{"title":"Home page","description":null,"products":[{"product_id":"american-cinematographer-subscription-2-year","title":"PRINT \u0026 Digital Subscription 2 Years-24 Issues + AC Archive","description":"\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eAMERICAN CINEMATOGRAPHER\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTWO-YEAR PRINT SUBSCRIPTION \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINCLUDES DIGITAL EDITION + \u003cem\u003eAC\u003c\/em\u003e ARCHIVE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTake advantage of a subscription to \u003cem\u003eAmerican Cinematographer\u003c\/em\u003e and get 24 print issues delivered directly to you as well as your computer each month, along with online access to more than 1,200 past issues documenting the last 103 years of filmmaking!\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAC\u003c\/em\u003e is the industry's leading journal of motion-picture production techniques. Established by the American Society of Cinematographers in 1920, it offers readers invaluable access to the world's finest filmmakers.\u003c\/p\u003e\n\u003cp\u003eEach month you’ll get in-depth interviews with cinematographers and their collaborators about projects that include major Hollywood features, independent and foreign films, television productions, and music videos. Topics include lighting techniques, the creative use of cameras and optics, virtual production methods, visual effects, shooting on location, and the development of AI tools.\u003c\/p\u003e\n\u003cp\u003eIn addition, our New Products \u0026amp; Services department will keep you abreast of the latest tools and technologies as they come on the market.\u003c\/p\u003e\n\u003cp\u003eTo complement your monthly print edition,\u003cem\u003e AC\u003c\/em\u003e has teamed with Nxtbook to instantly deliver 24 monthly issues of our digital edition directly to your laptop, tablet, smartphone or desktop computer. This electronic issue is identical to our print edition — with all the advantages of being digital:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOnce delivered, you can read issues even if you're not connected to the internet\u003c\/li\u003e\n\u003cli\u003eSearch through issues using keywords\u003c\/li\u003e\n\u003cli\u003eKeep your back issues archived on your computer for easy access anywhere\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“Gosh, where do I begin about \u003cem\u003eAmerican Cinematographer\u003c\/em\u003e magazine? It’s just always been wonderful to have a publication that focuses so deeply on the technical and aesthetic aspects of motion­picture photography. It’s a bible for cinematographers and directors alike.” \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e— Christopher Nolan \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“\u003cem\u003eAmerican Cinematographer\u003c\/em\u003e has forever been our ‘gateway drug’ into the world of making films, tickling and satisfying the curiosity of many students and filmmakers alike. Shooting is a mysterious and schizophrenic occupation, and the magazine has traditionally provided the finest insights into how technology meets with ambitious visual ideas and image poetry. It’s been a career-long guiding light into the secrets behind the camera.” \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e— Hoyte van Hoytema, ASC, FSF, NSC\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"ASC\/AC Store","offers":[{"title":"Us ( No Extra Fee ) \/ 2 Year Print","offer_id":33910409789577,"sku":"","price":84.95,"currency_code":"USD","in_stock":true},{"title":"Canada \u0026 Mexico \/ 2 Year Print","offer_id":34541105119390,"sku":"","price":114.95,"currency_code":"USD","in_stock":true},{"title":"All Other Countries \/ 2 Year Print","offer_id":34541123469470,"sku":"","price":184.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/AC_COVERS2026.jpg?v=1766080155"},{"product_id":"american-cinematographer-subscription-6-months","title":"American Cinematographer Print Subscription 6 Months","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cem\u003eNEW SUBSCRIPTION + ACCESS TO 100 YEAR DIGITAL ARCHIVE\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cem\u003eTake advantage of a subscription to American Cinematographer and get AC delivered to you and your computer each month, along with access to over 1200 past issues over the last 100 years of filmmaking!\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003cem\u003e\u003ca href=\"http:\/\/www.nxtbook.com\/nxtbooks\/ac\/ac0419\/?drml=qrcode\u0026amp;drmp=acmag\u0026amp;email_cmp=AprilQRCode\" class=\"catnav\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003e\u003cinline\u003e\u003cinline\u003e\u003cbr\u003e\u003c\/inline\u003e\u003c\/inline\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color: #2b00ff;\"\u003e\u003cinline style=\"color: #2b00ff;\"\u003e(\u003ca href=\"https:\/\/www.nxtbook.com\/nxtbooks\/ac\/ac0819\/?drml=qrcode\u0026amp;drmp=acmag\u0026amp;email_cmp=AugustQRCode\" style=\"color: #2b00ff;\"\u003eView An Online Demo Now\u003c\/a\u003e)\u003c\/inline\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cem\u003eAC\u003c\/em\u003e\u003c\/strong\u003e has teamed with NXTBook to deliver your \u003cstrong\u003eAmerican Cinematographer\u003c\/strong\u003e\u003c\/span\u003e\nsubscription directly to your laptop, iPhone, iPad, Android phone or desktop computer. You receive your issue at the same time the issues go out to the newsstands, and your electronic issue will be identical to the print version — with all the advantages of being digital:\u003cbr\u003e\n\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"color: #000000;\"\u003eEach issue is delivered directly to your laptop or desktop computer\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #000000;\"\u003eOnce delivered, you can read it even if you're not connected to the internet\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #000000;\"\u003eSearch through issues using keywords\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #000000;\"\u003eKeep your back issues archived on your computer for easy access\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: #000000;\"\u003eOverseas subscribers save a bundle on postage\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cem\u003eAmerican Cinematographer \u003c\/em\u003eis the industry's leading journal of film and digital production techniques. First published by the American Society of Cinematographers in 1920, the magazine continues to offer readers valuable access to the world's finest filmmakers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eEvery month you can look forward to in-depth interviews with cinematographers and their collaborators about projects that include major Hollywood features, independent films, foreign films, television productions, music videos, commercials and short films.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eIn addition, our New Products \u0026amp; Services department will keep you abreast of the latest tools and technologies as they come on the market.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"ASC\/AC Store","offers":[{"title":"US ( No Extra Postage ) \/ 6 Months Print","offer_id":33910477160585,"sku":"","price":24.95,"currency_code":"USD","in_stock":true},{"title":"Canada \u0026 Mexico \/ 6 Months Print","offer_id":34541196345502,"sku":"","price":39.95,"currency_code":"USD","in_stock":true},{"title":"All Other Countries \/ 6 Months Print","offer_id":34541201227934,"sku":"","price":49.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/DigitalSubscription_5bfeb5f2-517a-46d8-a017-be124d26259b.jpg?v=1589928781"},{"product_id":"american-cinematographer-digital-subscription-1-year","title":"AC ONE Year DIGITAL Plus Archive","description":"\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAMERICAN CINEMATOGRAPHER\u003c\/em\u003e\u003c\/strong\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eONE-YEAR DIGITAL EDITION SUBSCRIPTION + \u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e ARCHIVE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTake advantage of a subscription to \u003cem data-mce-fragment=\"1\"\u003eAmerican Cinematographer\u003c\/em\u003e and get 12 issues delivered directly to your computer each month, along with online access to more than 1,200 past issues documenting the last 103 years of filmmaking!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e is the industry's leading journal of motion-picture production techniques. Established by the American Society of Cinematographers in 1920, it offers readers invaluable access to the world's finest filmmakers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEvery month you’ll get in-depth interviews with cinematographers and their collaborators about projects that include major Hollywood features, independent and foreign films, television productions, and music videos. Topics include lighting techniques, the creative use of cameras and optics, virtual production methods, visual effects, shooting on location, and the development of AI tools.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn addition, our New Products \u0026amp; Services department will keep you abreast of the latest tools and technologies as they come on the market.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e has teamed with Nxtbook to instantly deliver our digital edition directly to your laptop, tablet, smartphone or desktop computer. This electronic issue is identical to our print edition — with all the advantages of being digital:\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eOnce delivered, you can read issues even if you're not connected to the internet\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSearch through issues using keywords\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eKeep your back issues archived on your computer for easy access anywhere\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eOverseas subscribers save a bundle on postage\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e“Gosh, where do I begin about \u003cem data-mce-fragment=\"1\"\u003eAmerican Cinematographer\u003c\/em\u003e magazine? It’s just always been wonderful to have a publication that focuses so deeply on the technical and aesthetic aspects of motion­picture photography. It’s a bible for cinematographers and directors alike.” \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e— Christopher Nolan \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e“\u003cem data-mce-fragment=\"1\"\u003eAmerican Cinematographer\u003c\/em\u003e has forever been our ‘gateway drug’ into the world of making films, tickling and satisfying the curiosity of many students and filmmakers alike. Shooting is a mysterious and schizophrenic occupation, and the magazine has traditionally provided the finest insights into how technology meets with ambitious visual ideas and image poetry. It’s been a career-long guiding light into the secrets behind the camera.” \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e— Hoyte van Hoytema, ASC, FSF, NSC\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"ASC\/AC Store","offers":[{"title":"1 year \/ Digital","offer_id":33910655647881,"sku":"","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/ACDigitalEdition-SubPage.jpg?v=1746836105"},{"product_id":"american-cinematographer-subscription-1-year","title":"PRINT \u0026 Digital Subscription 1 Year-12 issues + AC Archive","description":"\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eAMERICAN CINEMATOGRAPHER\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eONE-YEAR PRINT SUBSCRIPTION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINCLUDES DIGITAL EDITION + \u003cem\u003eAC\u003c\/em\u003e ARCHIVE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTake advantage of a subscription to \u003cem\u003eAmerican Cinematographer\u003c\/em\u003e and get 12 print issues delivered directly to you as well as your computer each month, along with online access to more than 1,200 past issues documenting the last 103 years of filmmaking!\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAC\u003c\/em\u003e is the industry's leading journal of motion-picture production techniques. Established by the American Society of Cinematographers in 1920, it offers readers invaluable access to the world's finest filmmakers.\u003c\/p\u003e\n\u003cp\u003eEach month you’ll get in-depth interviews with cinematographers and their collaborators about projects that include major Hollywood features, independent and foreign films, television productions, and music videos. Topics include lighting techniques, the creative use of cameras and optics, virtual production methods, visual effects, shooting on location, and the development of AI tools.\u003c\/p\u003e\n\u003cp\u003eIn addition, our New Products \u0026amp; Services department will keep you abreast of the latest tools and technologies as they come on the market.\u003c\/p\u003e\n\u003cp\u003eTo complement your monthly print edition,\u003cem\u003e AC\u003c\/em\u003e has teamed with Nxtbook to instantly deliver our digital edition directly to your laptop, tablet, smartphone or desktop computer. This electronic issue is identical to our print edition — with all the advantages of being digital:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOnce delivered, you can read issues even if you're not connected to the internet\u003c\/li\u003e\n\u003cli\u003eSearch through issues using keywords\u003c\/li\u003e\n\u003cli\u003eKeep your back issues archived on your computer for easy access anywhere\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“Gosh, where do I begin about \u003cem\u003eAmerican Cinematographer\u003c\/em\u003e magazine? It’s just always been wonderful to have a publication that focuses so deeply on the technical and aesthetic aspects of motion­picture photography. 