Horse Power, <span class='bodyitalic'>Seabiscuit</span> chronicles an underdog?s triumph. </li> <li>Skull and Bones, <span class='bodyitalic'>Pirates of the Caribbean</span> heads for the high seas. </li> <li>Pop Life, Aspiring rock stars struggle in <span class='bodyitalic'>Garage Days.</span> </li> <li>Desert Storm, Nature gains the upper hand in Deftones video. </li> <li>Domino Effect, A clever Honda spot taps Rube Goldberg. </li> <li>Siren Song, No Doubt video puts simplicity in the spotlight.</li>
Issue 1010
September 2003
Main Cover
<span class='bodybold'>Hero</span><ul> <li>A Fantastic Fable, Chris Doyle, HKSC shares his production journal from <span class='bodyitalic'>Hero. </span></li> <li>Revolutionary Images, HBO's <span class='bodyitalic'>And Starring Pancho Villa as Himself</span> catches Mexican rebels on camera. </li> <li>Techno Lust, A dot-com rivalry drives suspense in <span class='bodyitalic'>Demonlover.</span></li> <li>Golden Years, CinemaScope celebrates its 50th anniversary.</li>
Issue 1011
October 2003
Main Cover
<span class='bodybold'>Kill Bill</span> <ul> <li> A Bride Vows Revenge, Robert Richardson, ASC studies Zen and the art of killing on <span class='bodyitalic'>Kill Bill. </span> </li> <li> Divorce, American-Style, Roger Deakins, ASC, BSC reteams with the Coen brothers on <span class='bodyitalic'> Intolerable Cruelty. </span> </li> <li> Walking the Halls of Fate, Harris Savides, ASC captures a high-school tragedy in <span class='bodyitalic'> Elephant.</span> </li> <li> Putting the 'Move' in Movie, prominent cinematographers and equipment innovators address the topic of camera movement. </li> <li> A Brief History of Camera Mobility, An overview of the systems that have changed the ways films are made. </li>
Issue 1012
November 2003
Main Cover
Angels in America </span> <ul> <li> Heaven Sent, Stephen Golblatt, ASC helps HBO bring <span class='bodyitalic'> Angels in America </span> to television. </li> <li> Hell or High Water, <span class='bodyitalic'> Master and Commander, </span> shot by Russell Boyd, ACS,Transforms acclaimed novels into a seaworthy feature. </li> <li> Mano A Mano, Bill Pope, ASC analyzes a climactic sequence from <span class='bodyitalic'> The Matrix: Revolutions. </span> </li> <li> Interior Landscapes, <span class='bodyitalic'> In the Cut </span> offers some daring lightning by Dion Beebe, ACS </li> <li>Tall Tales, Jack Green, ASC lends a warm glow to <span class='bodyitalic'> Secondhand Lions. </span> </li> <li> Dialed In, A complete list of this year's Emmy winners and nominees for television cinematography. </li>
Issue 1013
December 2003
Main Cover
21 Grams</span> <ul> <li> Heartbreak and Loss, Rodrigo Prieto, ASC, AMC gives <span class='bodyitalic'> 21 Grams </span> a raw, gritty look.</li> <li> Dark Deeds, Tom Stern mans the camera on Mystic River.<span class='bodyitalic'> Mystic River. </span> </li> <li> True Grit, Larry Bridges completes 12 after a decade of determined effort.<span class='bodyitalic'> 12</span> after a decade of determined effort. </li> <li> Desert Dreams, Steve Gainer lends visual punch to Black Cloud.<span class='bodyitalic'> Black Cloud.</span> </li> <li> Metadata's Impact on 'Artistic Intent', Digital data may help cinematographers preserve the creative integrity of their images. </li> <li> Global Village: A daring Journey From Pakistan to London, <span class='bodyitalic'>In This World</span> tells the story of two young Afghans who set out on such a trip, a treacherous trek from Pakistan to London.</li><li>Production Slate: <span class='bodyitalic'>The Cooler.</span></li><li>Short Takes: <span class='bodyitalic'>A.N.I. 1240,</span> A short film shot by cinematographer</li> <li>J.T. Andre Erickson.</li><li>Wrap Shot: <span class='bodyitalic'>The Texas Chainsaw Masacre.</span>
2004
Issue 1014
January 2004
Main Cover
The Last Samurai </span> <ul> <li> Envisioning an Empire, ASC Transports Viewers to feudal Japan in <span class='bodyitalic'>The Last Samurai.</span> </li> <li> The Fate of Middle-Earth, ACS Caps the Lord of the Rings trilogy with <span class='bodyitalic'>The Return of the King.</span> </li> <li> A Long Walk Home, John Seale, ASC, ACS, shoots a big-screen Version of the bestselling novel <span class='bodyitalic'>Cold Mountain.</span> </li> <li> Flights of Fancy, <span class='bodyitalic'>Peter Pan</span> allows Donald McAlpine, ASC, ACS to embrace his inner child. </li> <li> Lighting Vermeer. Eduardo Serra, ASC, AFC, evokes the Dutch Master's work in <span class='bodyitalic'> Girl With a Pearl Earring. </span> </li> <li>Departments <ul> <li>The post process: Cinerama Adventure Gets a Collaborative</li> <li>Finish.</li> <li>Production Slate: A battle of Wills and a Brazen Act of Charity.</li> <li>Short Takes: Hook, Line and Sinker.</li> <li>Filmaker's Forum: Channeling Tokyo for the Lost in Translation.</li>
Issue 1015
February 2004
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<span class='bodybold'>24 (TV Series)</span> <ul> <li> Honoring (Reluctant) Vanguard, Michael Chapman, ASC Earns His peers' Prestigious Lifetime Achievement Award.</li> <li>On the Clock, Time is of the Essence on the TV Series <span class='bodyitalic'> 24</span> , Photographed by Rodney Charters, CSC.</li> <li> Under the Knife, Christopher Baffa Shoots <span class='bodyitalic'> Nip/tuck</span> with Surgical Precision</li> <li> Haunted Grounds, David Connell, ACS Lends Macabre Ambience to the horror Miniseries <span class='bodyitalic'>Kingdom Hospital</span> </li> <li> Lighting the World. John Newby, ASC analyzes the use of freely roaming handheld Cameras on <span class='bodyitalic'>Boomtown.</span> </li> <li>Departments <ul> <li>Production Slate: A Matchmaker and a Casebreaker.</li> <li>Short Takes: Southern Siblings and a Chinese Irishman.</li> <li>Filmaker's Forum: Breaking Sitcom Rules on Arrested Development.</li>
Issue 1016
March 2004
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<span class='bodybold'>The Passion of the Christ </span> <ul> <li> Lifelong Lessons, Miroslav Ondricek, ASC, ACK earns Lifetime Achievement Award</li> <li> An Effect on His Peers, Visual-Effects artist Howard Anderson Jr., ASC is feted by fellow ASC members </li> <li> Salvaging Cinema, The ASC salutes historian/preservationist Kevin Brownlow </li> <li> A Savior's Pain, Caleb Deschanel, ASC brings an artist's eye to <span class='bodyitalic'> The Passion of the Christ </span> </li> <li> A Harrowing Hybrid, <span class='bodyitalic'>Touching The Void</span> blends drama and documentary </li> <li><span class='bodyitalic'>Pole Position, NASCAR 3D:</span> An Imax Experience puts viewers in the driver's seat </li> <li> Livin' Large, <span class='bodyitalic'> Mayor Of The Sunset Strip </span> recounts the life and times of a legendary rock 'n' roll deejay </li> <li> Departments <ul> <li> The Post Process: Editing Documentaries Under the Gun </li> <li> Production Slate: Music From the Inside Out, Great Orchestrations and Historic Machinations </li> <li> Short Takes: The Night Before </li> <li> Points East: Warhol Factory Filmmaker Comes to Light </li>
Issue 1017
April 2004
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<span class='bodybold'>Eternal Sunshine of the Spotless Mind </span> <ul> <li> Forget Me Not, Ellen Kuras, ASC heads down memory lane for <span class='bodyitalic'>Eternal Sunshine of the Spotless Mind </span> </li> <li> Memoirs of a Gangsta, Director Ernest Dickerson, ASC and cinematographer Matthew Libatique, ASC join forces on <span class='bodyitalic'>Never Die Alone</span> </li> <li> Holding the Fort, Dean Semler, ASC, ACS sets his sights on <span class='bodyitalic'>The Alamo</span> </li> <li> One Spirit, <span class='bodyitalic'>Hidalgo</span> puts Shelly Johnson, ASC in the saddle </li> <li> Inner Demon, <span class='bodyitalic'>Hellboy,</span> shot by Guillermo Navarro, ASC, brings a cult hero to the big screen</li> <li> The Case for Film Dailies, Top cinematographers emphasize the importance of sharply defined dailies </li> <li> Departments <ul> <li> Global Village: <span class='bodyitalic'>Spring, Summer, Fall, Winter...and Spring </span> </li> <li> Production Slate: <span class='bodyitalic'>Lost Skeleton of Cadavra, Noi </span> </li> <li> Short Takes: Everything is Everything, Sizzling Kung Fu Mice </li>
Issue 1018
May 2004
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<span class='bodybold'>Van Helsing </span> <ul> <li> Monster Hunter, Allen Daviau, ASC returns to the big screen with <span class='bodyitalic'>Van Helsing</span> </li> <li> The Mind of a Madman, <span class='bodyitalic'>Helter Skelter,</span> shot by Don FlauntLeRoy, ASC, reexamines the infamous manson murders </li> <li> Independent Artistry, <span class='bodyitalic'>AC</span> reviews some of the best shot projects from the Sundance Film Festival </li> <li> Images That Linger, a complete list of the 2003 ASC Award Nominees </li> <li> Cinematographers in the Spotlight, a photographic recap of the ASC Awards weekend </li> <li> Advancing the Art Form, This year's recipients of the Academy Sci-Tech Awards </li> <li> Departments <ul> <li> Production Slate: <span class='bodyitalic'>Homework, My Big Fat Independent Movie </span> </li> <li> Points East: Open Water </li>
Issue 1019
June 2004
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<span class='bodybold'>Harry Potter and the Prisoner of Azkaban </span> <ul> <li> A Wizard Comes of Age, Michael Seresin, BSC conjures <span class='bodyitalic'> Harry Potter and the Prisoner of Azkaban. </span> </li> <li> Masters of Disaster, Ueli Steiger, ASC unleashes global chaos in <span class='bodyitalic'> The Day After Tomorrow.</span> </li> <li> Better Halves, Rob Hahn, ASC reprograms <span class='bodyitalic'> The Stepford Wives.</span> </li> <li> Out for Blood, Director Mikael Salomon, ASC recruits Ben Nott, ACS to shoot the telefilm <span class='bodyitalic'>Salem's Lot </span></li> <li> Perception is Everything, Bangkok, Thailand hosts a special cinematographers Day.</li> <li> Departments <ul> <li> Global Village: <span class='bodyitalic'> Zatoichi </span> </li> <li> Production Slate: <span class='bodyitalic'> American Family, America_s Heart & Soul </span>
Issue 1020
July 2004
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<span class='bodybold'>The Terminal </span> <ul> <li> Nowhere Man, <span class='bodyitalic'> The Terminal </span>reteams Janusz Kaminski ASC and Steven Spielberg. </li> <li> Murder 01, Simon Duggan, ASC takes on a sci-fi spectacular with <span class='bodyitalic'> I, Robot.</span> </li> <li> A Tale of Two Tigers, Jean-Marie Dreujou, AFC shoots on hi-def video for exotic family film <span class='bodyitalic'> Two Brothers.</span> </li> <li> Helping Hands, Donald M. Morgan, ASC heads into surgery for HBO_s <span class='bodyitalic'> Something the Lord Made.</span> </li> <li>Persistence of Vision, Top women cinematographers share their insights and experiences.</li> <li> Departments: <ul> <li> Production Slate: <span class='bodyitalic'> Delovely, Lakshya </span>
Issue 1021
August 2004
