The October 2013 issue of American Cinematographer magazine, which focuses on lighting tools and techniques.
Anthony Dod Mantle, ASC, BSC, DFF and director Ron Howard teamed up to tell the story of the intense rivalry between Formula One racers Niki Lauda (Daniel Bruhl) and James Hunt (Chris Hemsworth) in their pursuit of the 1976 World Championship. Hunt, a British playboy, and Lauda, a serious, methodical Austrian, become bitter rivals in the races leading up to the championship, but things take an unexpected turn when Lauda suffers a near-fatal crash with only six races remaining in the season. Dod Mantle, Howard and their collaborators detail the techniques they used to re-create the golden age of Formula One racing.
Prisoners (Warner Bros.)
Roger Deakins, ASC, BSC shot this crime thriller in which a father (Hugh Jackman) kidnaps a young man (Paul Dano) he believes is responsible for the kidnapping of his 6-year-old daughter and her best friend. Deakins teamed with director Denis Villenueve and filmed in Georgia with Arri Alexa cameras and Zeiss Master Prime lenses. The cinematographer breaks down a key sequence from the movie while also detailing his general approach to the lighting.
Guillaume Schiffman, AFC helped visualize this whimsical romantic comedy set in France in 1958. The plot revolves around Rose (Déborah Fran�ois), a mediocre French secretary whose boss, Louis (Romaine Duris), is determined to turn her into a speed-typing champion. Schiffman discusses the creative strategies he explored with director Régis Roinsard.
William Webb, ASC has been behind the camera for all 10 seasons of this wildly popular series, which follows a team of Naval Criminal Investigative Service agents led by Special Agent Leroy Jethro Gibbs (Mark Harmon). After shooting the first seven seasons primarily on 35mm film, the production switched to digital capture, and now shoots predominantly with Arri Alexa cameras. As the 11th season gets underway, Webb offers a look back at his work on the series to date, discuss his ever-evolving approach to the standing sets, and talk about shooting on location in and around Los Angeles for a show set in Washington, D.C.
The October issue's departments also offer illuminating insights:
- Short Takes highlights this year's ASC Harris Savides Student Heritage Award winners.
- Production Slate offers interviews with Hillary Spera and Emily Topper, the cinematographers behind the dramatic documentary After Tiller, as well as a piece about the edgy comedy Don Jon, written and directed by Joseph Gordon-Levitt and shot by Thomas Kloss.
- Post-Focus details the postproduction strategies employed on the hit television series CSI.
- ASC Close-Up profiles Society member Steve Gainer, whose feature credits include the features Bully, Mysterious Skin, Super, A Haunted House and the upcoming Shreveport, as well as the MTV series Awkward.