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It’s been a career-long guiding light into the secrets behind the camera.” \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e— Hoyte van Hoytema, ASC, FSF, NSC\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"ASC\/AC Store","offers":[{"title":"USA","offer_id":34550928375966,"sku":"","price":49.95,"currency_code":"USD","in_stock":true},{"title":"Canada \u0026 Mexico","offer_id":34533329207454,"sku":"","price":74.95,"currency_code":"USD","in_stock":true},{"title":"All Other Countries","offer_id":34550929916062,"sku":"","price":99.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/Untitled-1_261deb1e-d765-4a57-bcf7-8fd4fae3e12f.png?v=1754693124"},{"product_id":"2021-01-january-issue-of-american-cinematographer","title":"2021\/ 01  — January Issue of American Cinematographer","description":"\u003cp\u003eThe January issue of \u003cstrong\u003e\u003cem\u003eAmerican Cinematographer\u003c\/em\u003e\u003c\/strong\u003e marks the debut of our redesigned magazine. Highlights from this inaugural installment include pieces on \u003cstrong\u003ethe future of cinema\u003c\/strong\u003e, \u003cstrong\u003einclusive hiring\u003c\/strong\u003e and \u003cstrong\u003einternational productions\u003c\/strong\u003e. Here’s a look at this month’s coverage:\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003eSociety members \u003cstrong\u003eJohn Bailey\u003c\/strong\u003e, \u003cstrong\u003eNancy Schreiber\u003c\/strong\u003e and other ASC peers ponder the \u003cstrong\u003efuture of cinema\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eJohn Simmons, ASC\u003c\/strong\u003e on \u003cstrong\u003einclusive hiring\u003c\/strong\u003e — a call to action.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003eA survey of the current landscape of \u003cstrong\u003etheatrical exhibition and distribution\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003eExperts assess advances in \u003cstrong\u003evirtual production\u003c\/strong\u003e and \u003cstrong\u003ein-camera visual effects\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003eExcerpts from the \u003cstrong\u003eASC Motion Imaging Technology Council (MITC) 2020 progress report\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTami Reiker, ASC\u003c\/strong\u003e and director \u003cstrong\u003eRegina King \u003c\/strong\u003ediscuss their collaboration on the feature \u003cstrong\u003e\u003cem\u003eOne Night in Miami\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMichal Sobocinski, PSC\u003c\/strong\u003e on shooting \u003cstrong\u003e\u003cem\u003eThe Disciple\u003c\/em\u003e\u003c\/strong\u003e in India.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eBSC member Laurie Rose\u003c\/strong\u003e breaks down his approach to \u003cstrong\u003e\u003cem\u003eRebecca\u003c\/em\u003e\u003c\/strong\u003e, shot in the U.K. and France.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003eShot Craft: The history, concepts and technology behind \u003cstrong\u003eLED lighting\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003eIn Memoriam: \u003cem\u003eAC\u003c\/em\u003e remembers \u003cstrong\u003eMichael Chapman, ASC\u003c\/strong\u003e, whose work included \u003cem\u003eRaging Bull\u003c\/em\u003e, \u003cem\u003eThe Fugitive\u003c\/em\u003e, \u003cem\u003eTaxi Driver\u003c\/em\u003e and \u003cem\u003eInvasion of the Body Snatchers\u003c\/em\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cul\u003e\n\u003cli\u003eWrap Shot: \u003cstrong\u003eLawrence Sher, ASC\u003c\/strong\u003e recalls a fond filmmaking experience in the Yukon.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":37736617836732,"sku":"2021-01","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACJan2021.jpg?v=1608658137"},{"product_id":"2021-02-february-issue-of-american-cinematographer","title":"2021\/ 02  — February Issue of American Cinematographer","description":"\u003cp data-mce-fragment=\"1\"\u003eAlong with a special focus on \u003cstrong data-mce-fragment=\"1\"\u003einternational production\u003c\/strong\u003e that spans the globe, the February issue features \u003cstrong data-mce-fragment=\"1\"\u003ethree cinematographer-director duos\u003c\/strong\u003e, coverage of a \u003cstrong data-mce-fragment=\"1\"\u003ehit Netflix series\u003c\/strong\u003e, and a piece on the making of a \u003cstrong data-mce-fragment=\"1\"\u003eshort-form production in Cuba\u003c\/strong\u003e. Here’s a look at this month’s slate:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eErik Messerschmidt, ASC\u003c\/strong\u003e and director \u003cstrong data-mce-fragment=\"1\"\u003eDavid Fincher\u003c\/strong\u003e discuss \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMank\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMartin Ruhe, ASC\u003c\/strong\u003e and director \u003cstrong data-mce-fragment=\"1\"\u003eGeorge Clooney\u003c\/strong\u003e on \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Midnight Sky\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCinematographer \u003cstrong data-mce-fragment=\"1\"\u003eJoshua James Richards\u003c\/strong\u003e and director \u003cstrong data-mce-fragment=\"1\"\u003eChloé Zhao\u003c\/strong\u003e on \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eNomadland\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSteven Fierberg, ASC\u003c\/strong\u003e shares his thoughts on shooting in France for \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eEmily in Paris\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAn international-production piece features \u003cstrong data-mce-fragment=\"1\"\u003eBen Joiner, ASC\u003c\/strong\u003e — who discusses his work throughout the world for the series \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Grand Tour\u003c\/em\u003e\u003c\/strong\u003e — as well as reports from filmmakers in \u003cstrong data-mce-fragment=\"1\"\u003eNew Zealand\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eChina\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eMexico\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eEstonia\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eShot Craft: This second half of a series on \u003cstrong data-mce-fragment=\"1\"\u003eLED lighting\u003c\/strong\u003e features chats with ASC members \u003cstrong data-mce-fragment=\"1\"\u003eJohn Schwartzman\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eCraig Kief\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eMarkus Förderer\u003c\/strong\u003e, as well as colorist \u003cstrong data-mce-fragment=\"1\"\u003eDave Franks\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eShort Takes: \u003cstrong data-mce-fragment=\"1\"\u003eRobert Primes, ASC\u003c\/strong\u003e on shooting in Cuba for \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePiel Canela\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWrap Shot: Tying in with \u003cem data-mce-fragment=\"1\"\u003eMank\u003c\/em\u003e’s connection to \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCitizen Kane\u003c\/em\u003e\u003c\/strong\u003e, this issue of \u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e closes with excerpts from a vintage \u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e article penned by \u003cstrong data-mce-fragment=\"1\"\u003eGregg Toland, ASC\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":38070940041404,"sku":"","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/AC0221Cover.jpg?v=1612847895"},{"product_id":"021-03-march-issue-of-american-cinematographer","title":"2021\/ 03  — March Issue of American Cinematographer","description":"\u003cp data-mce-fragment=\"1\"\u003eThe March issue includes coverage of \u003cstrong data-mce-fragment=\"1\"\u003efilmmaking technologies’ accelerated evolution\u003c\/strong\u003e during the pandemic, two \u003cstrong data-mce-fragment=\"1\"\u003ecinematographer-director collaborations\u003c\/strong\u003e, and the challenges of shooting a \u003cstrong data-mce-fragment=\"1\"\u003elive-music event\u003c\/strong\u003e in the current era. Here’s a look at this month’s slate:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eMat Beck, ASC\u003c\/strong\u003e pens an essay \u003cstrong data-mce-fragment=\"1\"\u003eon technological adaptations\u003c\/strong\u003e and the importance of \u003cstrong data-mce-fragment=\"1\"\u003estaying connected\u003c\/strong\u003e, which introduces a compendium of articles on \u003cstrong data-mce-fragment=\"1\"\u003eindustry tech pivots\u003c\/strong\u003e in the age of Covid-19.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eDariusz Wolski, ASC\u003c\/strong\u003e and director \u003cstrong data-mce-fragment=\"1\"\u003ePaul Greengrass\u003c\/strong\u003e on the Western drama \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eNews of the World\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eNewton Thomas Sigel, ASC\u003c\/strong\u003e and directors \u003cstrong data-mce-fragment=\"1\"\u003eJoe and Anthony Russo\u003c\/strong\u003e on the indie feature \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCherry\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCinematographer \u003cstrong data-mce-fragment=\"1\"\u003eJonathan Furmanski\u003c\/strong\u003e navigates pandemic safety protocols while shooting a \u003cstrong data-mce-fragment=\"1\"\u003eBon Jovi concert special\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eShot Craft: \u003cstrong data-mce-fragment=\"1\"\u003eBreaking down a script\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eIn Memoriam: \u003cstrong data-mce-fragment=\"1\"\u003eRobert F. Liu, ASC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWrap Shot: A moment during the filming of the \u003cstrong data-mce-fragment=\"1\"\u003e1970 documentary \u003cem data-mce-fragment=\"1\"\u003eWoodstock\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":38146308047036,"sku":"2021-03","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/AC032021-Cover.jpg?v=1614052062"},{"product_id":"copy-of-2021-04-february-issue-of-american-cinematographer","title":"2021\/ 04  — April Issue of American Cinematographer","description":"\u003cp data-mce-fragment=\"1\"\u003eThe April issue offers a special focus on lighting, with a piece on \u003cstrong data-mce-fragment=\"1\"\u003eart that inspires \u003c\/strong\u003eand another on \u003cstrong data-mce-fragment=\"1\"\u003ethe lighting of \u003cem data-mce-fragment=\"1\"\u003eWandaVision\u003c\/em\u003e\u003c\/strong\u003e. We also present a look at a \u003cstrong data-mce-fragment=\"1\"\u003elive-comedy shoot\u003c\/strong\u003e, a \u003cstrong data-mce-fragment=\"1\"\u003efeature shot and released during the pandemic\u003c\/strong\u003e, and a \u003cstrong data-mce-fragment=\"1\"\u003ecinematographer-director partnership\u003c\/strong\u003e — as well as a \u003cstrong data-mce-fragment=\"1\"\u003eguide to lens testing\u003c\/strong\u003e and a report on the \u003cstrong data-mce-fragment=\"1\"\u003eSociety’s Future Practices Committee\u003c\/strong\u003e. See our full slate below:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSociety members \u003cstrong data-mce-fragment=\"1\"\u003eMichael Goi\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eEd Lachman\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eNatasha Braier\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eKramer Morgenthau\u003c\/strong\u003e reveal the artists and works of art that have inspired their lighting and creative choices.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eJess Hall, ASC, BSC\u003c\/strong\u003e and director \u003cstrong data-mce-fragment=\"1\"\u003eMatt Shakman\u003c\/strong\u003e discuss their homage to classic-sitcom lighting for \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWandaVision\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eJohn Simmons, ASC\u003c\/strong\u003e on the \u003cstrong data-mce-fragment=\"1\"\u003eKevin Hart special\u003c\/strong\u003e he shot amid Covid protocols.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eMarcell Rév, HCA\u003c\/strong\u003e on \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMalcolm \u0026amp; Marie\u003c\/em\u003e\u003c\/strong\u003e, captured in black-and-white — and early in lockdown.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eASC President Stephen Lighthill\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eASC Future Practices Committee\u003c\/strong\u003e co-chair and Society member \u003cstrong data-mce-fragment=\"1\"\u003eAmelia Vincent\u003c\/strong\u003e offer their thoughts in \u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e’s report on the committee’s addressing of Covid-era challenges.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003ePicture Partners: \u003cstrong data-mce-fragment=\"1\"\u003eJoe “Jody” Williams\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eCraig Brewer\u003c\/strong\u003e on their collaboration that began on \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eEmpire\u003c\/em\u003e\u003c\/strong\u003e and led to \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eComing 2 America\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eShot Craft: \u003cstrong data-mce-fragment=\"1\"\u003e“Generic” lens testing\u003c\/strong\u003e — a step-by-step guide.