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<span class='bodybold'>85th Anniversary Issue </span> <ul> <li> Unnatural Surroundings, Roger Deakins, ASC, BSC goes into the woods for the supernatural thriller <span class='bodyitalic'> The Village.</span> </li> <li> Hell on Wheels, Paul Cameron and Dion Beebe, ACS take hi-def video to extremes on <span class='bodyitalic'> Collateral.</span> </li> <li> "He is a True Artist", The legendary Cecil B. DeMille assesses the cinematographer.</li> <li> The Founding Fathers, Fifteen unusual cameramen came together in 1919 to create the ASC.</li> <li> Shaping Cinematography_s "Magazine of Record," American Cinematographer surveys 85 years of continuous publication.</li> <li> </li><li> Good as Gold, Panavision celebrates its 50th anniversary.</li><li> Departments <ul> <li> Production Slate: <span class='bodyitalic'> The Saddest Music in the World </span>
Issue 1022
September 2004
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Vanity Fair</span> <ul> <li> Kick-Starting a Revolution, <span class='bodyitalic'> The Motorcycle Diaries, </span>shot by Eric Gautier, AFC, charts a transformative trip through South America. </li> <li> A World Apart, Marcel Zyskin and Alwin Kuchler, BSC team on the multinational production <span class='bodyitalic'>Code 46</span></li> <li> At Sea in Japan, In an excerpt from his new book, Andy Laszlo, ASC recalls an innocent query that wreaked havoc on the set of the 1980 miniseries <span class='bodyitalic'>Shogun</span></li> <li> A Man of Many Hats, Ronald Neame, BSC reflects upon his diversified career.</li> <li> Reflections: <span class='bodyitalic'> Two Brothers, </span>Jean-Marie Dreujou, AFC supervises the digital intermediate on an HD/35mm hybrid. </li><li> Departments <ul> <li> Production Slate: <span class='bodyitalic'> I'll Sleep When I'm Dead, Zelary </span>
Issue 1023
October 2004
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Sky Captain </span> <ul> <li>A Retro Future, Eric Adkins pays homage to serial cliffhangers with<span class='bodyitalic'> Sky Captain and the World of Tomorrow.</span></li> <li>Soul Searching Sleuths, Peter Deming, ASC tackles karmic comedy in <span class='bodyitalic'>I Heart Huckabees.</span></li> <li>Inside Baseball, Shane Hurlbut lights America_s national pastime for <span class='bodyitalic'>Mr. 3000.</span></li> <li>Masters of Light, Vilmos Zsigmond, ASC offers insights on the art of motion-picture lighting.</li> <li>Saving Cinema, Frame by Frame, Members of the Association of Moving image Archivists outline their mission.</li> <li> Departments <ul> <li> Production Slate: <span class='bodyitalic'> A Dirty Shame, Dig! </span> </li> <li> Points East: <span class='bodyitalic'> Undertow </span>
Issue 1024
November 2004
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Alexander </span> <ul> <li>Warrior King, Rodrigo Prieto, ASC, AMC accompanies Oliver Stone into battle on <span class='bodyitalic'>Alexander.</span></li> <li>The World on a String, Bill Pope, ASC shoots a true mini-epic: the marionette action movie <span class='bodyitalic'>Team America: World Police.</span></li> <li>All Aboard, Filmmaking hurtles into the digital future on <span class='bodyitalic'>The Polar Express.</span></li> <li>Humble Beginnings, The tale of Southern California_s first film studio.</li> <li>Channeling Great Images, A list of 2004_s Emmy-nominated cinematographers.</li> <li> Departments <ul> <li> Production Slate: <span class='bodyitalic'> Roar: Lions of the Kalhari, Bugs!</span> </li> <li> Short Takes: <span class='bodyitalic'> Like It </span> </li> <li> Points East: <span class='bodyitalic'> Tarnation </span>
Issue 1025
December 2004
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Lemony Snicket's A Series of Unfortunate Events </span> <ul> <li>A Darker Side of Fantasy, Emmanuel Lubezki, ASC, AMC creates Gothic comedy in <span class='bodyitalic'>Lemony Snicket's A Series of Unfortunate Events.</span></li> <li>Cinemtaic Impressionism, Bruno Delbonnel, AFC enlists for the epic World War I drama, <span class='bodyitalic'>A Very Long Engagement.</span></li> <li>Genius Hits the Road, Pawel Edelman, PSC hits all the right notes with <span class='bodyitalic'>Ray.</span></li> <li>Man of a Thousand Faces, <span class='bodyitalic'>The Life and Death of Peter Sellers</span> allows Peter Levy, ASC, ACS to explore the true nature of an elusive actor.</li> <li> Departments <ul> <li> Global Village: <span class='bodyitalic'> Flying Daggers</span> </li> <li> Production Slate: <span class='bodyitalic'> Closer, Beyond the Sea</span>
2005
Issue 1026
January 2005
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Issue 1027
February 2005
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<span class='bodybold'>Lost</span> <ul> <li> A Versatile Veteran, Fred Koenekamp, ASC caps his fine career with the society_s Lifetime Achievement Award </li> <li> Treachery in the Tropics, Cinematographers Larry Fong and Michael Bonvillain, ASC share the workload on <span class='bodyitalic'>Lost</span> </li> <li> California Dreaming, Jamie Barber combines real locations and elaborate sets to capture Southern California_s vibe for the <span class='bodyitalic'>The O.C.</span> </li> <li> A Change of Key, Rob McLachlan, ASC, CSC pens his own recollections after shooting the musical <span class='bodyitalic'>Once Upon A Mattress</span> </li> <li> Departments <ul> <li> Production Slate: <span class='bodyitalic'> Miracles&srquo;s Boys, House</span> </li> <li> Global Village: <span class='bodyitalic'> Nobody Knows</span> </li> <li> Points East: <span class='bodyitalic'> Born into Brothels</span>
Issue 1028
March 2005
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<span class='bodybold'>Deep Jungle</span> <ul> <li> A Life Through the Lens, Tonino Delli Colli, AIC earns the ASC_s International Award after decades of stellar work </li> <li> Where the Wild Things Are, A team of cinematographers braves the world_s rainforests to shoot the PBS miniseries <span class='bodyitalic'>Deep Jungle</span> </li> <li> Voyage to the Bottom of the Sea, Cinematographer Vince Pace helps James Cameron reveal the ocean_s secrets in <span class='bodyitalic'>Aliens of the Deep</span> </li> <li> A Thousand Hard Miles, <span class='bodyitalic'>Dust to Glory</span> takes viewers over the tough terrain of a legendary off-road race </li> <li> Departments <ul> <li> Production Slate: IDA Honors William Greaves, <span class='bodyitalic'> Stay Cool</span> </li> <li> Points East: <span class='bodyitalic'>The Girl From Monday</span>
Issue 1029
April 2005
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<span class='bodybold'>The Ring Two</span> <ul> <li> Back to the Well, Gabriel Beristain, ASC, BSC crafts a haunting new look for <span class='bodyitalic'>The Ring Two</span> </li> <li>Trouble in Paradise, Ellen Kuras, ASC uses a digital intermediate to finesse her imagery on <span class='bodyitalic'>The Ballad of Jack and Rose.</span></li> <li>Hell to Pay, Philippe Rousselot, ASC, AFC gives the devil his due in the supernatural thriller<span class='bodyitalic'> Constantine.</span></li> <li>The Color-Space Conundrum, Part Two: Digital Workflow, Cinematographers seek a consistent workflow in today_s hybrid film/digital environment.</li><li> Departments <ul> <li> Production Slate: <span class='bodyitalic'>Kontroll, Fighting Tommy Riley</span> </li> <li> Points East: <span class='bodyitalic'>Law & Order: Trial by Jury</span>
Issue 1030
May 2005
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<span class='bodybold'>The Interpeter</span> <ul> <li>Global Intrigue, with<span class='bodyitalic'> The Interpeter,</span> Darius Khindji, ASC, AFC becomes the first cinematographer to shoot a feature in the united nations. </li> <li>Burning Down the House, Steve Windon, ACS melts viewers_ nerves with the horror thriller <span class='bodyitalic'>House of Wax.</span></li> <li>Sundance 2003: Vibrant Visions, AC examines some of the best-shot films from this years festival.</li> <li>Artistry for the Ages, The ASC and Academy honors 2004_s top cinematographers.</li> <li>Festive Memories, Photos from the 19th annual ASC Awards weekend.</li> <li>Honoring Igenuity, Technical wizards have their moment in the spotlight at the Academy_s Sci-Tech Awards.</li><li> Departments <ul> <li>Global Village: <span class='bodyitalic'>The Great Warrior</span></li> <li>Production Slate:<span class='bodyitalic'> Little Athens, Brothers</span></li> <li>Short Takes: <span class='bodyitalic'>Wake</span></li> <li>Points East: <span class='bodyitalic'>Murderball</span>
Issue 1031
June 2005
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<span class='bodybold'>Batman Begins</span> <ul> <li>Batman Takes Wing, Wally Pfister, ASC traces a superhero_s origins in <span class='bodyitalic'>Batman Begins.</span></li> <li>Hard Knocks, Salvatore Totino steps into the ring for the period drama <span class='bodyitalic'>Cinderella Man.</span></li> <li>Holy War, <span class='bodyitalic'>Kingdom of Heaven</span> transports John Mathieson, BSC back to medieval times.</li> <li>Western Perspectives, ASC members William Wages and Alan Caso saddle up for the miniseries <span class='bodyitalic'>Into the West.</span></li><li> Departments <ul> <li>Global Village: <span class='bodyitalic'>Kings and Queens</span></li> <li>Production Slate: <span class='bodyitalic'>Monster-in-Law, Lords of Dogtown</span></li> <li>Short Takes: <span class='bodyitalic'>Plum Flower</span>
Issue 1032
July 2005
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<span class='bodybold'>Charlie and the Chocolate Factory</span> <ul> <li> A Golden Ticket, Philippe Rousselot, ASC, AFC indulges his sweet tooth on <span class='bodyitalic'>Charlie and the Chocolate Factory</span> </li> <li> A Hostile Takeover, Janusz Kaminski, ASC coordinates an extraterrestrial invasion for <span class='bodyitalic'>War of the Worlds</span> </li> <li> Till Death Do Us Part, Bojan Bazelli blends glamour and gunplay in <span class='bodyitalic'>Mr. & Mrs. Smith</span> </li> <li> The Road to Universal City, Revisiting the eventful origins of Los Angeles venerable studio site </li> <li> Departments <ul> <li> Global Village: <span class='bodyitalic'>My Summer of Love</span> </li> <li> Production Slate: <span class='bodyitalic'>Entourage, Yes</span>
Issue 1033
August 2005
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<span class='bodybold'>The Island</span> <ul> <li> Paradise Lost, Mauro Flore, ASC explores a sinister future in on <span class='bodyitalic'>The Island</span> </li> <li> Seeping Terror, Alfonso Beato, ASC, ABC dons hip waders for <span class='bodyitalic'>Dark Water</span> </li> <li> Runaway Plane, Dean Semler, ASC, ACS straps into a high-tech cockpit for <span class='bodyitalic'>Stealth</span> </li> <li> Deep Trouble, Director of photography Ross Emery, ACS and underwater cinematographer Wes Skiles mix formats for <span class='bodyitalic'>The Cave</span> </li> <li> Departments <ul> <li> Global Village: <span class='bodyitalic'>March of the Penguins</span> </li> <li> Production Slate: <span class='bodyitalic'>Last Days, Grizzly Man</span>
Issue 1034
September 2005
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<span class='bodybold'>Oliver Twist</span> <ul> <li> A Boy's Will, Pawell Edelman, PSC and Roman Polanski reimagine <span class='bodyitalic'>Oliver Twist</span> </li> <li> Vox Populi, Marco Pontecorvo, AIC; Alik Sakharov, ASC; and Martin Kenzie aim their cameras at an ancient society in the miniseries <span class='bodyitalic'>Rome</span> </li> <li> Young Blood, Juan Ruiz-Anchia, ASC shows the toll of El Salvador_s civil war in <span class='bodyitalic'>Innocent Voices</span> </li> <li> Dissonant Chords, Stephane Fontaine hits all the right notes in <span class='bodyitalic'>The Beat That My Heart Skipped</span> </li> <li> The Definitive Lab Test, Gerald Hirschfeld, ASC offers guidelines on getting results at the film lab </li> <li> Departments <ul> <li> Production Slate: <span class='bodyitalic'>Where the Truth Lies, 2046</span>
Issue 1035
October 2005
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<span class='bodybold'>Wallace & Gromit: The Curse of the Were-Rabbit</span> <ul> <li> A Model Thriller, Tristan Oliver and Dave Alex Roddett bring "tiny terrors" to life in the stop-motion comedy <span class='bodyitalic'>Wallace & Gromit: The Curse of the Were-Rabbit</span> </li> <li> Reanimated Romance, Director of photography/visual-effects supervisor Pete Kozachik details his playfully macabre stop-motion adventures on <span class='bodyitalic'>Corpse Bride</span> </li> <li> Amateur's Hour, Shane Hurbut tees up the golf drama <span class='bodyitalic'>The Greatest Game Ever Played</span> </li> <li> Scene of the Crime, Capote, shot by Adam Kimmel, traces the famed author's creation of the nonfiction classic <span class='bodyitalic'>Capote</span> </li> <li> Special Lighting Supplement to AC October 05 issue:<br> Diagrams and Insights from the Cinematographers of: <span class='bodyitalic'>Batman Begins, The X Files, The Perfect Storm </span> </li> <li> Departments <ul> <li> Production Slate: <span class='bodyitalic'>The Constant Gardener, Diplomatic Intrigue and an Equestrian Longshot</span> </li> <li> Short Takes: <span class='bodyitalic'>Die Letzten Tage (The Last Days), The Waning Days of World War II</span> </li> <li> Filmmakers' Forum: <span class='bodyitalic'>Dear Wendy</span> </li> <li> Post Focus: Digital Domain Animates Trent Reznor </li> <li> Points East: <span class='bodyitalic'>Stay</span>
Issue 1036
November 2005
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<span class='bodybold'>Jarhead</span><ul type='square'> <li>A War of the Soul, Roger Deakins, ASC, BSC explores the ennui of combat in <span class='bodyitalic'>Jarhead</span> </li><li>Rent Gets a New Lease, Stephen Goldblatt, ASC, BSC brings a Broadway blockbuster to the big screen </li><li>Dangerous Beauty, Daniel Mindel pushes the envelope by cross-processing <span class='bodyitalic'>Domino</span> </li><li>A Song-and-Dance Spectacular, The classic musical <span class='bodyitalic'>Footlight Parade</span> boasts plenty of pizzazz </li><li>Broadcast Quality, A look at the 2005 Emmy-nominated cinematographers </li></ul> <p>Departments: <ul> <li>Global Village: "<span class='bodyitalic'>Paradise Now</span>" Filming Under Fire in the West Bank. </li><li>Production Slate: "<span class='bodyitalic'>Good Night, and Good Luck</span>", "<span class='bodyitalic'>The Squid and the Whale</span>" </li><li>Short Takes: The video for the Bravery's "<span class='bodyitalic'>No Brakes</span>" </li><li>Post Focus: Technicolor's Real-Time Answer-Print Timing System. </li><li>Filmmakers' Forum: Visual Effects for <span class='bodyitalic'>Into the Blue</span> </li><li>Points East: <span class='bodyitalic'>Keane</span> Takes an Unflinching Look at Mental Illness </li>
Issue 1037
December 2005
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<span class='bodybold'>King Kong</span><ul type='square'> <li>Beauty and the Beast, Andrew Lesnie, ASC, ACS brings cinema's biggest gorilla back to life in <span class='bodyitalic'>King Kong</span> </li><li>A Truly Fantastic Wardrobe, Don McAlpine, ASC, ACS adds his magic touch to <span class='bodyitalic'>The Chronicles Of Narinia: The Lion, The Witch and the Wardrobe</span> </li><li>Tough Love, Phedon Papamichael, ASC helps dramatize the life of Johnny Cash in <span class='bodyitalic'>Walk The Line</span> </li><li>Survival in Space, Stephen McNutt, CSC takes HD out of this world on <span class='bodyitalic'>Battlestar Galactica</span> </li></ul> <p>Departments: <ul type='square'> <li>DVD Playback presents reviews of <span class='bodyitalic'>The Innocents</span> (1961), shot by Freddie Francis, BSC; <span class='bodyitalic'>Tetsuo</span> (1988), shot by Kei Fujiwara and Shinya Tsukamoto; and <span class='bodyitalic'>Kitchen Stories</span> (2004), shot by Philip ?gaard. </li><li>Production Slate leads off with a piece about the Disney period drama <span class='bodyitalic'>Casanova</span>, which was shot in Venice, Italy by Oliver Stapleton, BSC. Stapleton will share his thoughts in a Q&A with Bill Taylor, ASC of Illusion Arts, who served as the show's visual-effects supervisor. A second piece on the PBS special <span class='bodyitalic'>Secrets of the Dead,</span> the first documentary to be shot for broadcast in the P2 format, will be penned by the show's cinematographer, Larry Engel. </li><li>Short Takes presents an interview with digital-lighting expert Paul Debevic, who will discuss <span class='bodyitalic'>The Parthenon Project,</span> his computerized re-creation of the Parthenon via special imaging and lighting techniques. </li><li>Post Focus explores the latest developments in the realm of virtual lighting. </li><li>ASC Close-Up features a Q&A with esteemed ASC member Ralph Woolsey. </li>
2006
Issue 1038
January 2006
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<span class='bodybold'>Memoirs of A Geisha</span><ul type='square'> <li>Feminine Mystique, Dion Beebe, ASC, ACS captures the essence of exotic allure with <span class='bodyitalic'>Memoirs Of A Geisha.</span> </li><li>Uncharted Emotions, Emmanuel Lubezki, ASC, AMC brings an instinctual, Lyrical approach to <span class='bodyitalic'>The New World.</span> </li><li>Peaks and Valleys, Rodrigo Prieto, ASC, AMC frames an emotional landscape of forbidden love in <span class='bodyitalic'>Brokeback Mountain.</span> </li><li>A Legacy Rewarded, ASC member Richard H. Kline earns the Society's Lifetime Achievement Award. </li><li>Professor On the Set Woody Omens, ASC receives the Presidents Award from his peers </li></ul> <p>Departments: <ul type='square'> <li>DVD Playback presents reviews of <span class='bodyitalic'>Rumble Fish</span> (1983), shot by Stephen H. Burum, ASC; <span class='bodyitalic'>The Man Who Fell to Earth</span> (1988), shot by Anthony B. Richmond, ASC, BSC; and a double disc that pairs two horror classics: <span class='bodyitalic'>I Walked With a Zombie</span> (1943), shot by J. Roy Hunt, ASC, and <span class='bodyitalic'>The Body Snatcher</span> (1945), shot by Robert De Grasse, ASC. </li><li>Production Slate includes coverage of the critically acclaimed drama <span class='bodyitalic'>Match Point,</span> shot by Remi Adefarasin, BSC for director Woody Allen. </li><li>Points East presents an interview with cinematographer Anastas Michos, ASC about his work on the feature film <span class='bodyitalic'>Freedomland</span>. </li><li>Post Focus presents an overview of Kodak Look Manager 2.0, a much-anticipated upgrade of the company's image-control system for motion pictures. We will also offer insights into the workflow used by several television shows that are shot with the Thomson/Grass Valley Viper Filmstream camera. </li><li>Filmmakers' Forum presents an informative Q&A with cinematographer Oliver Stapleton, BSC about his work on the lush period film <span class='bodyitalic'>Casanova</span>, shot in Venice Italy. Stapleton's interviewer will be visual-effects expert Bill Taylor, ASC, who also lent his expertise to the production. </li><li>ASC Close-Up presents a Q&A profile of Society member John Simmons, who was recently named chairman of the ASC Publications Committee </li>
Issue 1039
February 2006
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<span class='bodybold'>Munich</span><ul type='square'> <li>The Price Of Revenge, Janusz Kaminski, ASC explores the aftermath of the 1972 Olympic Games massacre in <span class='bodyitalic'>Munich.</span> </li><li>A Rake's Progress, <span class='bodyitalic'>Casanova</span> allows Oliver Stapleton, BSC to exploit the scenic splendors of Venice, Italy </li><li>High-Key Highlights, Gilbert Taylor, BSC earns the ASC International Award for his distinguished contributions to cinematography </li><li>The Doyen of Direct Cinema, The ASC honors groundbreaking documentarian Frederick Wiseman with an Award of Distinction. </li></ul> <p>Departments: <ul type='square'> <li>DVD Playback will present reviews of three all-time classics that have been lovingly restored for home viewing: <span class='bodyitalic'>King Kong</span> (1933), shot by ASC members Edward Linden, J.O. Taylor and Vernon L. Walker; <span class='bodyitalic'>The Wizard of Oz</span> (1939), shot by Harold Rosson, ASC; and <span class='bodyitalic'>Ben-Hur</span> (1959), shot by Robert L. Surtees, ASC. </li><li>Production Slate will include coverage of <span class='bodyitalic'>Tristram Shandy: A Cock and Bull Story</span>, shot by Marcel Zyskind, and <span class='bodyitalic'>The White Countess,</span> shot by Chris Doyle, HKSC. </li><li>Points East will present an interview with cinematographer Terry Stacey about his work on the feature film <span class='bodyitalic'>Winter Passing</span>. </li><li>Short Takes will offer cinematographer Robin Holder's assessment of the Arriflex D-20 camera, which he recently used to shoot the Jeffron music video "Dance." </li><li>Post Focus will present an overview of new monitor-calibration systems from Rising Sun and Ascent Media, as well as information on The Mill's use of 2K data scans and grain-management software for commercial projects. </li><li>ASC Close-Up will present a Q&A profile of Society member and past president William A. Fraker, whose credits as a director of photography include the acclaimed <span class='bodyitalic'>Rosemary's Baby</span> and <span class='bodyitalic'>Bullitt</span>. </li>
Issue 1040
March 2006