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eNew Products and Services: \u003cstrong data-mce-fragment=\"1\"\u003eVittorio Storaro, ASC, AIC and daughter Francesca\u003c\/strong\u003e on their new line of LED fixtures, \u003cstrong data-mce-fragment=\"1\"\u003eThe Muses of Light\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWorld View: A \u003cstrong data-mce-fragment=\"1\"\u003emap\u003c\/strong\u003e of upcoming \u003cstrong data-mce-fragment=\"1\"\u003eindustry events\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003einternational news\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eIn Memoriam: \u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e honors the memory of Society members \u003cstrong data-mce-fragment=\"1\"\u003eGerald Feil \u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003eGiuseppe Rotunno\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":39439765831868,"sku":"2021-04","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/AC042021-Coversm.jpg?v=1616432780"},{"product_id":"2021-05-april-issue-of-american-cinematographer","title":"2021\/ 05  — May Issue of American Cinematographer","description":"\u003cp data-mce-fragment=\"1\"\u003eThe May issue offers a special focus on \u003cstrong data-mce-fragment=\"1\"\u003ecommercial cinematography\u003c\/strong\u003e, as well as a feature story on \u003cstrong data-mce-fragment=\"1\"\u003eSociety member Charlotte Bruus Christensen\u003c\/strong\u003e’s “rethinking” of \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBlack Narcissus\u003c\/em\u003e\u003c\/strong\u003e. Presented as well are the first installment of our new \u003cstrong data-mce-fragment=\"1\"\u003evirtual-production department\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003ecareer insights from ASC members\u003c\/strong\u003e, a piece on the \u003cstrong data-mce-fragment=\"1\"\u003efuture of film\u003c\/strong\u003e, and a \u003cstrong data-mce-fragment=\"1\"\u003eRomanian filmmaking duo\u003c\/strong\u003e’s documentary collaboration. Here’s a look at this month’s slate:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eCharlotte Bruus Christensen, ASC\u003c\/strong\u003e on photographing and directing \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBlack Narcissus\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003ePeter Moss, ASC, ACS\u003c\/strong\u003e shares his wisdom on \u003cstrong data-mce-fragment=\"1\"\u003eshooting commercials\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eMentorship-focused \u003cstrong data-mce-fragment=\"1\"\u003eASC members Bill Dill\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eHenner Hofmann\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eCharles Minsky\u003c\/strong\u003e and\u003cstrong data-mce-fragment=\"1\"\u003e Amelia Vincent \u003c\/strong\u003eoffer \u003cstrong data-mce-fragment=\"1\"\u003ecareer advice and counsel\u003c\/strong\u003e. Plus a report on the \u003cstrong data-mce-fragment=\"1\"\u003eASC Vision Mentorship Program\u003c\/strong\u003e, featuring remarks from\u003cstrong data-mce-fragment=\"1\"\u003e Patti Lee, ASC\u003c\/strong\u003e — and another on \u003cstrong data-mce-fragment=\"1\"\u003eDialogues With ASC Cinematographers\u003c\/strong\u003e, a program spearheaded by \u003cstrong data-mce-fragment=\"1\"\u003eGeorge Spiro Dibie, ASC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAcasa, My Home\u003c\/em\u003e\u003c\/strong\u003e documentarians \u003cstrong data-mce-fragment=\"1\"\u003eRadu Ciorniciuc\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eMircea Topoleanu\u003c\/strong\u003e follow a Romanian family’s exodus from the wilderness.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eFilm Forward: The first entry in a multi-part series examining \u003cstrong data-mce-fragment=\"1\"\u003ethe future of film capture\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eShot Craft: \u003cstrong data-mce-fragment=\"1\"\u003ePaul Cameron, ASC\u003c\/strong\u003e; \u003cstrong data-mce-fragment=\"1\"\u003eChristopher Probst, ASC\u003c\/strong\u003e; and \u003cstrong data-mce-fragment=\"1\"\u003eZoë White, ACS\u003c\/strong\u003e discuss \u003cstrong data-mce-fragment=\"1\"\u003ecommercial trends and techniques\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eThe Virtual World: The debut installment of our new department reinforces \u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e’s longstanding commitment to exploring \u003cstrong data-mce-fragment=\"1\"\u003evirtual production\u003c\/strong\u003e from a \u003cstrong data-mce-fragment=\"1\"\u003ecinematographer’s perspective\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eIn Memoriam: \u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e remembers the lives and work of \u003cstrong data-mce-fragment=\"1\"\u003eSociety members Judy Irola \u003c\/strong\u003eand\u003cstrong data-mce-fragment=\"1\"\u003e John C. Hora\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eClubhouse News: The Society welcomes \u003cstrong data-mce-fragment=\"1\"\u003eassociate member Andrew Tiffen\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eJody Lee Lipes, ASC\u003c\/strong\u003e. \u003cstrong data-mce-fragment=\"1\"\u003eMandy Walker\u003c\/strong\u003e \u003cstrong data-mce-fragment=\"1\"\u003eASC, ACS\u003c\/strong\u003e keynotes HPA Tech Retreat.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWrap Shot: An image from the 1947 Technicolor classic \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBlack Narcissus\u003c\/em\u003e\u003c\/strong\u003e, shot by \u003cstrong data-mce-fragment=\"1\"\u003eJack Cardiff, BSC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":39614044733628,"sku":"2021-05","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/AC052021-Cover.jpg?v=1618716251"},{"product_id":"2021-06-june-issue-of-american-cinematographer","title":"2021\/ 06  — June Issue of American Cinematographer","description":"\u003cp\u003eThe June issue is a \u003cstrong\u003especial collectors edition\u003c\/strong\u003e devoted to \u003cstrong\u003estill photography\u003c\/strong\u003e. Presented are a selection of images from the \u003cstrong\u003eASC Photo Gallery\u003c\/strong\u003e, a showcase of \u003cstrong\u003elocation-scout stills\u003c\/strong\u003e, and a collection of \u003cstrong\u003eSMPSP photos of cinematographers at work\u003c\/strong\u003e. Also featured are a pair of ASC members — one of whom details his \u003cstrong\u003estreet-photography\u003c\/strong\u003e experiences and techniques, and another who recalls his \u003cstrong\u003eearly years as a professional still photographer\u003c\/strong\u003e. Here’s a look at this month’s slate:\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFrom the \u003cstrong\u003eASC Photo Gallery\u003c\/strong\u003e, a selection of artful \u003cstrong\u003estills taken by Society members\u003c\/strong\u003e — with an introduction and opening photo by \u003cstrong\u003eRichard Crudo, ASC\u003c\/strong\u003e, and images by \u003cstrong\u003eGregg Heschong, ASC\u003c\/strong\u003e; \u003cstrong\u003e David Mullen, ASC\u003c\/strong\u003e; \u003cstrong\u003eDenis Lenoir, ASC, AFC\u003c\/strong\u003e; \u003cstrong\u003eBill Dill, ASC\u003c\/strong\u003e; \u003cstrong\u003eAlar Kivilo, ASC, CSC, ESC\u003c\/strong\u003e; \u003cstrong\u003eCharlie Lieberman, ASC\u003c\/strong\u003e; \u003cstrong\u003eJacek Laskus, ASC, PSC\u003c\/strong\u003e; \u003cstrong\u003eSuki Medencevic, ASC, ASBiH, SAS\u003c\/strong\u003e; \u003cstrong\u003ePhedon Papamichael, ASC, GSC\u003c\/strong\u003e; \u003cstrong\u003eGeorge Mooradian, ASC\u003c\/strong\u003e; \u003cstrong\u003eDan Laustsen ASC, DFF; \u003c\/strong\u003eand\u003cstrong\u003e Antonio Calvache, ASC, AEC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eA collection of location-scout stills, featuring an introduction and a pair of photos by \u003cstrong\u003eAshley Barron, ACS\u003c\/strong\u003e, and images by \u003cstrong\u003eRoger Deakins, ASC, BSC\u003c\/strong\u003e; \u003cstrong\u003eCrescenzo Notarile, ASC, AIC\u003c\/strong\u003e; \u003cstrong\u003eEd Lachman, ASC\u003c\/strong\u003e; and \u003cstrong\u003eHopper Stone, SMPSP\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePhotos of \u003cstrong\u003ecinematographers on set\u003c\/strong\u003e, taken by members of the \u003cstrong\u003eSociety of Motion Picture Still Photographers\u003c\/strong\u003e — with an introduction by SMPSP President \u003cstrong\u003eHopper Stone\u003c\/strong\u003e, and featuring photos of \u003cstrong\u003eIraj Ashouri\u003c\/strong\u003e; \u003cstrong\u003eClaudio Miranda, ASC\u003c\/strong\u003e; \u003cstrong\u003eJody Lee Lipes, ASC\u003c\/strong\u003e; \u003cstrong\u003eTommy Maddox-Upshaw, ASC\u003c\/strong\u003e; \u003cstrong\u003eBruno Delbonnel, ASC, AFC\u003c\/strong\u003e; \u003cstrong\u003eFlorian Ballhaus, ASC\u003c\/strong\u003e; \u003cstrong\u003eCraig Kief, ASC\u003c\/strong\u003e; \u003cstrong\u003eUta Briesewitz, ASC\u003c\/strong\u003e; \u003cstrong\u003eSeamus McGarvey, ASC, BSC\u003c\/strong\u003e; \u003cstrong\u003eJulio Macat, ASC\u003c\/strong\u003e; and \u003cstrong\u003eMaryse Alberti\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e David Mullen, ASC\u003c\/strong\u003e shares his thoughts on \u003cstrong\u003estreet photography\u003c\/strong\u003e, along with a selection of his images.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eStephen Goldblatt, ASC, BSC\u003c\/strong\u003e recalls his early days as a still photographer.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShot Craft: This second installment in a series on \u003cstrong\u003elens testing\u003c\/strong\u003e focuses on specific lens characteristics — along with a brief history on \u003cstrong\u003ethe still-photography origins of the term “bokeh.”\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Virtual World: \u003cstrong\u003ePhotogrammetry\u003c\/strong\u003e — how still images are instrumental in creating CG worlds.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWrap Shot: \u003cstrong\u003eKarl Freund, ASC\u003c\/strong\u003e frames up his stills camera on actor \u003cstrong\u003eCharles Bickford\u003c\/strong\u003e during the production of the 1932 newspaper drama \u003cstrong\u003e\u003cem\u003eScandal for Sale\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":39902999642300,"sku":"125","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACCover0621.jpg?v=1621888698"},{"product_id":"2021-07-july-issue-of-american-cinematographer","title":"2021\/ 07  — July Issue of American Cinematographer","description":"\u003cp data-mce-fragment=\"1\"\u003eThe \u003cstrong data-mce-fragment=\"1\"\u003eJuly 2021\u003c\/strong\u003e issue offers a special focus on \u003cstrong data-mce-fragment=\"1\"\u003etelevision and streaming series\u003c\/strong\u003e. Here’s a look at this month’s slate:\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eLED walls and virtual production for TV and streaming shows\u003c\/strong\u003e. Featured series include \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eStation 19\u003c\/em\u003e\u003c\/strong\u003e, shot by \u003cstrong data-mce-fragment=\"1\"\u003eDaryn Okada, ASC\u003c\/strong\u003e — with the support of \u003cstrong data-mce-fragment=\"1\"\u003eSam Nicholson, ASC\u003c\/strong\u003e and the LED walls at his Stargate Studios. Also covered is the in-camera visual-effects component of the upcoming Season 4 of \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eStar Trek: Discovery\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCrescenzo Notarile, ASC, AIC\u003c\/em\u003e\u003c\/strong\u003e’s work on Season 3 of \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eStar Trek: Discovery\u003c\/em\u003e\u003c\/strong\u003e, plus a special section on Crescenzo and some of his early projects.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCinematographers \u003cstrong data-mce-fragment=\"1\"\u003eDan Stoloff\u003c\/strong\u003e (\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Boys\u003c\/em\u003e\u003c\/strong\u003e) and \u003cstrong data-mce-fragment=\"1\"\u003eJohn Grillo\u003c\/strong\u003e (\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSnowpiercer\u003c\/em\u003e\u003c\/strong\u003e) on shooting sci-fi.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eASC members \u003cstrong data-mce-fragment=\"1\"\u003eChecco Varese\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eXavier Grobet\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eSuki Medencevic\u003c\/strong\u003e discuss their work on the horror anthology series \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThem\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eFive cinematographers share their motivations and preferred techniques that have given distinctive flavors to their respective TV productions. Included are \u003cstrong data-mce-fragment=\"1\"\u003eJeffrey Jur, ASC\u003c\/strong\u003e (\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBridgerton\u003c\/em\u003e\u003c\/strong\u003e); \u003cstrong data-mce-fragment=\"1\"\u003eTodd A. Dos Reis, ASC\u003c\/strong\u003e (\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eRebel\u003c\/em\u003e\u003c\/strong\u003e); \u003cstrong data-mce-fragment=\"1\"\u003eRomain Lacourbas, ASC, AFC \u003c\/strong\u003e(\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eZeroZeroZero\u003c\/em\u003e\u003c\/strong\u003e); \u003cstrong data-mce-fragment=\"1\"\u003eNicole Hirsch Whitaker\u003c\/strong\u003e (\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eJupiter’s Legacy\u003c\/em\u003e\u003c\/strong\u003e); and \u003cstrong data-mce-fragment=\"1\"\u003eDavid Rom\u003c\/strong\u003e (\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eTed Lasso\u003c\/em\u003e\u003c\/strong\u003e).\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eShot Craft: Society members \u003cstrong data-mce-fragment=\"1\"\u003ePatti Lee\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eGary Baum\u003c\/strong\u003e on shooting \u003cstrong data-mce-fragment=\"1\"\u003emulti-camera television series\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eShort Takes: Cinematographer \u003cstrong data-mce-fragment=\"1\"\u003eKatharine White\u003c\/strong\u003e and director \u003cstrong data-mce-fragment=\"1\"\u003eFoster Wilson\u003c\/strong\u003e on the short-form production \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eDame\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eIn Memoriam: \u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e honors the life and work of \u003cstrong data-mce-fragment=\"1\"\u003eIsidore Mankofsky, ASC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eClubhouse News: Canon’s \u003cstrong data-mce-fragment=\"1\"\u003eLarry Thorpe\u003c\/strong\u003e reflects on his career; the ASC welcomes new members \u003cstrong data-mce-fragment=\"1\"\u003eRomain Lacourbas\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eBoris Mojsovski\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eRichard Vialet\u003c\/strong\u003e; \u003cstrong data-mce-fragment=\"1\"\u003eASC Clubhouse Conversations\u003c\/strong\u003e wins Telly Award.