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<span class='bodybold'>Tsotsi</span><ul type='square'> <li>An Angry Young Man, Lance Gewer lends emotional intensity to the South African drama <span class='bodyitalic'>Tsotsi.</span> </li><li>Heart and Soul, Ellen Kuras, ASC captures a memorable concert performance in <span class='bodyitalic'>Neil Young:</span> <span class='bodyitalic'>Heart of Gold</span> </li><li>Retro Sexy, Mott Hupfel frames an erotic icon in <span class='bodyitalic'>The Notorious Bettie Page</span> </li><li>A Master's Palette, Jack Cardiff, BSC recalls his stunning work with three-strip Technicolor </li><li>A Style of Subtlety, Sydney Pollack is honored by the ASC for his filmmaking achievements </li></ul> <p>Departments: <ul type='square'> <li>DVD Playback presents reviews of three visually stunning films that have been lovingly restored for home viewing:<span class='bodyitalic'> Lifeboat</span> (1944), shot by Glen MacWilliams, ASC; <span class='bodyitalic'>The Tales of Hoffmann</span> (1951), shot by Christopher Challis, BSC; and <span class='bodyitalic'>The Bird With the Crystal Plumage</span> (1970), shot by Vittorio Storaro, ASC, AIC. </li><li>Production Slate includes coverage of two inventive independent films: <span class='bodyitalic'>Trail of the Screaming Forehead</span>, shot by Kevin Jones, and <span class='bodyitalic'>Formosa</span>, shot by Tyler Oliver. </li><li>Points East presents an overview of <span class='bodyitalic'>Roller Palace</span>, a student project shot in high-definition video by a group of Boston University undergraduates. </li><li>Short Takes presents a look at <span class='bodyitalic'>The Big Empty</span>, a short film shot by esteemed ASC cinematographer Newton Thomas Sigel, whose feature credits include <span class='bodyitalic'>Three Kings</span>, <span class='bodyitalic'>X-Men</span> and <span class='bodyitalic'>Confessions of a Dangerous Mind</span>. </li><li>Post Focus explores new distribution options for independent films, and detail the innovative postproduction techniques that were used on the indie production Katiebird. </li><li>ASC Close-Up presents a Q&A profile of Society member M. David Mullen, who has contributed stunning cinematography to a number of memorable indie films, including <span class='bodyitalic'>Twin Falls Idaho</span> and<span class='bodyitalic'> Northfork</span>. </li>
Issue 1041
April 2006
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<span class='bodybold'>Inside Man</span> <ul type='square'> <span class='bodyitalic'><li>Inside Man</li> <li>Lucky Number Slevin</li> <li>Red Riding Hood</li> <li>Wired to Win</li></span> <li>Sundance Film Festival</li> </ul> <p> Departments: <ul type='square'> <li>DVD Playback: <span class='bodyitalic'>An Unmarried Woman</span> (1978), <span class='bodyitalic'>Mysterious Skin</span> (2004), <span class='bodyitalic'>The Sisterhood of the Traveling Pants</span> (2005)</li> <li>Production Slate: <span class='bodyitalic'>Wassup Rockers, The Cabinet of Dr. Caligari</span></li> <li>Points East: <span class='bodyitalic'>Lonesome Jim</span></li> <li>Short Takes: <span class='bodyitalic'>Before Dawn</span>
Issue 1042
May 2006
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<span class='bodybold'>Mission: Impossible III</span> <ul type='square'> <span class='bodyitalic'> <li>Mission: Impossible III</li> <li>The Proposition</li> <li>Brooklyn Rules</li> <li>American Gun</li> </span> </ul> <p> Departments: <ul type='square'> <li>Global Village: <span class='bodyitalic'>3 Needles</span></li> <li>DVD Playback: <span class='bodyitalic'>Midnight Cowboy</span> (1969), <span class='bodyitalic'>Ryan's Daughter</span> (1970), <span class='bodyitalic'>The Unbearable Lightness of Being</span> (1988)</li> <li>Production Slate: <span class='bodyitalic'>Silent Hill, Down in the Valley</span></li> <li>Points East: <span class='bodyitalic'>Man Push Cart</span></li> <li>Short Takes: Jordan Cronenweth Heritage Award</li>
Issue 1043
June 2006
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The Da Vinci Code
* The Da Vinci Code
* Poseidon
* A Prairie Home Companion
* Nacho Libre
Departments:
* DVD Playback: Dog Day Afternoon (1975), All the President's Men (1976), Network (1976)
* Production Slate: United 93, The Break Up
* Points East: Twelve and Holding
* Short Takes: K-7
* Post Focus: Creative Bridge' Mobile Digital Preview Theatre, Hollywood Post Alliance Awards.
Issue 1044
July 2006
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<i>Superman Returns</i></b> Newton Thomas Sigel, ASC served as director of photography on the first major feature film shot with Panavision's high-definition Genesis camera. <p><b><i>Pathfinder </i></b>Daniel Pearl, ASC was behind the camera for this epic adventure about a Viking boy who is abandoned by his clan during a battle with a Native American tribe. <p><b><i>A Scanner Darkly </i></b>Cinematographer Shane F. Kelly teamed up with director Richard Linklater on this big-screen adaptation of Philip K. Dick's dark, bizarre sci-fi novel. <p><b><i>Faust</i></b> (a.k.a. <b><i>The Price Woman Pays</i></b>) This historical article by Robert S. Birchard traces the torturous production of the silent film <i>Faust,</i> which was shot between the years 1916 and 1920. <p>The July issue's <b>departments</b> offers illuminating insights: <ul> <li><b>DVD Playback </b>Reviews of three fascinating foreign films: Michelangelo Antonioni's <i>The Passenger </i>(1975) shot by Luciano Tovoli, ASC, AIC; Luis Bu?uel's <i>Viridiana</i> (1961), shot by Jose F. Aguayo; and Michael Haneke's <i>Funny Games</i> (1997), shot by J?rgen J?rges. </li><li><b>Production Slate</b> includes coverage of <b><i>Little Miss Sunshine</i></b>, a 2006 Sundance Festival favorite shot by Tim Suhrstedt, ASC, and <b><i>The Devil Wears Prada</i></b>, a biting satire shot by Florian Ballhaus. </li><li><b>Points East</b> presents an interview with cinematographer Andrij Parekh about his work on <b><i>Half Nelson</i></b><i>,</i> an indie drama about an inner-city high-school teacher (Ryan Gosling) who struggles to cope with his secret drug habit. </li><li><b>Short Takes </b> presents an interview with cinematographer Max Goldman and Steadicam operator Larry McConkey about their work on a striking <b>music video</b> for the band <b>Secret Machines</b>. </li><li><b>Post Focus</b> offers details on the recent restoration of director Jean-Pierre Melville's classic war film <b><i>L'Armee des ombres </i></b>(<i>Army of Shadows,</i> 1969), with comments from cinematographer Pierre L'homme, who participated in the process. </li>
Issue 1045
August 2006
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<i>Lady in the Water </i></b> Christopher Doyle, HKSC teamed with imaginative director M. Night Shyamalan on this fanciful tale about an apartment-building superintendent (Paul Giamatti) who rescues a young woman (Bryce Dallas Howard) from the pool he maintains, only to discover that she is actually a character from a bedtime story who is trapped in our world. <p><b><i>Miami Vice</i></b> Dion Beebe, ASC, ACS was selected by director Michael Mann to shoot this action-packed feature based on the wildly popular television series that Mann executive-produced during the 1980s. <p><b><i>World Trade Center </i></b> Seamus McGarvey, BSC teamed with provocative director Oliver Stone on this fact-based drama about two Port Authority police officers (Nicolas Cage and Michael Pena) who become trapped in the rubble of the World Trade Center during the terrorist attacks of September 11, 2001. <p><b><i>Snakes on a Plane </i></b>Adam Greenberg, ASC was behind the camera on this action thriller, in which an assassin attempts to kill a witness in protective custody by releasing a crateful of snakes on a flight over the Pacific Ocean. <p>The August issue's <b>departments</b> will also offer illuminating insights: <ul> <li><b>Global Village</b> goes behind the scenes on the Sony Pictures Classics feature <i>The House of Sand,</i> shot in Brazil by cinematographer Ricardo Della Rosa. </li><li><b>DVD Playback</b> presents reviews of three memorable films from the 1970s: <i>The Deer Hunter </i>(1978) shot by Vilmos Zsigmond, ASC; <i>The Towering Inferno</i> (1974), shot by Fred J. Koenekamp, ASC; and <i>The Poseidon Adventure</i> (1972), shot by Harold E. Stine, ASC. </li><li><b>Production Slate</b> includes coverage of <b><i>Factotum</i></b>, a literary drama shot by John Christian Roselund, and <b><i>The Night Listener</i></b>, a psychological thriller shot by Lisa Rinzler. </li><li><b>Points East</b> presents an interview with cinematographer Pascal Rabaud about his work on <b><i>Idlewild</i></b><i>,</i> a musical drama set in the Prohibition-era South. </li><li><b>Short Takes </b>analyzes an eye-opening series of <b>Snickers candy-bar commercials</b> that were shot with the Dalsa Origin camera. </li><li><b>Post Focus</b> presents a discussion with visual-effects expert Gray Marshall about <b>the collaboration between VFX supervisors and cinematographers.</b>
Issue 1046
September 2006
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Issue 1047
October 2006
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<i>The Departed, </i></b>Michael Ballhaus, ASC (<i>GoodFellas, Gangs of New York</i>) revisits the gangster genre with longtime collaborator Martin Scorsese in this Stateside remake of the 2002 Hong Kong crime film <i>Infernal Affairs</i>. <p><b><i>All the King's Men</i></b>, Pawel Edelman, PSC (<i>The Pianist, Ray</i>) was behind the camera on this 1930s drama directed by Steven Zaillian <p><b><i>Marie Antoinette</i></b>, Lance Acord (<i>Lost in Translation</i>) renewed his collaboration with director Sofia Coppola on this lavishly mounted period piece about the notorious Queen of France, who began her life as a naive Viennese girl before marrying King Louis XVI and ascending to the throne in 1774. <p><b>Global Village </b>presents an interview with George Jesse Turner, who served as cinematographer on <strong><i>49 Up</i></strong>, the latest installment in director Michael Apted's ambitious British documentary project, which has tracked the progress of a group of schoolchildren in a long-running series of films that began in 1964. <p><b>DVD Playback</b> reviews a selection of atmospheric classics: <strong><i>Dr. Mabuse, The Gambler </i></strong>(1922), shot by Carl Hoffmann; <strong><i>Mr. Arkadin</i></strong> (1955), shot by Jean Bourgoin; and <strong><i>Seven Samurai</i></strong> (1954), shot by Asakazu Nakai. <p><b>Production Slate</b> presents articles on <b><i>Flyboys</i></b>, a World War I fighter-pilot drama shot by Henry Braham, and <b><i>The Science of Sleep</i></b>, a whimsical French romance photographed by Jean-Louis Bompoint. <p><b>Points East</b> presents an interview with cinematographer Eric Gautier, AFC about his work on the independent coming-of-age film <b><i>A Guide to Recognizing Your Saints</i></b>, which is set primarily in Queens, New York. <p><b>Post Focus</b> details a new series of Farmers Insurance ads featuring visual effects by <b>Brickyard VFX</b>; offer a behind-the-scenes look at the recent 4K digital intermediate performed with the <b>da Vinci Resolve system</b> for Ridley Scott's feature <i>A Good Year; </i>and present an overview of <b>Autodesk's Lustre HD digital color-grading system</b>. <p><b>Short Takes </b>presents coverage of the <b>Pipettes music video</b> "Pull Shapes," shot by Fred Reed, and the short film <strong><i>The PowderPuff Principle</i></strong>, shot by Masanobu Takayanagi. <p><b>Filmmakers' Forum</b> presents a piece about the recent documentary <b><i>Cinematographer Style</i></b>, co-written by the film's director, Jon Fauer, and one of the project's corporate sponsors, Arri, Inc. president and CEO Volker Bahnemann.
Issue 1048
November 2006
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Issue 1049
December 2006
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<i>Casino Royale, </i></b>British superspy James Bond is back, and cinematographer <b>Phil Meheux, BSC</b> was behind the camera for Agent 007's 21st big-screen outing. This turbo-charged action film, which concerns Bond's first assignment, is intended to "reboot" the famous franchise for today's generation of viewers with a new star (Daniel Craig) and new adventures. Meheux, the immediate past president of the British Society of Cinematographers, also shot the 1995 Bond film <i>GoldenEye. </i>He will offer a detailed overview of the globe-trotting production, which shot scenes in England, the Czech Republic, Italy and the Bahamas. <p><b><i>Apocalypto </i></b><b>Dean Semler, ASC, ACS</b> teamed with controversial director Mel Gibson on the filmmaker's first motion picture since the 2004 box-office sensation <i>The Passion of the Christ</i>. An ambitious epic set during the decline of the Mayan civilization, <i>Apocalypto</i> was shot in Mexico with Panavision's new high-definition Genesis camera. Semler will assess the camera's performance in rugged locations while detailing the production's formidable logistical challenges. <p><b><i>Children of Men, </i></b><b>Emmanuel Lubezki, ASC, AMC</b> shot this futuristic drama set in the year 2027, when humans can no longer procreate. When a woman becomes miraculously pregnant, a former activist (Clive Owen) agrees to help transport her to a sanctuary, where the birth of her child may help scientists prevent the extinction of humankind. Lubezki will discuss his use of handheld cameras and minimal lighting to create a visual aesthetic that borders on documentary. <p><b><i>Home of the Brave, </i></b><b>Tony Pierce-Roberts, BSC</b> worked with Thomson/Grass Valley's digital Viper FilmStream cameras on this drama about three soldiers struggling to readjust to life at home after returning from a long tour of duty in Iraq. In a detailed Q&A with the show's digital imaging technician, Joshua Gollish, Pierce-Roberts will assess the cameras' performance in the field while discussing his collaboration with director Irwin Winkler. <p><b>Global Village </b>ventures into <i>The Real Lost World,</i> a documentary that explores Roraima, Venezuela, which served as the inspiration for Sir Arthur Conan Doyle's famed fantasy novel <i>The Lost World</i>. It offers an overview of the high-definition video production, which was shot by a crew led by cinematographer Glenn Taylor. The show will air in HD on the Discovery Channel show <i>Animal Planet</i>. <p><b>DVD Playback </b> a reviews of <i>Brazil</i> (1985), shot by Roger Pratt, BSC; <i>A Nightmare on Elm Street</i> (1984), shot by Jacques Haitkin; and <i>Backdraft</i> (1991), shot by Mikael Salomon, ASC. <p><b>Production Slate</b> presents pieces on <b><i>The Santa Clause 3,</i></b> a holiday comedy shot by Robbie Greenberg, ASC, and <b><i>Volver</i></b>, an acclaimed Spanish drama shot by Jose Luis Alcane. <p><b>Points East</b> presents an interview with cinematographer Antonio Calvache about his work on the East Coast drama <b><i>Little Children</i></b>. <p><b>Filmmakers' Forum </b>steps into the boxing ring with an article on <b><i>Rocky Balboa</i></b> penned by the show's cinematographer, Clark Mathis. <p><b>Short Takes</b> details cinematographer Frank Barrera's work on the short film <b><i>El Viage</i></b>. <p><b>New Products & Services</b> offers a roundup of the year's most intriguing new motion-picture technologies, as well as a look at the Light By Numbers lighting-control system used on the feature <i>Children of Men</i>.
2007
Issue 1050
January 2007
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Issue 1051
February 2007
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Perfume: The Story of a Murderer<br> </i></b>Highly regarded German cinematographer <b>Frank Griebe </b>(<i>Run, Lola, Run</i>) reteamed with director Tom Tykwer on this epic and visually stunning adapatation of the critically acclaimed 1985 "historical horror" novel by Patrick S?skind. Set in 18th-century France, the film tells the chilling tale of Jean-Baptiste Grenouille (Ben Whishaw), a perfumer's apprentice whose incredible sense of smell leads him on an obsessive pursuit of the perfect scent - whose secret ingredient requires him to murder a series of young girls. Shot in Germany, France and Spain, <i>Perfume</i> became a box-office sensation during its fall 2006 theatrical run in Germany, and will have a two-tiered release in the United States in late December (limited) and mid-January (wide). <p><b><i>The Invisible<br> </i></b><b>Gabriel Beristain, ASC</b> details his work with director David S. Goyer on this intriguing thriller, which concerns a teenage boy and girl whose "true selves" are invisible to others due to his untimely death and her problems after the death of her mother. Beristain will offer a full account of the shoot, which took place in British Columbia. <p><b>ASC International Award<br> </b>The career of world-renowned cinematographer and three-time Academy Award nominee <b>Michael Ballhaus, ASC</b> will reach a pinnacle on February 18, when he will receive the International Award during the annual ASC Awards gala in Los Angeles. This prestigious award is reserved for foreign-born cinematographers who have made an enduring contribution to their art form. In an in-depth profile piece, <i>AC</i> executive editor Stephen Pizzello will trace the full arc of Ballhaus's career, from his early days with prolific German auteur Rainer Werner Fassbinder (for whom he shot 15 films) to his later years in Hollywood, where he has worked with such prominent directors as Martin Scorsese (7 films, including <i>GoodFellas, The Age of Innocence, Gangs of New York </i>and <i>The Departed</i>), Francis Ford Coppola (<i>Bram Stoker's Dracula</i>), James L. Brooks (<i>Broadcast News</i>), Wolfgang Petersen (<i>Outbreak, Air Force One</i>) and Mike Nichols (<i>Working Girl</i>). <p><b>Tribute to Sven Nykvist, ASC<br> </b>Cinema lost one of its leading lights on September 20, 2006, when legendary director of photography Sven Nykvist, ASC passed away. <i>AC</i> historian Robert Birchard will pen a tribute to the great Swedish cameraman, best known for his seminal work with director Ingmar Bergman, for whom he shot such classic films as <i>Winter Light, Persona, Scenes From a Marriage</i> and <i>Fanny and Alexander</i>. Over the course of his career, Nykvist also lent his talents to films by Woody Allen, Lasse Hallstr?m, Bob Rafelson, Bob Fosse, Louis Malle, Norman Jewison, Philip Kaufman, Alan Pakula and Richard Attenborough. <p><b>The February issue's departments will also offer illuminating insights:</b> <p>Global Village will present an interview with cinematographer Hyung-ku Kim about his work on the South Korean horror/comedy/sci-fi thriller <i>The Host</i>, in which a mutant creature emerges from Seoul's Han River and proceeds to terrorize the populace. <p>DVD Playback will offer a review of <i>The Premiere Frank Capra Collection</i>, which includes five of of the director's classics shot by Joseph Walker, ASC: <i>American Madness</i> (1932), <i>It Happened One Night</i> (1934), <i>Mr. Deeds Goes to Town</i> (1936), <i>You Can't Take It With You</i> (1938) and <i>Mr. Smith Goes to Washington</i> (1939). In addition, we will assess the new DVDs of <i>Reflections in a Golden Eye</i> (1967), shot by Aldo Tonti, and <i>Lady Vengeance</i> (2005), shot by Jeong-hun Jeong. <p><b>Production Slate</b> will present pieces on <b><i>Miss Potter</i></b>, a Beatrix Potter bio-pic shot by Andrew Dunn, BSC, and <b><i>The Astronaut Farmer</i></b>, a quirky drama shot by M. David Mullen, ASC. <p><b>Points East </b>will detail the shooting of <b>Project Rebirth</b>, an ambitious 10-year project that will employ 10 fixed-position, time-lapse high-definition video cameras to capture the reconstruction of the World Trade Center site in New York City. Cinematographers Jim Whitaker and Tom Lappin will detail their collaboration on the project, which is scheduled to be released in the year 2011. <p><b>Post Focus </b>will offer a piece about <b>Cineric's restoration of Stanley Kubrick's <i>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb</i></b> (1964), shot by Gilbert Taylor, BSC, as well as an overview of <b>Sohonet's new North American headquarters, </b>which opened recently in Los Angeles. <p><b>Short Takes</b> will present an interview with cinematographer Jaron Pursuant about his work on the <b>Meat Loaf video "It's All Coming Back to Me Now."</b> <p><b>Wrap Shot </b>will be revived this month to present a look at <b><i>The Last Run</i></b> (1971), a crime thriller shot by the late Sven Nyvkist, ASC.