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWrap Shot: A-camera operator (and future ASC member) \u003cstrong data-mce-fragment=\"1\"\u003eLowell Peterson\u003c\/strong\u003e and crew on the set of the 1987 pilot for \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eStar Trek: The Next Generation\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":40104216330428,"sku":"","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACJuly2021cover.jpg?v=1624388660"},{"product_id":"2021-08-august-issue-of-american-cinematographer","title":"2021\/ 08  — August Issue of American Cinematographer","description":"\u003cp data-mce-fragment=\"1\"\u003eThe \u003cstrong data-mce-fragment=\"1\"\u003eAugust 2021\u003c\/strong\u003e issue offers a look at the \u003cstrong data-mce-fragment=\"1\"\u003eglobal\u003c\/strong\u003e \u003cstrong data-mce-fragment=\"1\"\u003eexpansion of LED volumes\u003c\/strong\u003e and a special focus on \u003cstrong data-mce-fragment=\"1\"\u003eindie productions\u003c\/strong\u003e, as well as coverage of \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn the Heights\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBlack Widow\u003c\/em\u003e\u003c\/strong\u003e, and profiles of \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e’s 2021 Rising Stars of Cinematography\u003c\/strong\u003e. Here’s a look at this month’s slate:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eA \u003cstrong data-mce-fragment=\"1\"\u003emap and roster of LED volumes \u003c\/strong\u003eacross the world.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCinematographers \u003cstrong data-mce-fragment=\"1\"\u003eEdu Grau, ASC, AEC\u003c\/strong\u003e; \u003cstrong data-mce-fragment=\"1\"\u003eAurélien Marra\u003c\/strong\u003e; and \u003cstrong data-mce-fragment=\"1\"\u003ePaula Huidobro, AMC\u003c\/strong\u003e discuss their striking work on the respective indie features \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePassing\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eTwo of Us\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCODA\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCinematographer \u003cstrong data-mce-fragment=\"1\"\u003eAlice Brooks\u003c\/strong\u003e, director \u003cstrong data-mce-fragment=\"1\"\u003eJon M. Chu\u003c\/strong\u003e and producer \u003cstrong data-mce-fragment=\"1\"\u003eLin-Manuel Miranda \u003c\/strong\u003edetail their collaboration on \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn the Heights\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAn examination of the aerial work that enhanced the cinematography of \u003cstrong data-mce-fragment=\"1\"\u003eGabriel Beristain, ASC, AMC, BSC\u003c\/strong\u003e on Marvel’s latest feature, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBlack Widow\u003c\/em\u003e\u003c\/strong\u003e, on which \u003cstrong data-mce-fragment=\"1\"\u003eJeremy Braben\u003c\/strong\u003e of Helicopter Film Services served as aerial cinematographer.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e spotlights its 2021 \u003cstrong data-mce-fragment=\"1\"\u003eRising Stars of Cinematography\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eShot Craft: A guide to \u003cstrong data-mce-fragment=\"1\"\u003etracking and harnessing sunlight.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eIn Memoriam: Society member John Bailey pens a tribute to \u003cstrong data-mce-fragment=\"1\"\u003eWilly Kurant, ASC, AFC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eClubhouse News: The ASC welcomes \u003cstrong data-mce-fragment=\"1\"\u003eRob Hardy\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eQuyen “Q” Tran\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWrap Shot: \u003cstrong data-mce-fragment=\"1\"\u003eFrederick Elmes, ASC\u003c\/strong\u003e and director \u003cstrong data-mce-fragment=\"1\"\u003eJim Jarmusch\u003c\/strong\u003e on location for the 2016 indie drama \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePaterson\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":40352982433980,"sku":"2021-08","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACAug2021-Cover.jpg?v=1626755177"},{"product_id":"10-october-issue-of-american-cinematographer","title":"2021\/ 10  —October Issue of American Cinematographer","description":"\u003cp\u003eThe \u003cstrong\u003eOctober 2021 \u003c\/strong\u003eissue offers a focus on \u003cstrong\u003especialized cinematography\u003c\/strong\u003e — including \u003cstrong\u003eunderwater\u003c\/strong\u003e and \u003cstrong\u003esports photography\u003c\/strong\u003e — as well as coverage of \u003cstrong\u003e\u003cem\u003eReminiscence\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong\u003e\u003cem\u003eBillie Eilish: The World’s a Little Blurry\u003c\/em\u003e\u003c\/strong\u003e, and \u003cstrong\u003e\u003cem\u003eLoki\u003c\/em\u003e\u003c\/strong\u003e. Here’s a look at this month’s slate.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eASC member \u003cstrong\u003ePete Romano\u003c\/strong\u003e discusses his prolific career in \u003cstrong\u003eunderwater cinematography\u003c\/strong\u003e, as well as new innovations and technologies in this specialized field.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eA look at the visual techniques and technologies that are bringing cinematic elements to such sporting events as \u003cstrong\u003eFox Sports’ “Field of Dreams” baseball game\u003c\/strong\u003e, the \u003cstrong\u003eOlympics,\u003c\/strong\u003e and \u003cstrong\u003eFox NFL\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cem\u003eReminiscence\u003c\/em\u003e\u003c\/strong\u003e cinematographer\u003cstrong\u003e Paul Cameron, ASC\u003c\/strong\u003e and crew employ projection-mapping and virtual-production methods to create an in-camera hologram effect for director \u003cstrong\u003eLisa Joy\u003c\/strong\u003e’s sci-fi drama.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographer \u003cstrong\u003eJenna Rosher\u003c\/strong\u003e details photographing director \u003cstrong\u003eJ. Cutler\u003c\/strong\u003e’s documentary \u003cstrong\u003e\u003cem\u003eBillie Eilish: The World’s a Little Blurry\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eA pictorial tour of the documentary \u003cstrong\u003e\u003cem\u003ePlaying With Sharks: The Valerie Taylor Story\u003c\/em\u003e\u003c\/strong\u003e, with remarks from cinematographer \u003cstrong\u003eJudd Overton\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShot Craft: A discussion of the specialized filmmaking techniques cinematographer \u003cstrong\u003eAutumn Durald Arkapaw\u003c\/strong\u003e and crew employed to accomplish a long continuous sequence on an episode of the Marvel\/Disney Plus series\u003cstrong\u003e \u003cem\u003eLoki\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIn Memoriam: \u003cem\u003eAC\u003c\/em\u003e recalls the career of Oscar-nominated cinematographer \u003cstrong\u003eJack C. Couffer, ASC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eClubhouse News: The latest bulletins from the Society feature the welcoming of new members \u003cstrong\u003eJohn Conroy\u003c\/strong\u003e and \u003cstrong\u003eJames Hawkinson\u003c\/strong\u003e; recent achievements of ASC members \u003cstrong\u003ePhedon Papamichael \u003c\/strong\u003eand \u003cstrong\u003ePete Kozachik;\u003c\/strong\u003e and a remembrance of Steadicam expert, camera operator and cinematographer \u003cstrong\u003eDan Kneece\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWrap Shot: ASC members \u003cstrong\u003eBill Butler\u003c\/strong\u003e and \u003cstrong\u003eMichael Chapman\u003c\/strong\u003e, along with director \u003cstrong\u003eSteven Spielberg\u003c\/strong\u003e, in Martha’s Vineyard on the set of \u003cstrong\u003e\u003cem\u003eJaws\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":40635120713916,"sku":"","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/AC102021Cover.jpg?v=1632160916"},{"product_id":"copy-of-2021-09-august-issue-of-american-cinematographer","title":"2021\/ 09 — September Issue of American Cinematographer","description":"\u003cp data-mce-fragment=\"1\"\u003eThe \u003cstrong data-mce-fragment=\"1\"\u003eSeptember 2021\u003c\/strong\u003e issue offers a feature on \u003cstrong data-mce-fragment=\"1\"\u003edrone technology\u003c\/strong\u003e and a special focus on \u003cstrong data-mce-fragment=\"1\"\u003einternational productions\u003c\/strong\u003e, with coverage of \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Eight Hundred\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCensor\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Wall of Shadows\u003c\/em\u003e\u003c\/strong\u003e. Here’s a look at this month’s slate:\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e spotlights dynamic use of \u003cstrong data-mce-fragment=\"1\"\u003edrone technology\u003c\/strong\u003e with \u003cstrong data-mce-fragment=\"1\"\u003eASC member Claudio Miranda\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eSociety associate Mark Bender\u003c\/strong\u003e and other industry pros.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCinematographer \u003cstrong data-mce-fragment=\"1\"\u003eCao Yu, ASC, CNSC\u003c\/strong\u003e details his creative vision on the ambitious Chinese war epic \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Eight Hundred\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCinematographer \u003cstrong data-mce-fragment=\"1\"\u003eAnnika Summerson \u003c\/strong\u003eand director\u003cstrong data-mce-fragment=\"1\"\u003e Prano Bailey-Bond \u003c\/strong\u003ediscuss re-creating the look of low-budget 1980s horror movies for the U.K. thriller \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCensor\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCinematographers \u003cstrong data-mce-fragment=\"1\"\u003ePiotr Rosołowski \u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003eKeith Partridge\u003c\/strong\u003e, along with director \u003cstrong data-mce-fragment=\"1\"\u003eEliza Kubarska\u003c\/strong\u003e, share their experiences shooting the documentary \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Wall of Shadows \u003c\/em\u003e\u003c\/strong\u003ein Nepal.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eThe Virtual World: An examination of \u003cstrong data-mce-fragment=\"1\"\u003elighting techniques\u003c\/strong\u003e for \u003cstrong data-mce-fragment=\"1\"\u003eLED-wall stages\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eShot Craft: A discussion of \u003cstrong data-mce-fragment=\"1\"\u003elarge-format cinematography\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eClubhouse News: ASC members enjoy an outdoor gathering at the Society’s Clubhouse.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWrap Shot: \u003cstrong data-mce-fragment=\"1\"\u003eLinus Sandgren, ASC, FSF \u003c\/strong\u003eand key grip \u003cstrong data-mce-fragment=\"1\"\u003eDavid Appleby\u003c\/strong\u003e on location in Matera, Italy, during production of the 25th James Bond film, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eNo Time to Die\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":40651066278076,"sku":"150","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACSept2021sm.jpg?v=1629999628"},{"product_id":"2021-11-november-issue-of-american-cinematographer","title":"2021\/ 11 — November Issue of American Cinematographer","description":"\u003cp\u003eThe \u003cstrong\u003eNovember 2021\u003c\/strong\u003e issue offers a look at \u003cstrong\u003e\u003cem\u003eThe French Dispatch\u003c\/em\u003e\u003c\/strong\u003e and a special focus on \u003cstrong\u003edocumentary cinematography\u003c\/strong\u003e, with coverage of \u003cstrong\u003e\u003cem\u003eSabaya\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong\u003e\u003cem\u003eThe Rescue\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong\u003e\u003cem\u003eThe Velvet Underground\u003c\/em\u003e\u003c\/strong\u003e and the mockumentary-style comedy \u003cstrong\u003e\u003cem\u003eThe Nowhere Inn\u003c\/em\u003e\u003c\/strong\u003e. Here’s a look at this month’s slate:\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographer \u003cstrong\u003eRobert Yeoman, ASC\u003c\/strong\u003e discusses the comedic drama \u003cstrong\u003e\u003cem\u003eThe French Dispatch\u003c\/em\u003e,\u003c\/strong\u003e his latest collaboration with director \u003cstrong\u003eWes Anderson\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFilmmaker \u003cstrong\u003eHogir Hirori\u003c\/strong\u003e shares his experience shooting the harrowing documentary \u003cstrong\u003e\u003cem\u003eSabaya\u003c\/em\u003e\u003c\/strong\u003e, on which he served as the project’s director, cinematographer and editor.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographer \u003cstrong\u003eIan Seabrook\u003c\/strong\u003e discusses his work capturing underwater re-creations for \u003cstrong\u003e\u003cem\u003eThe Rescue\u003c\/em\u003e\u003c\/strong\u003e, about the 2018 rescue of a youth soccer team trapped in the Tham Luang cave in Thailand.