Issue 1052
March 2007
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Letters From Iwo Jima<br> </i></b><b>Tom Stern </b>will detail his work with director Clint Eastwood on this WWII battle drama, which serves as a companion piece to their recent feature <i>Flags of Our Fathers</i>. This time around, the Battle of Iwo Jima is retold from the perspective of Japanese soldiers fighting in the shadow of Mount Suribachi. Stern will discuss his unique participation on both projects with interviewer David E. Williams, who covered <i>Flags</i> for our Nov. 2006 issue. <p><b>Television cinematography<br> </b>The job of shooting a hit television show involves a complex array of responsibilities, all of which impact and inform a director of photography's creative approach. In this comprehensive piece, we will discuss the challenges of small-screen cinematography with a number of professionals from top-rated shows: <b>Thomas Del Ruth, ASC</b> (<i>Studio 60 on the Sunset Strip</i>), <b>Ross Berryman, ASC, ACS</b> (<i>Ugly Betty</i>), <b>John Aronson</b> (<i>Heroes</i>), <b>Krishna Rao</b> (<i>The Unit</i>), <b>Eagle Egilsson</b> and <b>Charles Mills</b> (<i>CSI: Miami</i>) and <b>Herb Davis</b> (<i>Grey's Anatomy</i>). Each will offer insights into their day-to-day duties on the set. <p><b>Distinguished Achievement Award for Television Cinematography<br> </b>This newly created award will be presented to veteran television cinematographer <b>Donald M. Morgan, ASC</b> at the annual ASC Awards ceremony in February. Our article on Morgan will present a a complete overview of his career, during which he has earned a remarkable series of honors: 5 Emmy Awards and 4 nominations, along with 4 ASC Awards and 2 nominations. Morgan will offer details about working on his most acclaimed telefilms, which include <i>Murder in Mississippi, Dillinger, Geronimo, The Siege at Ruby Ridge, Miss Evers' Boys, For Love or Country: The Arturo Sandoval Story, Out of the Ashes</i> and <i>Something the Lord Made</i>. Morgan will also discuss his contributions to several noteworthy theatrical features, including <i>Starman, Christine</i> and <i>Used Cars</i>. <p><b>The March issue's departments will also offer illuminating insights:</b> <p>DVD Playback will review new DVD versions of <i>1900</i> (1976), shot by Vittorio Storaro, ASC, AIC; <i>Bugsy </i>(1991), shot by Allen Daviau, ASC; and <i>Superman I: The Richard Donner Cut</i> (1978/2006), shot by Geoffrey Unsworth, BSC and Robert Paynter. <p><b>Production Slate</b> will present pieces on <b><i>The Lives of Others, </i></b>a compelling German drama shot by Hagen Bogdanski, and <b><i>The Situation</i></b>, an HBO telefilm about the Iraq war shot by Sean Bobbitt. <p><b>Points East </b>will offer an interview with cinematographer Matthew F. Leonetti, ASC about his work on <b><i>Pride</i></b><i>,</i><b> </b>a sports drama about a deetermined man who starts a swim team for troubled teens at the Philadelphia Dept. of Recreation. <p><b>Post Focus </b>will offer a piece about Atlab's 4K digital intermediate for the feature film <b><i>10 Canoes;</i></b><b> </b>coverage of the post work for <b><i>Night of the Living Dead 3D</i></b><i>;</i> and a tour of <b>iO Films' new Hollywood facility.</b>
Issue 1053
April 2007
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Zodiac<br> </i></b><b>Harris Savides, ASC</b> will discuss his use of digital Viper cameras on David Fincher's hotly anticipated thriller <b><i>Zodiac</i></b>, which bases its drama on Robert Graysmith's true-crime books about the notorious serial killer who terrorized San Francisco during the 1960s and '70s. Savides, who previously shot Fincher's acclaimed 1997 thriller <i>The Game,</i> will offer a detailed assessment of the cameras' performance, as well as his general thoughts about shooting in the new digital realm. <p><b><i>300<br> </i></b><b>Larry Fong </b>will detail the methods he used to achieve striking imagery for the action-adventure film <b><i>300</i></b>, a big-screen adaptation of Frank Miller's graphic novel about the Battle of Thermopylae in 480 B.C. Fong shot the film entirely on Montreal soundstages in the widescreen Super 35mm format, and then supervised the project's creative use of the digital-intermediate process, which was extensively applied to emulate the look of the graphic novel. <p><b>Sunshine<br> </b><b>Alwin K?chler, BSC</b> will discuss his collaboration with director Danny Boyle on this ambitious sci-fi thriller, which concerns a team of astronauts who are sent into space in a desperate attempt to revive Earth's dying sun. K?chler will discuss the full range of techniques he employed, including his use of both the Super 35 and anamorphic formats to achieve different kind of flares for scenes involving the sun. <p><b>ASC Presidents Award<br> </b>This honor, presented to veteran cinematographer <b>Gerald Hirschfeld, ASC</b> at the 21st annual ASC Awards ceremony in February, salutes directors of photography who have made exceptional contributions to the art and craft of cinematography. David E. Williams will offer an overview of Hirschfeld's many stellar accomplishments, which include the features <i>Fail-Safe; Goodbye, Columbus; Diary of a Mad Housewife; My Favorite Year; </i>and the Mel Brooks comedies <i>Young Frankenstein</i> and <i>To Be Or Not to Be</i>. In addition to being the longest-tenured member of the ASC (joining the Society 56 years ago, in 1951), Hirschfeld helped launch the careers of legendary ASC members Gordon Willis and Owen Roizman. He has served as a filmmaker in residence at the International Film & Video Workshops and is also the author of the popular textbook <i>Image Control - Motion Picture and Video Camera Filters and Lab Techniques.</i> <p><b>Sundance Film Festival<br> </b>Each January, industry insiders flock to Park City, Utah to attend this key festival, which has launched the careers of many independent filmmakers. <i>AC</i>'s team of writers will scout out the most visually compelling entries for our annual roundup, which will offer insights from the event's most promising cinematographers. <p><b>The April issue's departments will also offer illuminating insights:</b> <p>DVD Playback will review new DVD versions of <i>Pandora's Box </i>(1928), shot by G?nther Krampf; <i>Who's Afraid of Virginia Woolf?</i> (1966), shot by Haskell Wexler, ASC; and <i>The Double Life of Veronique</i> (1991), shot by Slawomir Idziak, PSC. <p><b>Global Village </b>will offer insights from cinematographer Souhei Tanigawa about his work on the Japanese film <b><i>Noriko's Dinner Table</i></b>. <p><b>Production Slate</b> will present pieces on <b><i>Rescue Dawn, </i></b>a compelling war drama shot by Peter Zeitlinger for director Werner Herzog, and <b><i>Severance</i></b>, a horror/comedy hybrid shot by Ed Wild. <p><b>Points East </b>will offer an interview with cinematographer Anastas Michos, ASC about his work on <b><i>Perfect Stranger</i></b><i>,</i><b> </b>a thriller set and shot in New York City. <p><b>Post Focus </b>will offer a piece about the use of digital cameras and post on <b>David Lynch's surreal drama</b> <b><i>Inland Empire</i></b>, as well as a piece on <b>Milagro's Post's</b> use of Bones software and other tools on a recent series of <b>Chevrolet commercials</b>. <p><b>Short Takes</b> will present coverage of <b>award-winning shorts from this year's Sundance Film Festival</b>. <p><b>Tricks of the Trade</b> will offer insights into <b>cutting-edge digital rear-projection techniques</b> from ASC member Bill Taylor. <p><b>ASC Close-Up</b> will present a Q&A profile of Society member <b>Vincent Cox.</b>
Issue 1054
May 2007
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<i>Spider-Man 3</i></b> <p><b>Bill Pope, ASC </b>swings back into action with director Sam Raimi's third installment of the hugely popular superhero franchise, which once again stars Tobey Maguire as Peter Parker and his crime-fighting alter ego, Spider-Man. This time around, a strange entity from another world bonds with Parker, forcing him to confront a new kind of inner turmoil during his web-slinging adventures. Pope will detail his complex integration of live-action footage with CG effects, as well as his post work at Thomson's new Technicolor digital-intermediate facility, which recently opened its doors on the Sony lot. <p><b><i>28 Weeks Later</i></b> <p><b>Enrique Chediak </b>teamed with promising Spanish director Juan Carlos Fresnadillo (<i>Intacto</i>) on this sequel to Danny Boyle's 2002 horror thriller <i>28 Days Later</i>. Set six months after the action of the first film, <i>28 Weeks</i> begins with the U.S. Army restoring order in Britain after the suppression of the Rage virus, which turned the country's populace into a mob of undead, flesh-eating creatures. The crisis is reignited, however, when a carrier of the virus enters London and unwittingly spreads the deadly infection. Chediak will detail his efforts to create onscreen havoc in one of the planet's busiest cities. <p><b><i>Smallville </i></b> <p>This hit TV series, which follows the teenage years of Clark Kent (a.k.a. Superman), is shot by two members of the Canadian Society of Cinematographers, Glen Winter and David Moxness. The show's visual effects are supervised by Mat Beck, ASC, who recently took a turn in the director's chair. All three will offer their perspectives on the show, which recently earned Moxness an ASC Award for his work on the episode "Arrow." <p><b>ASC/Academy Award winners and nominees</b> <p>In our annual salute to the year's best cinematography, we will acknowledge the accomplishments of all the directors of photography who were honored at this year's ASC and Academy Award ceremonies: <b>Emmanuel Lubezki, ASC, AMC</b> (<i>Children of Men</i>); <b>Guillermo Navarro, ASC</b> (<i>Pan's Labyrinth</i>); <b>Dick Pope, BSC</b> (<i>The Illusionist</i>); <b>Wally Pfister, ASC</b> (<i>The Prestige</i>); <b>Robert Richardson, ASC</b> (<i>The Good Shepherd</i>); <b>Dean Semler, ASC, ACS</b> (<i>Apocalypto</i>); and <b>Vilmos Zsigmond, ASC</b> (<i>The Black Dahlia</i>). <p><b>Academy Scientific & Technical Awards</b> <p>We will present a full recap of this year's ingenious honorees, whose technical contributions to filmmaking were feted on February 10 during a prestigious dinner at the Beverly Wilshire Hotel in Beverly Hills, California. <p>The May issue's <b>departments</b> will also offer illuminating insights: <p><b>DVD Playback</b> will review new DVD versions of <strong><i>A Man for All Seasons </i></strong>(1966), shot by Ted Moore; <strong><i>Reds</i></strong> (1981), shot by Vittorio Storaro, ASC, AIC; and <strong><i>Hollywoodland</i></strong> (2006), shot by Jonathan Freeman. <p><b>Production Slate</b> will present pieces on the dynamic sports film <b><i>Zidane,</i></b> shot by Darius Khondji, ASC, AFC, and the feature film <b><i>Vacancy, </i></b>a riveting thriller shot by Andrzej Sekula. <p><b>Points East </b>will offer an interview with cinematographer Terry Stacey about his work on <b><i>The Nanny Diaries</i></b><i>,<b> </b></i>a romantic comedy set in New York City. <p><b>Short Takes</b> will present interviews with student cinematographers <b>Brian Melton</b> and <b>Lyle Vincent</b>, winners of this year's <strong>ASC John Alonzo Heritage Award</strong>. <p><strong>Post Focus</strong> will examine the image-enhancement services that <strong>DTS Digital Images</strong> provided for David Fincher's thriller <em>Zodiac</em> and will present an overview of <strong>Thomson's new Technicolor digital-intermediate facility</strong> on the Sony Studios lot in Culver City. <p><b>ASC Close-Up</b> will present a Q&A profile of Society member <b>Nancy Schreiber.</b>
Issue 1055
June 2007
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<i>Pirates of the Caribbean: At World's End</i></b> <p><b>Dariusz Wolski, ASC</b> will discuss his work with director Gore Verbinski on the latest installment of this blockbuster <i>Pirates</i> franchise, focusing on the show's demanding logistics and the integration of live-action footage with extensive visual effects. <i>At World's End</i> finds Captain Barbossa (Geoffrey Rush), Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley) sailing into uncharted waters, where treachery and betrayal await them. Also returning for another voyage is Johnny Depp as Jack Sparrow and Bill Nighy as Davy Jones. <p><b><i>Fantastic Four: Rise of the Silver Surfer</i></b> <p><b>Larry Blanford </b>was behind the camera on this high-flying sequel to <i>The Fantastic Four</i>, which exceeded expectations to become a major box-office hit in 2005. In the new film, Mr. Fantastic (Ioan Gruffudd), Invisible Woman (Jessica Alba), The Human Torch (Chris Evans) and The Thing (Michael Chiklis) must confront two new foes: the Silver Surfer (Doug Jones) and the planet-eating Galactus. Blanford will reveal all of the tricks he used to lend our heroes their super powers. <p><b><i>Mr. Brooks </i></b> <p><b>John Lindley, ASC, CSC</b> will discuss his collaboration with director Bruce A. Evans on this psychological thriller, which stars Kevin Costner as a man who is sometimes controlled by his serial-killer alter ego (William Hurt). Lindley will offer a full overview of the techniques he used to add menacing ambience to the drama. <p><b><i>The Alps </i></b> <p>This stunning large-format film, which will play on Imax screens worldwide throughout the spring and summer, follows the true-life story of mountaineer and journalist John Harlin III, who sets out on an epic personal journey to climb the deadly North Face of the Eiger, the stormiest, steepest peak in all of Europe - 40 years after the same mountain claimed the life of his larger-than-life father, climbing legend John Harlin II. Filled with majestic views of Switzerland's natural beauty, <i>The Alps</i> put cinematographers <b>Michael Brown</b> and <b>Brad Ohlund</b> and aerial-photography specialist <b>Ron Goodman</b> of SpaceCam Systems through a true test of their abilities. <p>The June issue's <b>departments</b> will also offer illuminating insights: <p><b>DVD Playback</b> will review new DVD versions of <strong><i>Performance </i></strong>(1970), shot by Nicolas Roeg; <strong><i>The Conformist</i></strong> (1971), shot by Vittorio Storaro, ASC, AIC; and <strong><i>The Films of Alejandro Jodorowsky</i></strong> (<i>Fando y Lis,</i> 1968; <i>El Topo,</i> 1970; <i>The Holy Mountain,</i> 1973), shot by Rafael Corkidi and Antonio Reynoso. <p><b>Production Slate</b> will interview cinematographer Tetsuo Nagata, AFC about his work on <b><i>La Vie en Rose</i></b>, an artful biopic about the life of singer Edith Piaf, and offer a chat with Agn?s Godard, AFC about her photography for <b><i>The Golden Door</i></b> (<i>Nuovomondo</i>), a drama about Sicilian immigrants that earned the Silver Lion at the 2006 Venice Film Festival. <p><b>Short Takes</b> will analyze the short films <b><i>Grace</i></b>, shot by Levie Isaaks, ASC, and <b><i>Rose</i></b>, shot by Adam Meltzer. <p><b>Post Focus</b> will spotlight the new digital-services company <b>Illuminate</b>, which unites four highly regarded production, postproduction and creative studios: HTV, Metropolitan Entertainment, HD Vision Studios and HD Vision Broadcast Center.