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cem\u003eAC\u003c\/em\u003e speaks with \u003cstrong\u003e\u003cem\u003eThe Nowhere Inn\u003c\/em\u003e\u003c\/strong\u003e cinematographer \u003cstrong\u003eMinka Farthing-Kohl\u003c\/strong\u003e and co-writers and stars \u003cstrong\u003eAnnie Clark\u003c\/strong\u003e and \u003cstrong\u003eCarrie Brownstein\u003c\/strong\u003e about their work on the surreal mockumentary-style comedy.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLong time collaborators \u003cstrong\u003eEdward Lachman, ASC\u003c\/strong\u003e and director \u003cstrong\u003eTodd Haynes\u003c\/strong\u003e reflect on their first documentary together: \u003cstrong\u003e\u003cem\u003eThe Velvet Underground\u003c\/em\u003e\u003c\/strong\u003e, about the influential rock band.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eASC member \u003cstrong\u003eChristopher Probst\u003c\/strong\u003e offers his thoughts on a \u003cstrong\u003eselection of software\u003c\/strong\u003e that many cinematographers employ during prep, production and post.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCraig Kief, ASC\u003c\/strong\u003e shares his experience shooting his first LED-wall production, the Disney Plus Halloween special\u003cstrong\u003e\u003cem\u003e Muppets Haunted Mansion\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShot Craft: A discussion of the techniques involved in \u003cstrong\u003ecapturing documentary “talking head” interviews\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eClubhouse News: The ASC welcomes new members \u003cstrong\u003eBarry “Baz” Idoine \u003c\/strong\u003eand \u003cstrong\u003eLarry Smith\u003c\/strong\u003e; celebrates ASC members who received \u003cstrong\u003e2021 Emmy wins and nominations\u003c\/strong\u003e; congratulates Society members \u003cstrong\u003eJoan Churchill\u003c\/strong\u003e, for a Lifetime Achievement Award from Doc NYC, and\u003cstrong\u003e Roger Deakins\u003c\/strong\u003e, for the publication of his photography book \u003cem\u003eByways\u003c\/em\u003e; and more.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWrap Shot: \u003cstrong\u003eKirsten Johnson, ASC\u003c\/strong\u003e in the desert outside Geneina, Sudan, shooting the 2007 documentary \u003cstrong\u003e\u003cem\u003eDarfur Now\u003c\/em\u003e\u003c\/strong\u003e, one of several of Johnson’s projects showcased in her celebrated 2016 autobiographical documentary \u003cstrong\u003e\u003cem\u003eCameraperson\u003c\/em\u003e\u003c\/strong\u003e, about her career as a cinematographer.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":41125331861692,"sku":"","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACNov2021-Cover.jpg?v=1635484641"},{"product_id":"2021-12-december-issue-of-american-cinematographer","title":"2021\/ 12 — December Issue of American Cinematographer","description":"The \u003cstrong\u003eDecember 2021\u003c\/strong\u003e issue presents a focus on \u003cstrong\u003eproduction design\u003c\/strong\u003e, including features on \u003cstrong\u003e\u003cem\u003eDune\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong\u003e\u003cem\u003eLast Night in Soho\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong\u003e\u003cem\u003eThe Harder They Fall\u003c\/em\u003e\u003c\/strong\u003e — as well as a profile on \u003cstrong\u003eKramer Morgenthau, ASC\u003c\/strong\u003e; coverage of \u003cstrong\u003e\u003cem\u003eGhostbusters: Afterlife\u003c\/em\u003e\u003c\/strong\u003e; and a discussion on LED-wall colorimetry. Here’s a look at this month’s slate:\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eGreig Fraser, ASC, ACS\u003c\/strong\u003e discusses the techniques and collaborations involved in the creation of a desert planet for the epic sci-fi feature \u003cstrong\u003e\u003cem\u003eDune\u003c\/em\u003e\u003c\/strong\u003e, directed by \u003cstrong\u003eDenis Villeneuve\u003c\/strong\u003e. The piece includes a sidebar on Fraser’s work with FotoKem colorist and ASC associate \u003cstrong\u003eDave Cole\u003c\/strong\u003e, who helped incorporate photochemical stages into the finishing process of this digitally captured movie.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cem\u003eAC \u003c\/em\u003edetails the career of \u003cstrong\u003eKramer Morgenthau, ASC\u003c\/strong\u003e and takes a look at two of his recent projects: the Aretha Franklin biographical musical drama \u003cstrong\u003e\u003cem\u003eRespect\u003c\/em\u003e\u003c\/strong\u003e, directed by \u003cstrong\u003eLiesl Tommy\u003c\/strong\u003e, and the crime drama \u003cstrong\u003e\u003cem\u003eThe Many Saints of Newark\u003c\/em\u003e\u003c\/strong\u003e, directed by \u003cstrong\u003eAlan Taylor\u003c\/strong\u003e, which is a prequel to the acclaimed HBO series \u003cem\u003eThe Sopranos\u003c\/em\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eProduction-design spotlight: Cinematographer \u003cstrong\u003eMihai Malaimare Jr.\u003c\/strong\u003e and production designer \u003cstrong\u003eMartin Whist\u003c\/strong\u003e discuss their collaboration on director \u003cstrong\u003eJeymes Samuel\u003c\/strong\u003e’s Western \u003cstrong\u003e\u003cem\u003eThe Harder They Fall\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eProduction-design spotlight: Cinematographer \u003cstrong\u003eChung Chung-hoon\u003c\/strong\u003e, production designer \u003cstrong\u003eMarcus Rowland\u003c\/strong\u003e, director \u003cstrong\u003eEdgar Wright\u003c\/strong\u003e and crew detail their work on the psychological horror \u003cstrong\u003e\u003cem\u003eLast Night in Soho\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Virtual World: \u003cstrong\u003eCraig Kief, ASC\u003c\/strong\u003e; \u003cstrong\u003eMark Doering-Powell, ASC\u003c\/strong\u003e; ASC associate member \u003cstrong\u003eStephan Ukas-Bradley\u003c\/strong\u003e; and others collaborate on an examination of \u003cstrong\u003eLED-wall color fidelity\u003c\/strong\u003e. 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Here’s a look at this month’s slate.\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIn this special report following the tragic on-set shooting death of cinematographer \u003cstrong\u003eHalyna Hutchins\u003c\/strong\u003e, a number of filmmakers — including representatives from the\u003cstrong\u003e ASC Future Practices Committee\u003c\/strong\u003e and the \u003cstrong\u003eInternational Cinematographers Guild \u003c\/strong\u003e— discuss the current state of \u003cstrong\u003eon-set safety\u003c\/strong\u003e, as well as \u003cstrong\u003eresources for filmmakers\u003c\/strong\u003e and how the industry should move forward.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAcademy Award-winning costume designers \u003cstrong\u003eColleen Atwood\u003c\/strong\u003e, \u003cstrong\u003eRuth E. 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David Mullen, ASC and ASC associate member Rob Hummel, contributors to this edition include Society members Bill Bennett, Christopher Chomyn, Richard Crudo, Richard Edlund, John C. Hora, Levie Isaacks, Dennis Muren, James Neihouse, Sam Nicholson, Steven Poster, Christopher Probst, Pete Romano, Roberto Schaefer and David Stump.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTopics covered in this new edition of our “Filmmaker’s Bible” include:\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eEvaluating digital cameras\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eTake ownership of your sensor\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eMeasuring light\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eThe color science behind modern lighting instruments\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eVirtual production\/emissive screens\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eDigital versions of day-for-night and infrared cinematography\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eImax\/large-format cinematography\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSpecialty lenses\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eVariable frame rates\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eASC Color-Decision List (ASC CDL)\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAcademy Color Encoding System (ACES)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003ctd width=\"1\" valign=\"middle\" background=\"\/v\/vspfiles\/templates\/ASC_Store\/images\/DBox_Border_Right.gif\"\u003e\u003cimg alt=\"\" src=\"https:\/\/store.ascmag.com\/v\/vspfiles\/templates\/ASC_Store\/images\/clear1x1.gif\" width=\"1\" height=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cdiv id=\"ProductDetail_ProductDetails_div2\"\u003e\n\u003ctable class=\"colors_descriptionbox\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"1\" valign=\"middle\" background=\"\/v\/vspfiles\/templates\/ASC_Store\/images\/DBox_Border_Left.gif\"\u003e\u003cimg alt=\"\" src=\"https:\/\/store.ascmag.com\/v\/vspfiles\/templates\/ASC_Store\/images\/clear1x1.gif\" width=\"1\" height=\"1\"\u003e\u003c\/td\u003e\n\u003ctd width=\"100%\" valign=\"top\"\u003e\n\u003ctable width=\"100%\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eAdditional Info\u003c\/b\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003ePublisher: The ASC Press\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/td\u003e\n\u003ctd width=\"1\" valign=\"middle\" background=\"\/v\/vspfiles\/templates\/ASC_Store\/images\/DBox_Border_Right.gif\"\u003e\u003cimg alt=\"\" src=\"https:\/\/store.ascmag.com\/v\/vspfiles\/templates\/ASC_Store\/images\/clear1x1.gif\" width=\"1\" height=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":42328486674673,"sku":"11THMANUAL","price":99.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/MANUAL_11THHARDBOUND.jpg?v=1692648082"},{"product_id":"2022-02-february-issue-of-american-cinematographer","title":"2022\/ 02 — February Issue of American Cinematographer","description":"\u003cp\u003eThe \u003cstrong\u003eFebruary 2022 \u003c\/strong\u003eissue presents a special focus on the collaboration between \u003cstrong\u003emakeup design\u003c\/strong\u003e and cinematography; a profile on the career of \u003cstrong\u003eJeff Cronenweth, ASC\u003c\/strong\u003e; coverage of \u003cstrong\u003e\u003cem\u003eThe Matrix Resurrections\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong\u003e\u003cem\u003eBelfast\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong\u003e\u003cem\u003eCyrano\u003c\/em\u003e\u003c\/strong\u003e; and more. Here’s a look at this month’s slate.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMakeup artists \u003cstrong\u003eLois Burwell\u003c\/strong\u003e and \u003cstrong\u003eGeneva Nash-Morgan \u003c\/strong\u003ediscuss their acclaimed work and examine the collaboration between cinematography and makeup design.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCo-cinematographers \u003cstrong\u003eJohn Toll, ASC \u003c\/strong\u003eand\u003cstrong\u003e Daniele Massaccesi \u003c\/strong\u003ediscuss their collaboration on \u003cstrong\u003e\u003cem\u003eThe Matrix Resurrections\u003c\/em\u003e\u003c\/strong\u003e, director \u003cstrong\u003eLana Wachowski\u003c\/strong\u003e’s fourth installment in \u003cem\u003eThe Matrix\u003c\/em\u003e film series.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eJeff Cronenweth, ASC\u003c\/strong\u003e’s looks back at his prolific career — which includes collaborations with \u003cstrong\u003eDavid Fincher\u003c\/strong\u003e, \u003cstrong\u003eMark Romanek\u003c\/strong\u003e and \u003cstrong\u003eAaron Sorkin\u003c\/strong\u003e — and comments on his latest feature, \u003cstrong\u003e\u003cem\u003eBeing the Ricardos\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographer \u003cstrong\u003eHaris Zambarloukos, BSC, GSC\u003c\/strong\u003e discusses his sixth collaboration with \u003cstrong\u003eKenneth Branagh\u003c\/strong\u003e, the semi-autobiographical coming-of-age feature \u003cstrong\u003e\u003cem\u003eBelfast\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePicture Partners presents a Q\u0026amp;A conversation with longtime collaborators cinematographer \u003cstrong\u003eSeamus McGarvey, ASC, BSC \u003c\/strong\u003eand director \u003cstrong\u003eJoe Wright\u003c\/strong\u003e about their latest feature project, \u003cstrong\u003e\u003cem\u003eCyrano\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Virtual World offers an examination of the virtual production techniques involved in \u003cstrong\u003e\u003cem\u003eThe Matrix Awakens\u003c\/em\u003e\u003c\/strong\u003e, an interactive companion piece to \u003cstrong\u003e\u003cem\u003eThe Matrix Resurrections\u003c\/em\u003e\u003c\/strong\u003e, created in collaboration with Lana Wachowski and Epic Games.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShot Craft presents a primer on the fundamentals of exposing film emulsions.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eClubhouse News includes the latest bulletins from the Society, spotlighting ASC and \u003cem\u003eAmerican Cinematographer\u003c\/em\u003e activities at \u003cstrong\u003eCamerimage\u003c\/strong\u003e; a \u003cstrong\u003eSony Venice 2\u003c\/strong\u003e demo hosted at the Clubhouse; Society members’ participation in an \u003cstrong\u003eAMPAS\u003c\/strong\u003e virtual-production primer; and the recent publication of ASC member \u003cstrong\u003eAlar \u003c\/strong\u003e\u003cstrong\u003eKivilo\u003c\/strong\u003e’s memoir.