Issue 1056
July 2007
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Live Free or Die Hard<br> </i></b><b>Simon Duggan, ACS </b>reveals how he captured all the action for the fourth film in the ever-popular <b><i>Die Hard</i></b> franchise. <i>AC</i>'s Australian correspondent, Simon Gray, will debrief Duggan about staging a series of explosive and logistically complex setpieces. <p><b><i>Rescue Dawn<br> </i></b><b>Peter Zeitlinger </b>endured a grueling shoot in Thailand to bring director Werner Herzog's thrilling prisoner-of-war drama to the big screen. Fred Schruers, former senior editor of <i>Premiere</i> magazine, talks to both Zeitlinger and Herzog about the arduous location work involved in this ambitious production. <p><em><b>Nancy Drew<br> </b></em><strong>Alexander Grusynski, ASC</strong> was behind the camera on this teen-oriented mystery-comedy. Gruszynski discusses his approach to the film's poppy, stylized images. <p><b><i>Army of Shadows </i></b>(1969)<br> French cinematographer <b>Pierre L'homme</b>, <b>AFC</b> discusses his role in restoring this classic World War II drama, which he shot in the late 1960s for director Jean-Pierre Melville. <p>The July issue's <b>departments</b> offers illuminating insights: <p><b>DVD Playback</b> reviews new DVD versions of <strong><i>All That Jazz </i></strong>(1979), shot by Giuseppe Rotunno, ASC, AIC; <strong><i>The Queen</i></strong> (2006), shot by Affonso Beato, ASC; and <strong><i>Notes on a Scandal</i></strong> (2006), shot by Chris Menges, BSC. <p><strong>Production Slate</strong> offers interviews with cinematographer Jan Kiesser, ASC, CSC about shooting the independent zombie comedy <em><b>Fido</b></em>, and Hungarian cameraman Giula Pados, HSC about his work on the drama <em><b>Evening, </b></em>directed by ASC member Lajos Koltai. <p><b>Points East </b>presents a piece on the tense, New York-based terrorism drama <b><i>Day Night Day Night</i></b>, shot by Belgian cinematographer Beno?t Debie. <p><b>Short Takes</b> analyzed the short film <b><i>Rose</i></b>, shot by Adam Meltzer. <p><b>Post Focus</b> presents an overview of <b>digital multi-masters</b> by Simon Cuff, president of Digital Vision. <p><b>Filmmakers' Forum</b> offers <b>a </b>piece by the head of the ASC Technology Committee,<b> Curtis Clark, </b>about his <b>recent trip to Korea.</b></div>
Issue 1057
August 2007
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This issue of <i>American Cinematographer</i> magazine, has a special focus on integrating CG effects into live-action footage. <p><b><i>Sunshine <br> </i></b><b>Alwin K?chler, BSC </b>reveals the technical tricks he used on this visually stunning sci-fi drama from director Danny Boyle (<i>Trainspotting, 28 Days Later</i>). Set 50 years in the future, the plot concerns a team of astronauts sent into space to reignite the dying sun. K?chler discussed his use of two widescreen formats (regular anamorphic and Super 35), which he alternated in order to get interesting lens flares for scenes involving the sun. <p><b><i>Transformers<br> </i></b><b>Mitchell Amundsen </b>was behind the camera on director Michael Bay's sci-fi extravaganza, in which dueling alien races, the Autobots and the Decepticons, battle for ultimate supremacy on Earth, with mankind's future hanging in the balance. Amundsen discussed the technical challenges involved in such a logistically ambitious, effects-heavy production. <p><b><i>1408<br> </i></b><b>Beno?t Delhomme, AFC </b>set out to scare audiences silly with this tale about a paranormal investigator (John Cusack) who confronts true terror after checking into a hotel's famously haunted Room 1408. Delhomme's live-action photography was combined with chilling visual effects for the film, which takes place primarily in one setting. <p><b><i>Hairspray<br> </i></b><b>Bojan Bazelli</b> filmed a series of lavish, lively musical sequences for this film adaptation of the hit Broadway show, in which pleasantly plump teenager Tracy Turnblad (Nikki Blonsky) teaches the people of 1962 Baltimore a lesson in race relations after earning a spot on a local TV dance show. In addition to discussing the show's technical tricks, Bazelli also discussed his approach to shooting John Travolta, who appears in hilarious drag as Edna Turnblad. <p>The August issue's <b>departments</b> also offer illuminating insights: <p><b>Global Village</b> offers an analysis of the Russian sci-fi/fantasy film <strong><i>Day Watch</i></strong> by cinematographer Sergei Trofimov. <p><b>DVD Playback</b> reviews new DVD versions of <strong><i>Matador </i></strong>(1986), shot by ?ngel Luis Fern?ndez; <strong><i>The Chocolate War</i></strong> (1988), shot by Tom Richmond; and <strong><i>The Sergio Leone Anthology</i></strong><i>,</i> which includes the films <i>A Fistful of Dollars</i> (1964, shot by Massimo Dallamano and Federico Larraya); <i>For a Few Dollars More</i> (1965, shot by Massimo Dallamano); <i>The Good, the Bad and the Ugly</i> (1966, shot by Tonino Delli Colli, AIC); and <i>Duck, You Sucker</i> (1971, shot by Giuseppe Ruzzolini). <p><b>Production Slate</b> offer interviews with cinematographers Ben Nott, ACS, about shooting the ambitious TNT miniseries <b><i>The Company</i></b> for director Mikael Salomon, ASC, and Javier Aguirresrobe about his work with director Milos Forman on the period drama <b><i>Goya's Ghosts</i></b>. <p><b>Points East </b>present a piece on the new HBO comedy series <b><i>Flight of the Conchords,</i></b> shot in New York City by cinematographer Patrick Alexander Stewart. <p><b>Short Takes</b> analyze the visually inventive <b>"Jubilee"</b> <b>music video,</b> shot by Ross Riege for the band Willowz. <p><b>Post Focus</b> present an analysis of eye-popping effects sequences from <b><i>Harry Potter and the Order of the Phoenix</i></b>, shot by Slawomir Idziak, PSC.
Issue 1058
September 2007
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<i>The Bourne Ultimatum </i></b>
<p><b>Oliver Wood </b>gives a full account of his work with director Paul Greengrass (<i>United 93</i>) on the third film in the internationally popular <i>Bourne</i> franchise, in which the rogue spy of the title (played by Matt Damon) attempts to overcome his amnesia and discover the mysteries of his past. Wood will offer an insightful overview of the globe-trotting production, which shot in many locations all over the world - including the U.S., England, Germany, France, Spain, Morocco and Latvia.
<p><b><i>Outsourced </i></b>
<p><b>Teodoro Maniaci </b>(<i>Clean, Shaven</i>) was the cinematographer on this independent comedy about an American worker (played by Josh Hamilton) who is sent to India to train his replacement after his company decides to move part of its operation overseas. John Jeffcoat directed the project, which filmed in and around Mumbai with a mostly Indian crew, working on location and onstage at Film City. <i>Outsourced </i>won top honors this year at the Indian Film Festival of Los Angeles, the Seattle International Film Festival, and the Palm Springs International Film Festival. It will be released this fall.
<p><b><i>Caravaggio </i></b>
<p><b>Vittorio Storaro, ASC, AIC </b>answers an Italian journalist's questions about his stunning work on a lushly photographed television bio-pic that traces the life of the great artist Michelangelo Merisi da Caravaggio, who created a series of masterpieces during the late 16th and early 17th century. In addition to discussing his technical approach to the project, Storaro will address the influence of Caravaggio's paintings on his cinematography.
<p><b>Muse music video "Knights of Cydonia"</b>
<p>Longtime <i>AC</i> technical editor Christopher Probst will provide a firsthand account of his work on a creative, artfully campy music video that recently earned him top honors in the cinematography category at the Music Video Production Association Awards. Shot in Bucharest, Romania, "Knights of Cydonia" pays homage to Spaghetti Westerns, kung-fu movies, <i>Star Wars</i> and <i>Planet of the Apes,</i> with an affectionate nod to the rock 'n' roll bombast of Queen's "Bohemian Rhapsody." Working alongside renowned music-video director Joseph Kahn, Probst found himself wrangling Barbarella-like warrior-women, robots, unicorns, holograms, horses, motorcycles and a masked cowboy hero.
<p>The September issue's <b>departments</b> will also offer illuminating insights:
<p><b>Global Village</b> will offer a timely salute to the <strong>Canadian Society of Cinematographers (CSC)</strong>, which is celebrating its <strong>50th anniversary</strong>.
<p><b>DVD Playback</b> will review new DVD versions of <strong><i>The Third Man </i></strong>(1949), shot by Robert Krasker; <strong><i>Straight Time</i></strong> (1978), shot by Owen Roizman, ASC; and <strong><i>Prince of the City</i></strong> (1981), shot by Andrzej Bartkowiak, ASC.
<p><b>Production Slate</b> offers interviews with cinematographer Phil Parmet about shooting director Rob Zombie's remake of the horror classic <b><i>Halloween</i></b>, and Peter Pau, HKSC about his kinetic work on the tongue-in-cheek action thriller<b><i> Shoot 'Em Up</i></b>.
<p><b>Points East</b> presents a piece about a new, feature-length <b>HBO documentary</b> about the <b>50th anniversary of the 1957 desegregation crisis at Little Rock Central High School</b> in Arkansas.
<p><b>Short Takes</b> unveils a series of <b>celebrity portraits shot in high-definition video by celebrated artist Robert Wilson</b> for the Voom HD Network.
<p><b>Post Focus</b> details the use of <b>MTI Control Dailies on the feature <i>Rush Hour 3</i></b><i>,</i> and present an overview of <b>Chace Audio's new suite of services </b>for the recovery and preservation of magnetic sound films and tapes suffering from vinegar syndrome.
<p><b>Filmmakers' Forum</b> offers a piece by cinematographer Stephanie Martin about her recent experiences shooting in Morocco for the forthcoming feature <b><i>The Objective</i></b>, a military thriller set in Afghanistan and directed by Daniel Myrick (co-director of <i>The Blair Witch Project</i>).
<p><b>Wrap Shot</b> presents an analysis of <b>the controversial final scene of HBO's <i>The Sopranos</i></b> by cinematographer <b>Alik Sakharov, ASC</b>.
Issue 1059
October 2007
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Issue 1060
November 2007
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<i>I'm Not There</i></b>
<p><b>Ed Lachman, ASC </b>analyzes the intriguing challenges he faced on this adventurous and experimental Todd Haynes feature, which traces the life of musical icon Bob Dylan in unorthodox fashion. Different aspects of Dylan's persona are embodied by various characters played by Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger and Ben Whishaw. Lachman will discuss the full range of looks he crafted for the show, placing a special emphasis on his lighting techniques. He will also discuss his use of both color and black-and-white stocks in multiple formats: 35mm, 16mm, Super 16 and 8mm.