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWrap Shot pays tribute to the work of makeup artist \u003cstrong\u003eBob Schiffer\u003c\/strong\u003e, shown doing touch-ups on \u003cstrong\u003eRita Hayworth\u003c\/strong\u003e during production of the romantic comedy \u003cstrong\u003e\u003cem\u003eDown to Earth\u003c\/em\u003e\u003c\/strong\u003e (1947), alongside cinematographer \u003cstrong\u003eRudolph Maté, ASC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":42368388235505,"sku":"2022-02","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACFeb2022-Cover_1.jpg?v=1642921800"},{"product_id":"2022-03-march-issue-of-american-cinematographer","title":"2022\/ 03 — March Issue of American Cinematographer","description":"\u003cp\u003eThe \u003cstrong\u003eMarch 2022 \u003c\/strong\u003eissue presents an interview with \u003cstrong\u003eRoger Deakins, ASC, BSC\u003c\/strong\u003e; coverage of \u003cstrong\u003e\u003cem\u003eThe Card Counter\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong\u003e\u003cem\u003eThe Hand of God\u003c\/em\u003e\u003c\/strong\u003e; a Filmmakers’ Forum with \u003cstrong\u003eJaron Presant, ASC\u003c\/strong\u003e; a discussion on \u003cstrong\u003etechvis and virtual production\u003c\/strong\u003e; and more. 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Hall, ASC \u003c\/strong\u003elights the way on the thriller \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eJennifer 8\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43068539797745,"sku":"202208","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/AC082022-Cover.jpg?v=1658530794"},{"product_id":"september-2022-issue-of-american-cinematographer","title":"September 2022 Issue of American Cinematographer","description":"The \u003cstrong\u003eSeptember 2022 \u003c\/strong\u003eissue features a special focus on \u003cstrong\u003enature and wildlife filmmaking\u003c\/strong\u003e, which includes a report on the award-winning documentary \u003cstrong\u003e\u003cem\u003eTigre Gente\u003c\/em\u003e\u003c\/strong\u003e. 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Seitz, Leon Shamroy, Harry Stradling Sr., Karl Struss, Robert L. Surtees, Gregg Toland, Leo Tover, Joseph Walker, Haskell Wexler, Gordon Willis, Vilmos Zsigmond, and many more.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eCurated by \u003cem\u003eAmerican Cinematographer \u003c\/em\u003epublisher David E. 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Delving into \u003cstrong\u003evirtual production\u003c\/strong\u003e, the issue reports on the ambitious series \u003cstrong\u003e\u003cem\u003e1899\u003c\/em\u003e\u003c\/strong\u003e. Also featured is a piece on the award-winning short film \u003cstrong\u003e\u003cem\u003eShadow Bird \u003c\/em\u003e\u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eSonsi\u003c\/em\u003e\u003c\/strong\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cem\u003eAmerican Horror Story\u003c\/em\u003e\u003c\/strong\u003e cinematographer \u003cstrong\u003eMichael Goi, ASC, ISC\u003c\/strong\u003e introduces \u003cem\u003eAC\u003c\/em\u003e interviews with \u003cstrong\u003eAutumn Eakin \u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eThe Invitation\u003c\/em\u003e\u003c\/strong\u003e); \u003cstrong\u003eRob Hardy, ASC, BSC\u003c\/strong\u003e (\u003cstrong\u003e\u003cem\u003eMen\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e)\u003c\/em\u003e; and \u003cstrong\u003eDouglas Koch, CSC \u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eCrimes of the Future\u003c\/em\u003e\u003c\/strong\u003e) about their recent work in the \u003cstrong\u003ehorror genre\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e Kim Miles, ASC, CSC, MySC \u003c\/strong\u003ediscusses the Showtime survival drama \u003cstrong\u003e\u003cem\u003eYellowjackets\u003c\/em\u003e\u003c\/strong\u003e, on which he alternated episodes with \u003cstrong\u003eTrevor Forrest\u003c\/strong\u003e. Cinematographer \u003cstrong\u003eJulie Kirkwood \u003c\/strong\u003ebreaks down her approach to the show’s pilot.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eASC members\u003cstrong\u003e Owen Roizman\u003c\/strong\u003e (\u003cstrong\u003e\u003cem\u003eThe Exorcist\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e)\u003c\/strong\u003e, \u003cstrong\u003eLuciano Tovoli \u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eSuspiria\u003c\/em\u003e\u003c\/strong\u003e), \u003cstrong\u003eDaniel Pearl \u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eThe Texas Chain Saw Massacre\u003c\/em\u003e\u003c\/strong\u003e), \u003cstrong\u003eDean Cundey \u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eHalloween\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e, \u003c\/em\u003e\u003cstrong\u003e\u003cem\u003eThe Thing\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e)\u003c\/strong\u003e, \u003cstrong\u003eCharlie Lieberman \u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eHenry: Portrait of a Serial Killer\u003c\/em\u003e\u003c\/strong\u003e), \u003cstrong\u003eDarius Khondji \u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eSeven\u003c\/em\u003e\u003c\/strong\u003e),\u003cstrong\u003e Emmanuel Lubezki \u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eSleepy Hollow\u003c\/em\u003e\u003c\/strong\u003e),\u003cstrong\u003e Anthony Dod Mantle \u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003e28 Days Later …\u003c\/em\u003e\u003c\/strong\u003e) and \u003cstrong\u003eSam McCurdy \u003c\/strong\u003e\u003cem\u003e(\u003c\/em\u003e\u003cstrong\u003e\u003cem\u003eThe Descent\u003c\/em\u003e\u003c\/strong\u003e) discuss the art of crafting chilling images.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Virtual World: \u003cem\u003eAC\u003c\/em\u003e takes a virtual tour of the set of the Netflix series \u003cstrong\u003e\u003cem\u003e1899\u003c\/em\u003e\u003c\/strong\u003e, a period mystery-thriller shot by \u003cstrong\u003eNikolaus Summerer \u003c\/strong\u003ethat employed a custom-built \u003cstrong\u003eLED volume with rotating stage \u003c\/strong\u003eat Studio Babelsberg in Germany.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShot Craft: Advice on \u003cstrong\u003ehow to create suspense \u003c\/strong\u003ewith lighting, composition and camera moves.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShort Takes: A look at \u003cstrong\u003e\u003cem\u003eShadow Bird \u003c\/em\u003e\u003c\/strong\u003e(\u003cstrong\u003e\u003cem\u003eSonsi\u003c\/em\u003e\u003c\/strong\u003e), directed and shot by \u003cstrong\u003eSavita Singh, ISC\u003c\/strong\u003e\u003cem\u003e.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIn Memoriam: A tribute to \u003cstrong\u003eThomas Richmond, ASC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eClubhouse News: The latest bulletins from the Society feature new members \u003cstrong\u003eAutumn Durald Arkapaw\u003c\/strong\u003e, \u003cstrong\u003eWolfgang Held \u003c\/strong\u003eand\u003cstrong\u003e Blake McClure\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWrap Shot: \u003cstrong\u003eMario Tosi, ASC \u003c\/strong\u003eon \u003cstrong\u003e\u003cem\u003eCarrie\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43328687407345,"sku":"2022-10","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACOct2022-Cover_1.jpg?v=1664393795"},{"product_id":"november-2022-issue-of-american-cinematographer","title":"November 2022 Issue of American Cinematographer","description":"The \u003cstrong data-mce-fragment=\"1\"\u003eNovember 2022 \u003c\/strong\u003eissue has special focuses on \u003cstrong data-mce-fragment=\"1\"\u003ecolor correction \u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003eindependent production\u003c\/strong\u003e, offering interviews with colorists \u003cstrong data-mce-fragment=\"1\"\u003eAsa Shoul \u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003eAndrew Daniel,\u003c\/strong\u003e and observations from \u003cstrong data-mce-fragment=\"1\"\u003eASC members \u003c\/strong\u003ewho shot some \u003cstrong data-mce-fragment=\"1\"\u003enow-famous indie films\u003c\/strong\u003e. Also featured are coverage of the HBO series \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eHouse of the Dragon\u003c\/em\u003e\u003c\/strong\u003e and the indie \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e5-25-77\u003c\/em\u003e\u003c\/strong\u003e; an interview with \u003cstrong data-mce-fragment=\"1\"\u003e2022 Camerimage Lifetime Achievement \u003c\/strong\u003ehonoree \u003cstrong data-mce-fragment=\"1\"\u003eStephen H. Burum, ASC\u003c\/strong\u003e, and another with \u003cstrong data-mce-fragment=\"1\"\u003ePolly Morgan, ASC, BSC\u003c\/strong\u003e, including discussions about her work on \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWhere the Crawdads Sing\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Woman King\u003c\/em\u003e\u003c\/strong\u003e; reports on the films \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAll Quiet on the Western Front\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eRRR\u003c\/em\u003e\u003c\/strong\u003e; and an update on the \u003cstrong data-mce-fragment=\"1\"\u003eASC MHL \u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003eASC FDL\u003c\/strong\u003e.\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCinematographers \u003cstrong data-mce-fragment=\"1\"\u003eFabian Wagner, ASC, BSC\u003c\/strong\u003e; \u003cstrong data-mce-fragment=\"1\"\u003ePepe Avila del Pino, AMC\u003c\/strong\u003e; \u003cstrong data-mce-fragment=\"1\"\u003eAlejandro Martinez\u003c\/strong\u003e; and \u003cstrong data-mce-fragment=\"1\"\u003eCatherine Goldschmidt\u003c\/strong\u003e — as well as showrunner\/director \u003cstrong data-mce-fragment=\"1\"\u003eMiguel Sapochnik\u003c\/strong\u003e and colorist \u003cstrong data-mce-fragment=\"1\"\u003eAsa Shoul\u003c\/strong\u003e — detail their approach to HBO’s \u003cem data-mce-fragment=\"1\"\u003eGame of Thrones \u003c\/em\u003eprequel series \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eHouse of the Dragon\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eJames Friend, ASC, BSC\u003c\/strong\u003e; director \u003cstrong data-mce-fragment=\"1\"\u003eEdward Berger\u003c\/strong\u003e; and colorist \u003cstrong data-mce-fragment=\"1\"\u003eAndrew Daniel \u003c\/strong\u003ediscuss immersing the audience in the action for \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAll Quiet on the Western Front\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eThe \u003cstrong data-mce-fragment=\"1\"\u003e2022 EnergaCamerimage International Film Festival \u003c\/strong\u003ehonors \u003cstrong data-mce-fragment=\"1\"\u003eStephen H. Burum, ASC \u003c\/strong\u003efor lifetime achievement.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003ePolly Morgan, ASC, BSC \u003c\/strong\u003eshares the creative strategies she applied to the features \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWhere the Crawdads Sing \u003c\/em\u003e\u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Woman King\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eDirector-writer \u003cstrong data-mce-fragment=\"1\"\u003ePatrick Read Johnson \u003c\/strong\u003ediscusses \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e5-25-77\u003c\/em\u003e\u003c\/strong\u003e, an indie feature two decades in the making that was inspired by connections he made with the \u003cstrong data-mce-fragment=\"1\"\u003eASC \u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAmerican Cinematographer \u003c\/em\u003e\u003c\/strong\u003ewhen he was a teen in rural Illinois.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eASC members \u003cstrong data-mce-fragment=\"1\"\u003eErnest Dickerson \u003c\/strong\u003e(\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eShe’s Gotta Have It\u003c\/em\u003e\u003c\/strong\u003e), \u003cstrong data-mce-fragment=\"1\"\u003eFrederick Elmes \u003c\/strong\u003e(\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBlue Velvet\u003c\/em\u003e\u003c\/strong\u003e), \u003cstrong data-mce-fragment=\"1\"\u003eWalt Lloyd \u003c\/strong\u003e(\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003esex, lies, and videotape\u003c\/em\u003e\u003c\/strong\u003e),\u003cstrong data-mce-fragment=\"1\"\u003e David Klein\u003c\/strong\u003e (\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eClerks\u003c\/em\u003e\u003c\/strong\u003e), \u003cstrong data-mce-fragment=\"1\"\u003eMatthew Libatique \u003c\/strong\u003e(\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePi\u003c\/em\u003e\u003c\/strong\u003e)\u003cstrong data-mce-fragment=\"1\"\u003e, Wally Pfister \u003c\/strong\u003e(\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMemento\u003c\/em\u003e\u003c\/strong\u003e) and \u003cstrong data-mce-fragment=\"1\"\u003eSteven Poster \u003c\/strong\u003e(\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eDonnie Darko\u003c\/em\u003e\u003c\/strong\u003e) recall how they approached films that became milestones in their respective careers.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eShot Craft: A look at two \u003cstrong data-mce-fragment=\"1\"\u003eASC MITC \u003c\/strong\u003einitiatives: the \u003cstrong data-mce-fragment=\"1\"\u003eMedia Hash List \u003c\/strong\u003e(\u003cstrong data-mce-fragment=\"1\"\u003eMHL\u003c\/strong\u003e) and \u003cstrong data-mce-fragment=\"1\"\u003eFraming Decision List\u003c\/strong\u003e (\u003cstrong data-mce-fragment=\"1\"\u003eFDL\u003c\/strong\u003e).\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eGlobal Village: \u003cstrong data-mce-fragment=\"1\"\u003eK. Senthil Kumar, ISC \u003c\/strong\u003ediscusses filming Indian superstars for \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eRRR\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eClubhouse News: The latest bulletins from the Society feature new member \u003cstrong data-mce-fragment=\"1\"\u003eMike Gioulakis\u003c\/strong\u003e; Emmy winners \u003cstrong data-mce-fragment=\"1\"\u003eChecco Varese, ASC \u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003eGary Baum, ASC\u003c\/strong\u003e; the latest \u003cstrong data-mce-fragment=\"1\"\u003ein-person ASC Master Class\u003c\/strong\u003e; dates and deadlines for the \u003cstrong data-mce-fragment=\"1\"\u003e37th Annual ASC Awards\u003c\/strong\u003e; the \u003cstrong data-mce-fragment=\"1\"\u003eASC \u003c\/strong\u003eand\u003cstrong data-mce-fragment=\"1\"\u003e International Cinema Lighting Society \u003c\/strong\u003epanel in New York; and an \u003cstrong data-mce-fragment=\"1\"\u003eASC Education \u0026amp; Outreach \u003c\/strong\u003eluncheon with students from Nevada.  \u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e  \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWrap Shot: The \u003cstrong data-mce-fragment=\"1\"\u003eBeaulieu 4008 \u003c\/strong\u003eSuper 8 camera.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43410678808817,"sku":"2022-11","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACNov2022-Cover_1.jpg?v=1666496751"},{"product_id":"january-2023-issue-of-american-cinematographer","title":"January 2023 Issue of American Cinematographer","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003eOur \u003cstrong\u003eJanuary 2023 \u003c\/strong\u003eissue has a special focus on the\u003cstrong\u003e cinematographer-director collaboration\u003c\/strong\u003e, offering interviews with the teams behind the feature films \u003cstrong\u003e\u003cem\u003eAvatar: The Way of Water, She Said, Empire of Light, Devotion\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong\u003e\u003cem\u003eTár\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn our cover story, \u003cstrong\u003eRussell Carpenter, ASC\u003c\/strong\u003e and director \u003cstrong\u003eJames Cameron\u003c\/strong\u003e take a deep dive into the complex production of their blockbuster 3D sci-fi sequel \u003cstrong\u003e\u003cem\u003eAvatar: The Way of Water\u003c\/em\u003e\u003c\/strong\u003e. In the intimate English drama \u003cstrong\u003e\u003cem\u003eEmpire of Light\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e,\u003c\/em\u003e \u003cstrong\u003eRoger Deakins, ASC, BSC \u003c\/strong\u003econtinues his collaboration with director \u003cstrong\u003eSam Mendes\u003c\/strong\u003e. To capture his portrait of a complex character in the award-winning drama \u003cstrong\u003e\u003cem\u003eTár\u003c\/em\u003e\u003c\/strong\u003e, director \u003cstrong\u003eTodd Field\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eenlisted the aid of \u003cstrong\u003eFlorian Hoffmeister, BSC\u003c\/strong\u003e, who composed a symphony of images using custom optics created by \u003cstrong\u003eChristoph Hoffsten\u003c\/strong\u003e of Arri Rental Berlin. \u003cstrong\u003eErik Messerschmidt, ASC\u003c\/strong\u003e and \u003cstrong\u003eJ.D. 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In a sidebar, Aronofsky shares the \u003cstrong\u003ecreative philosophy \u003c\/strong\u003ebehind their choices.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographer \u003cstrong\u003eElle Schneider \u003c\/strong\u003eteams with director \u003cstrong\u003eDan Mirvish \u003c\/strong\u003eon the Watergate-era caper \u003cstrong\u003e\u003cem\u003e18½\u003c\/em\u003e\u003c\/strong\u003e, a low-budget indie shot in 15 days.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eGlobal Village: \u003cstrong\u003eBen Davis, BSC \u003c\/strong\u003eemphasizes the beauty of a storm-swept landscape for \u003cstrong\u003e\u003cem\u003eThe Banshees of Inisherin\u003c\/em\u003e\u003c\/strong\u003e, directed by \u003cstrong\u003eMartin McDonagh\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShot Craft: A look at the \u003cstrong\u003edolly grip\u003c\/strong\u003e, a role that is almost a department unto itself, with insights from expert \u003cstrong\u003eRalph Scherer\u003c\/strong\u003e. \u003cstrong\u003e\u003c\/strong\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Virtual World: A consideration of \u003cstrong\u003ecamera-tracking methods employed in virtual production\u003c\/strong\u003e — their advantages, disadvantages and potential future applications.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eClubhouse News: The latest bulletins from the Society feature new ASC members \u003cstrong\u003eJonathan Sela \u003c\/strong\u003eand \u003cstrong\u003eMarcell Rév\u003c\/strong\u003e; the \u003cstrong\u003e2022 ASC MITC Technology Showcase\u003c\/strong\u003e; and \u003cstrong\u003eBand Pro One World Open House \u003c\/strong\u003ehonorees \u003cstrong\u003eChecco Varese, ASC \u003c\/strong\u003eand \u003cstrong\u003eOtto Nemenz\u003c\/strong\u003e, an ASC associate member.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWrap Shot: \u003cstrong\u003e\u003cem\u003eSingin’ in the Rain\u003c\/em\u003e\u003c\/strong\u003e, shot by \u003cstrong\u003eHarold Rosson, ASC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43608979636465,"sku":"2023-02","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/products\/ACFeb2023-Cover.jpg?v=1674753352"},{"product_id":"conversations-with-darius-khondji","title":"CONVERSATIONS WITH DARIUS KHONDJI","description":"\u003cdiv id=\"ct_50918284\" class=\"Block Type_Text\" style=\"left: 0px; top: 10px; width: 590px; height: 1170px;\" data-mce-fragment=\"1\" data-mce-style=\"left: 0px; top: 10px; width: 590px; height: 1170px;\" multiplier=\"1\"\u003e\n\u003cdiv class=\"Block_Wrapper\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"wsCtText\" data-mce-fragment=\"1\"\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e\u003cem data-mce-fragment=\"1\"\u003eConversations with Darius Khondji\u003c\/em\u003e is one of the only books of its kind to be fully devoted to the life and work of a cinematographer, offering a journey through the past fifty years of cinema with one of the greatest directors of photography who helped revolutionize the art form through his work on both Hollywood films and art-house movies in Europe and Asia.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan style=\"color: #000000; font-family: roboto;\" face=\"roboto\" color=\"#000000\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e___________________________________________\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003eDarius Khondji has shot films for many of the greatest directors in contemporary cinema, including: David Fincher (\u003cem data-mce-fragment=\"1\"\u003eSe7en\u003c\/em\u003e), James Gray (\u003cem data-mce-fragment=\"1\"\u003eThe Lost City of Z\u003c\/em\u003e), Michael Haneke (\u003cem data-mce-fragment=\"1\"\u003eAmour\u003c\/em\u003e), Woody Allen (\u003cem data-mce-fragment=\"1\"\u003eMidnight in Paris\u003c\/em\u003e), Roman Polanski (\u003cem data-mce-fragment=\"1\"\u003eThe Ninth Gate\u003c\/em\u003e), Bernardo Bertolucci (\u003cem data-mce-fragment=\"1\"\u003eStealing Beauty\u003c\/em\u003e), Sydney Pollack (\u003cem data-mce-fragment=\"1\"\u003eThe Interpreter\u003c\/em\u003e), Jean-Pierre Jeunet \u0026amp; Marc Caro (\u003cem data-mce-fragment=\"1\"\u003eDelicatessen, The City of Lost Children\u003c\/em\u003e), Bong Joon-ho (\u003cem data-mce-fragment=\"1\"\u003eOkja\u003c\/em\u003e) and Nicolas Winding Refn (\u003cem data-mce-fragment=\"1\"\u003eToo Old to Die Young\u003c\/em\u003e).\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e___________________________________________\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e From his early childhood in Iran to his cinephile origins in Paris, from his first Polaroids of New York City in the late ‘70s to his training as a camera assistant, from his feature debut in France to his arrival in Hollywood, from his experiences with world-renown directors and actors to his work with artists and photographers, the book follows Khondji’s evolution as a cameraman alongside the evolution of movies and images from the 1960s to the present.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e___________________________________________\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e\u003cem data-mce-fragment=\"1\"\u003eConversations with Darius Khondji\u003c\/em\u003e also covers a wide range of cinematographic and technical topics — lighting, camera operating, film processing, color correcting, lens selection, digital photography and much more — in ways that are accessible and easy to grasp, allowing the reader to discover Khondji’s working methods from film to film. The book is meant to appeal to cinema lovers as much as to film and photography students, or to anyone else interested in the visual arts.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e_______________________________________________________\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003eThe conversations are accompanied by exclusive interviews with directors, actors and technicians with whom Khondji has collaborated over the years.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e___________________________________________\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003eDivided into chapters that trace the different phases of Khondji’s filmography, \u003cem data-mce-fragment=\"1\"\u003eConversations\u003c\/em\u003e is illustrated with screen shots from nearly every feature he has photographed, as well as rare behind-the-scenes photos, lighting designs, storyboards, annotated screenplays and previously unpublished Polaroids.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e___________________________________________\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003eWritten by Jordan Mintzer (author of \u003cem data-mce-fragment=\"1\"\u003eConversations with James Gray\u003c\/em\u003e), this richly illustrated book highlights Khondji’s remarkable work while emphasizing the primordial role the cinematographer plays in the making of a film.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e___________________________________________\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cspan style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: roboto;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: roboto;\"\u003e\u003cspan style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan style=\"letter-spacing: 0px;\" data-mce-fragment=\"1\" data-mce-style=\"letter-spacing: 0px;\"\u003e\u003cem data-mce-fragment=\"1\"\u003eConversations with Darius Khondji\u003c\/em\u003e is a unique publication in function and form, with a meticulously innovative design that enhances both the text and its accompanying images.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"font-family: roboto;\"\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003eLARGE-FORMAT BOOK\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"font-family: roboto;\"\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003eBILINGUAL ENGLISH-FRENCH EDITION\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"font-family: roboto;\"\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003eHARDCOVER 21 x 28 CM (8,3 x 11 IN.)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"font-family: roboto;\"\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003e304 PAGES \/ OVER 400 COLOR PHOTOS\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: justify;\"\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Synecdoche","offers":[{"title":"Default Title","offer_id":43644007252209,"sku":"DARIUS KHONDJI","price":99.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/Khondji_Pack.png?v=1770237936"},{"product_id":"march-2023-issue-of-american-cinematographer","title":"March 2023 Issue of American Cinematographer","description":"The \u003cstrong\u003eMarch 2023 \u003c\/strong\u003eissue offers coverage of \u003cstrong\u003e\u003cem\u003eCreed III\u003c\/em\u003e\u003c\/strong\u003e,\u003cem\u003e \u003cstrong\u003eThe White Lotus\u003c\/strong\u003e\u003c\/em\u003e, \u003cstrong\u003e\u003cem\u003eEO\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong\u003e\u003cem\u003eEmily\u003c\/em\u003e\u003c\/strong\u003e — as well as a reconsideration of \u003cstrong\u003einverse-square law\u003c\/strong\u003e, a cornerstone 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David Mullen, ASC and ASC associate member Rob Hummel, contributors to this edition include Society members Bill Bennett, Christopher Chomyn, Richard Crudo, Richard Edlund, John C. 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a look at \u003cstrong\u003egenerative AI in filmmaking\u003c\/strong\u003e; updates from the \u003cstrong\u003eASC Motion Imaging Technology Council\u003c\/strong\u003e; and a special focus on \u003cstrong\u003elighting\u003c\/strong\u003e \u003cstrong\u003efor horror and tension \u003c\/strong\u003ethat includes the features \u003cstrong\u003e\u003cem\u003eThe Blackening\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong\u003e\u003cem\u003eTalk to Me\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong\u003e\u003cem\u003eThe Exorcist: Believer\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong\u003e\u003cem\u003eSaw X \u003c\/em\u003e\u003c\/strong\u003eand \u003cstrong\u003e\u003cem\u003eThe Nun II\u003c\/em\u003e\u003c\/strong\u003e.\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePresident’s Desk: \u003cstrong\u003eASC President Shelly Johnson \u003c\/strong\u003econsiders the “filmmaking family” that sets this profession apart from many others.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eHoyte van Hoytema, ASC, FSF, NSC\u003c\/strong\u003e, director\u003cstrong\u003e Christopher Nolan \u003c\/strong\u003eand key collaborators discuss using custom optics, 65mm film negative, macrophotography visual effects and other tools to create “experiential cinema” for \u003cstrong\u003e\u003cem\u003eOppenheimer\u003c\/em\u003e\u003c\/strong\u003e. \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographers and leading technologists — \u003cstrong\u003eDon Burgess, ASC\u003c\/strong\u003e;\u003cstrong\u003e Michael Goi, ASC, ISC\u003c\/strong\u003e; ASC associate member \u003cstrong\u003eMichael Cioni \u003c\/strong\u003eof Strada; \u003cstrong\u003eGary Koepke \u003c\/strong\u003eand \u003cstrong\u003ePinar Seyhan Demirdag \u003c\/strong\u003eof Cuebric; \u003cstrong\u003eJ. Wedding \u003c\/strong\u003eof Orbital Studios; and \u003cstrong\u003eFelix Jorge \u003c\/strong\u003eof Narwhal Studios — weigh in on \u003cstrong\u003eartificial intelligence\u003c\/strong\u003e, with a spotlight on \u003cstrong\u003egenerative AI\u003c\/strong\u003e, and its ramifications for filmmaking.