<p><b><i>The Kite Runner </i></b>
<p><b>Roberto Schaefer, ASC</b> was director of photography on this adaptation of the best-selling 2003 novel by Afghan-American author Khaled Hosseini, who tells the story of Amir, a boy from the Afghanistan town of Kabul who is haunted by the guilt of an incident involving a childhood friend. Schaefer will offer his thoughts on the production, which shot at locations in California and China (standing in for war-torn Afghanistan).
<p><b><i>30 Days of Night </i></b>
<p>Jo Willems was behind the camera on this chiller about a bloodthirsty gang of vampires attacking an Alaskan town that is plunged into darkness for a full month each year. Australian correspondent Simon Gray paid a visit to the set in Auckland, New Zealand to get the full story from Willems, who will discuss his strategies for visually adapting the graphic novel written by Ben Niles and illustrated by Ben Templesmith.
<p><b><i>Control</i></b>
<p>Martin Ruhe crafted gritty, smartly composed black-and-white images for this haunting bio-pic about English rock star Ian Curtis, who fronted the influential alternative band Joy Division before committing suicide by hanging at the age of 23. Ruhe will discuss his evocative approach to this story and his collaboration with Dutch director Anton Corbijn, well-known in the rock world for his photography (he has served as creative director for the bands Depeche Mode and U2, among others) and striking music videos (including Depeche Mode's "Personal Jesus" and Nirvana's "Heart-Shaped Box").
<p>The November issue's <b>departments</b> will also offer illuminating insights:
<p><b>DVD Playback</b> reviews new DVD versions of <b><i>Invasion of the Body Snatchers</i></b> (1978), shot by Michael Chapman, ASC; <b><i>Flash Gordon </i></b>(1980), shot by Gilbert Taylor, BSC; and<b><i> Robocop</i></b> (1987), shot by Jost Vacano, ASC.
<p><b>Production Slate</b> offers articles on <b><i>The Martian Child</i></b>, shot by Robert Yeoman, ASC, and <b><i>Sarah Landon and the Paranormal Hour</i></b>, shot by Andy Keupper.
<p><b>Points East</b> presents an interview with Harlan Bosmajian about his digital cinematography on the hi-def, Manhattan-based drama <b><i>Starting Out in the Evening</i></b>.
<p><b>Short Takes</b> offers an interview with cinematographer Jim Matlosz about his work on <b>"Slow Dancing," a video installation at Lincoln Center</b> that uses high-definition video technology to show 43 ballet dancers moving at less than 1/100th of their original speed.
<p><b>Post Focus</b> examines how the digital-intermediate process is being used at LaserPacific to lend a highly stylized look to <b><i>Pushing Daisies</i></b>, a new ABC television series shot by Michael Weaver (pilot) and Jamie Anderson (series) for director Barry Sonnenfeld.
Issue 1061
December 2007
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<i>Atonement </i></b>
<p><b>Seamus McGarvey, BSC </b>was behind the camera on this romantic drama based on the acclaimed novel by Ian McEwan. The story begins in the summer of 1935, when 13-year-old Briony Tallis (Saoirse Ronan) sets off a chain of events that will alter several lives when she accuses the lover (James McAvoy) of her older sister (Keira Knightley) of a crime he did not commit. McGarvey will reveal his approach to the film's handsome look, which has already earned advance raves from critics.
<p><b><i>American Gangster </i></b>
<p><b>Harris Savides, ASC</b> teamed with director Ridley Scott on this hard-hitting crime thriller, which is based on the true story of a dogged New York City undercover cop (Russell Crowe) who attempts to bring down Harlem's most powerful and dangerous drug lord (Denzel Washington). Savides will discuss his "old school" approach to the film's visual style, which pays homages to gritty cop dramas of the 1970s.
<p><b><i>The Golden Compass </i></b>
<p><b>Henry Braham, BSC</b> analyzes his work on this ambitious fantasy/adventure epic, which is based upon <i>His Dark Materials,</i> the first novel in a trilogy by author Philip Pullman. The story centers on young Lyra Belacqua (Dakota Blue Richards), who journeys through a parallel universe to save her best friend and other kidnapped children from terrible experiments being conducted by a mysterious organization. Braham will outline his on-set strategies and his interactions with the show's visual-effects experts.
<p><b>Tribute to Laszlo Kovacs, ASC</b>
<p>One of the truly great and influential cinematographers of his generation, <b>Laszlo Kovacs, ASC</b> passed away on July 22, 2007. His impressive list of credits includes such memorable films as <i>Easy Rider; Five Easy Pieces; The King of Marvin Gardens; What's Up, Doc?; Paper Moon; Shampoo; Paradise Alley; Shampoo; Ghostbusters; Mask; Say Anything...; </i>and<i> My Best Friend's Wedding. </i>In this tribute piece, <i>AC</i> will honor Kovacs' legacy by presenting comments from some of his key collaborators, as well as a selection of vintage photographs and bits of lasting wisdom from the man himself.
<p>The December issue's <b>departments</b> will also offer illuminating insights:
<p><b>DVD Playback</b> reviews new DVD versions of the <b><i>Jean Renoir Collector's Edition Box Set</i></b> (1925-1962), which features the work of cinematographers Jean Bachelet, Alphonse Gibory, Edmund Corwin, Jean-Paul Alphen, Jean Bourgoin, Alain Douarinou, Jean Louis, Jean-Marie Maillols and Georges Leclerc; <b><i>If... </i></b>(1968), shot by Miroslav Ondricek, ASC; and <b><i>Taxi Driver</i></b> (1976), shot by Michael Chapman, ASC.
<p><b>Production Slate</b> offers articles on <b><i>Before the Devil Knows You're Dead</i></b>, a crime thriller shot by Ron Fortunato, ASC for director Sidney Lumet, and <b><i>Redacted</i></b>, a fictional exploration of the Iraq war shot by Jonathan Cliff for director Brian DePalma.
<p><b>Short Takes</b> offers an interview with cinematographer Chuck Ozeas about his work on a <b>Toyota commercial shot in Dubai</b>.
<p><b>Post Focus</b> previews Technicolor's new <b>restoration of the sci-fi classic <i>Blade Runner</i></b>. This section will also offer information about the postproduction of the BBC television show <b><i>Torchwood</i></b>, which is being graded with FilmLight's Baselight 8 at the London branch of the visual-effects company The Mill.
<p><b>Tomorrow's Technology</b> will present <b>updates from the ASC Tech Committee</b> and its various subcommittees about their progress on a range of important initiatives.
2009
Issue 1074 Vol.90#1
January 2009
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Revolutionary Road <br>
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.<br>
The Curious Case of Benjamin Button<br>
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.<br>
Defiance <br>
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.<br>
ASC Lifetime Achievement Award<br>
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.<br>
The January issue's departments also offer illuminating insights:<br>
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.<br>
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.<br>
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.
Issue 1075
February 2009
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Coraline <br>
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.<br>
The Spirit <br>
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.<br>
He's Just Not That Into You <br>
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.'<br>
ASC International Award<br>
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.<br>
The February issue's departments also offer illuminating insights:<br>
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.<br>
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..<br>
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.
Issue 1076
March 2009
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Dexter <br>
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.<br>
The Unusuals<br>
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.<br>
True Blood <br>
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.<br>
Life on Mars <br>
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.<br>
ASC Career Achievement in Television Award<br>
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.<br>
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.<br>
All of these accomplishments and more were saluted in a piece penned by David Heuring.<br>
ASC Presidents Award<br>
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.<br>
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.<br>
Mankofsky's achievements be chronicled in a biographical tribute written by Douglas Bankston.<br>
The March issue's departments also offer illuminating insights:<br>
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).<br>
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.<br>
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).<br>
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.
Issue 1077
April 2009
Main Cover
Watchmen<br>
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.<br>
Knowing<br>
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.<br>
Sundance Film Festival<br>
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.<br>
Restoration of The Robe<br>
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."<br>
The April issue's departments also offer illuminating insights:<br>
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.<br>
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.
Issue 1078
May 2009
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Issue 1079 Vol.90#6
June - Vol. 90 #6 2009
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Issue 1080 Vol.90#7
July 2009
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Issue 1081 Vol.90#8
August 2009
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Issue 1082 Vol.90#9
September 2009
Main Cover
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
Issue 1083 Vol. 90 #10
October 2009
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Issue 1084 Vol. 90 #11
November 2009
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Issue 1085 Vol. 91 #12
December 2009
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2010
Issue 1086
January- Vol. 92 #1 2010
Main Cover
Avatar, The Lovely Bones, Sherlock Holmes, The White Ribbon, The Imaginarium of Dr. Parnassus, ASC Lifetime Achievement Honoree Caleb Deschanel, 2011 Hyundai Sonata Commercials, Shane Hurlbut on filming with the Canon 5D
Issue 1087
February - Vol. 92 #2 2010
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The Wolfman, Assessing the Red One Camera, Suspiria, Fish Tank, Dollhouse, ASC International Award Honoree Chris Menges, What's in the Box?
Issue 1088
March - Vol. 92 #3 2010
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Shutter Island, A Prophet, The Pacific, Glee, CSI: NY, NY Export: Opus Jazz, La Premiere, Profiles of ASC Award honorees John C. Flinn, ASC, and Sol Negrin, ASC
Issue 1089
April - Vol. 92 #4 2010
Main Cover
Alice in Wonderland 3-D, Green Zone, Hubble 3-D, 2010 Sundance Film Festival (Obselidia, The Oath, His & Hers, Southern District, Cane Toads; The Conquest 3-D), Lebanon, Brooklyn's Finest, Filmmakers' Forum with Michael Goi, ASC, and Visual Effects Society Chair Jeffrey Okun.
Issue 1090
May - Vol. 92 #5 2010
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Iron Man 2, Oceans, Mother and Child, The Girl with the Dragon Tattoo, El Hombre de al Lado, ASC Awards, Academy Sci-Tech Awards & more!
Issue 1091
June - Vol. 92 #7 2010
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Robin Hood, Prince of Persia: The Sands of Time, Micmacs, The White Stripes Under Great White Northern Lights, Winter's Bone, Harry Brown & more!
Issue 1092
July - Vol. 92 #8 2010
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Inception, The Last Airbender, I Am Love, The Tudors, The Killer Inside Me, Lie to Me, restoring Fassbinder, shooting with the Canon 5D & more!
Issue 1093
August - Vol. 92 #9 2010
Main Cover
Salt, Scott Pilgrim vs. The World, Get Low, The Sorcerer's Apprentice, The Kids Are All Right, AC Poll: Best-Shot Films of 1998-2008, Filmmakers' Forum by Steven Fierberg, ASC, on shooting with the Red, and more!
Issue 1094
September - Vol. 92 #10 2010
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Boardwalk Empire; Nowhere Boy; Centurion; The Expendables; Eat, Pray, Love; The Milk of Sorrow; filming in Afghanistan, and more!
Issue 1095
October - Vol. 92 #11 2010
Main Cover
The Social Network, Let Me In, Wall Street 2, Animal Kingdom, Enter the Void & more.
Issue 1096
November - Vol. 92 #12 2010
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Secretariat, Carlos, Hereafter, Monsters, The LXD, Tribute to Bill Fraker & more!
Issue 1097
December - Vol. 93 #1 2010
Main Cover
Black Swan, 127 Hours, Love & Other Drugs, Burlesque, The King's Speech, I Love You Phillip Morris & more!