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cem\u003eAC \u003c\/em\u003epresents a 20th-anniversary update from the \u003cstrong\u003eASC Motion Imaging Technology Council\u003c\/strong\u003e (\u003cstrong\u003eMITC\u003c\/strong\u003e), whose ongoing investigations currently include virtual production and in-camera visual effects, HDR for theatrical presentation, workflows, display technologies, optics standards, lighting advances, and AI.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eRoy H. Wagner, ASC\u003c\/strong\u003e offers insights into \u003cstrong\u003ethe art of\u003c\/strong\u003e \u003cstrong\u003elighting for horror and tension\u003c\/strong\u003e — followed by a series of pieces on the fright-inducing lighting work of cinematographers \u003cstrong\u003eTodd A. 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a look at the \u003cstrong data-mce-fragment=\"1\"\u003ecustom technologies\u003c\/strong\u003e developed for the \u003cstrong data-mce-fragment=\"1\"\u003eSphere \u003c\/strong\u003ein Las Vegas; and a special focus on \u003cstrong data-mce-fragment=\"1\"\u003eremote production and networking \u003c\/strong\u003ethat details the large-scale remote-lighting setup used on \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOppenheimer\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003ePresident’s Desk: \u003cstrong data-mce-fragment=\"1\"\u003eASC President Shelly Johnson \u003c\/strong\u003ereflects on cinematographers’ ability to \u003cstrong data-mce-fragment=\"1\"\u003efind the storytelling potential\u003c\/strong\u003e in new technologies.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eEd Lachman, ASC \u003c\/strong\u003eand director \u003cstrong data-mce-fragment=\"1\"\u003ePablo Larrain \u003c\/strong\u003ediscuss making \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eEl Conde\u003c\/em\u003e\u003c\/strong\u003e, a black-and-white political satire that presents notorious Chilean dictator Augusto Pinochet as a vampire.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCo-cinematographers \u003cstrong data-mce-fragment=\"1\"\u003ePeter Deming, ASC \u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003ePal Ulvik Rokseth\u003c\/strong\u003e, director \u003cstrong data-mce-fragment=\"1\"\u003eAlbert Hughes\u003c\/strong\u003e, and colorist \u003cstrong data-mce-fragment=\"1\"\u003eMaxine Gervais\u003c\/strong\u003e explain their approach to the \u003cem data-mce-fragment=\"1\"\u003eJohn Wick \u003c\/em\u003estreaming series \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Continental\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eAC \u003c\/em\u003egoes behind the scenes on the creation of the immersive entertainment venue \u003cstrong data-mce-fragment=\"1\"\u003eSphere \u003c\/strong\u003ein Las Vegas — including the design and implementation of the \u003cstrong data-mce-fragment=\"1\"\u003eBig Sky camera \u003c\/strong\u003e— offering perspectives from cinematographer \u003cstrong data-mce-fragment=\"1\"\u003eAndrew Shulkind \u003c\/strong\u003eand technologist \u003cstrong data-mce-fragment=\"1\"\u003eDeanan DaSilva\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCinematographers \u003cstrong data-mce-fragment=\"1\"\u003eGreig Fraser, ASC, ACS\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eOren Soffer\u003c\/strong\u003e, and director \u003cstrong data-mce-fragment=\"1\"\u003eGareth Edwards\u003c\/strong\u003e, break down their unconventional approach to the sci-fi film \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Creator\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e. \u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eThe VFX Perspective:\u003c\/strong\u003e Visual-effects supervisor \u003cstrong data-mce-fragment=\"1\"\u003eJay Cooper \u003c\/strong\u003eexplains how a global team of VFX artists realized Gareth Edwards’ unusual vision for \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Creator\u003c\/em\u003e\u003c\/strong\u003e\u003cem data-mce-fragment=\"1\"\u003e.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eTech Focus:\u003c\/strong\u003e Lighting-console programmer \u003cstrong data-mce-fragment=\"1\"\u003eNoah B. Shain \u003c\/strong\u003edetails the extensive remote-lighting setup he developed for \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOppenheimer\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eClubhouse News: \u003c\/strong\u003eThe latest bulletins from the Society feature new members \u003cstrong data-mce-fragment=\"1\"\u003eVance Burberry, ASC, ACS\u003c\/strong\u003e and \u003cstrong data-mce-fragment=\"1\"\u003eChung-hoon Chung, ASC\u003c\/strong\u003e; a \u003cstrong data-mce-fragment=\"1\"\u003eMaster Class for Masters \u003c\/strong\u003eon HDR; the inaugural \u003cstrong data-mce-fragment=\"1\"\u003eASC Film Heritage Series \u003c\/strong\u003epresentation; optics and camera demonstrations by \u003cstrong data-mce-fragment=\"1\"\u003eArri\u003c\/strong\u003e; a memoir by ASC associate \u003cstrong data-mce-fragment=\"1\"\u003eAndy Romanoff\u003c\/strong\u003e; \u003cstrong data-mce-fragment=\"1\"\u003eSony’s Burano camera \u003c\/strong\u003edemo; and the second \u003cstrong data-mce-fragment=\"1\"\u003eASC Murphy Social\u003c\/strong\u003e.  \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWrap Shot: \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBram Stoker’s Dracula\u003c\/em\u003e\u003c\/strong\u003e\u003cem data-mce-fragment=\"1\"\u003e, \u003c\/em\u003eshot by \u003cstrong data-mce-fragment=\"1\"\u003eMichael Ballhaus, ASC, BVK \u003c\/strong\u003eand directed by \u003cstrong data-mce-fragment=\"1\"\u003eFrancis Ford Coppola\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43999115084017,"sku":"2023-11","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/ACNov2023.jpg?v=1697670630"},{"product_id":"copy-of-december-2023-issue-of-american-cinematographer-1","title":"December 2023 Issue of American Cinematographer","description":"\u003cp\u003eThe \u003cstrong\u003eDecember 2023 \u003c\/strong\u003eissue presents coverage of \u003cstrong\u003e\u003cem\u003eKillers of the Flower Moon\u003c\/em\u003e\u003c\/strong\u003e,\u003cstrong\u003e \u003cem\u003eSaltburn\u003c\/em\u003e\u003c\/strong\u003e, \u003cstrong\u003e\u003cem\u003eThe Color Purple\u003c\/em\u003e\u003c\/strong\u003e and\u003cstrong\u003e\u003cem\u003e The Zone of Interest\u003c\/em\u003e\u003c\/strong\u003e — with a spotlight on the \u003cstrong\u003eproducer-cinematographer collaboration\u003c\/strong\u003e. Also featured are a look at \u003cstrong\u003eAI in motion capture\u003c\/strong\u003e; a survey of indispensable\u003cstrong\u003e books about cinematography\u003c\/strong\u003e; and a tribute to the late \u003cstrong\u003ePete Kozachik, ASC\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003ePresident’s Desk\u003c\/strong\u003e: \u003cstrong\u003eASC President Shelly Johnson \u003c\/strong\u003econsiders the importance of being adventurous with creative choices, especially in the digital era.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eRodrigo Prieto, ASC, AMC \u003c\/strong\u003edetails his creative strategy on the period drama \u003cstrong\u003e\u003cem\u003eKillers of the Flower Moon\u003c\/em\u003e\u003c\/strong\u003e — and director \u003cstrong\u003eMartin Scorsese\u003c\/strong\u003e discusses his evolving work with Prieto and why “every picture should be a challenge.”\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eLinus Sandgren, ASC, FSF \u003c\/strong\u003eand director \u003cstrong\u003eEmerald Fennell \u003c\/strong\u003ediscuss the Gothic drama \u003cstrong\u003e\u003cem\u003eSaltburn\u003c\/em\u003e\u003c\/strong\u003e, including why they strove to incorporate “a bit of ugliness” into the visual scheme — and producer \u003cstrong\u003eJosey McNamara \u003c\/strong\u003eshares how the team approached shooting at a 14th-century estate.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDan Laustsen, ASC, DFF \u003c\/strong\u003eand director \u003cstrong\u003eBlitz Bazawule \u003c\/strong\u003eilluminate their collaboration on the period musical \u003cstrong\u003e\u003cem\u003eThe Color Purple\u003c\/em\u003e\u003c\/strong\u003e — and producer \u003cstrong\u003eScott Sanders \u003c\/strong\u003eexplains why Laustsen was a great fit for the project.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eLukasz Zal, PSC \u003c\/strong\u003ediscusses creating a clinical perspective for the World War II drama \u003cstrong\u003e\u003cem\u003eThe Zone of Interest\u003c\/em\u003e\u003c\/strong\u003e — and director \u003cstrong\u003eJonathan Glazer\u003c\/strong\u003e and producer \u003cstrong\u003eJames Wilson \u003c\/strong\u003eoffer their perspectives on the production. \u003cem\u003e\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eShot Craft\u003c\/strong\u003e: \u003cstrong\u003eSixteen\u003c\/strong\u003e \u003cstrong\u003ebooks\u003c\/strong\u003e that have much to teach about \u003cstrong\u003ecinematography\u003c\/strong\u003e in particular and \u003cstrong\u003efilmmaking\u003c\/strong\u003e in general. \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe Virtual World\u003c\/strong\u003e: A look at the advances in \u003cstrong\u003eartificial intelligence \u003c\/strong\u003ethat are enabling more efficient \u003cstrong\u003emotion capture\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eClubhouse News\u003c\/strong\u003e: The latest bulletins from the Society feature a showcase of\u003cstrong\u003e members’ still photography\u003c\/strong\u003e; the winners of the \u003cstrong\u003e2023 ASC Student Heritage Awards\u003c\/strong\u003e; new members \u003cstrong\u003eGavin Kelly, ASC\u003c\/strong\u003e and \u003cstrong\u003eLuc Montpellier, ASC, CSC\u003c\/strong\u003e; an \u003cstrong\u003eASC Film Heritage Series\u003c\/strong\u003e presentation; an ASC panel at \u003cstrong\u003eNAB New York\u003c\/strong\u003e; and an in-person \u003cstrong\u003eClubhouse Conversation\u003c\/strong\u003e\u003cem\u003e.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eIn Memoriam\u003c\/strong\u003e: \u003cstrong\u003ePete Kozachik, ASC\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eWrap Shot\u003c\/strong\u003e: \u003cem\u003eThe Color Purple \u003c\/em\u003e(1985), shot by \u003cstrong\u003eAllen Daviau, ASC \u003c\/strong\u003eand directed by \u003cstrong\u003eSteven Spielberg\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":44073010561265,"sku":"2023-12","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/AC122023-Coversm.jpg?v=1700250372"},{"product_id":"copy-of-ac-two-years-digital-plus-archive","title":"AC TWO Years DIGITAL Plus Archive","description":"\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAMERICAN CINEMATOGRAPHER\u003c\/em\u003e\u003c\/strong\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTWO-YEARS DIGITAL EDITION SUBSCRIPTION + \u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e ARCHIVE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTake advantage of a subscription to \u003cem data-mce-fragment=\"1\"\u003eAmerican Cinematographer\u003c\/em\u003e and get 24 issues delivered directly to your computer each month, along with online access to more than 1,200 past issues documenting the last 103 years of filmmaking!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e is the industry's leading journal of motion-picture production techniques. 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Topics include lighting techniques, the creative use of cameras and optics, virtual production methods, visual effects, shooting on location, and the development of AI tools.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn addition, our New Products \u0026amp; Services department will keep you abreast of the latest tools and technologies as they come on the market.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAC\u003c\/em\u003e has teamed with Nxtbook to instantly deliver our digital edition directly to your laptop, tablet, smartphone or desktop computer. This electronic issue is identical to our print edition — with all the advantages of being digital:\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eOnce delivered, you can read issues even if you're not connected to the internet\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSearch through issues using keywords\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eKeep your back issues archived on your computer for easy access anywhere\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eOverseas subscribers save a bundle on postage\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e“Gosh, where do I begin about \u003cem data-mce-fragment=\"1\"\u003eAmerican Cinematographer\u003c\/em\u003e magazine? It’s just always been wonderful to have a publication that focuses so deeply on the technical and aesthetic aspects of motion­picture photography. It’s a bible for cinematographers and directors alike.” \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e— Christopher Nolan \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e“\u003cem data-mce-fragment=\"1\"\u003eAmerican Cinematographer\u003c\/em\u003e has forever been our ‘gateway drug’ into the world of making films, tickling and satisfying the curiosity of many students and filmmakers alike. Shooting is a mysterious and schizophrenic occupation, and the magazine has traditionally provided the finest insights into how technology meets with ambitious visual ideas and image poetry. It’s been a career-long guiding light into the secrets behind the camera.” \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e— Hoyte van Hoytema, ASC, FSF, NSC\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"ASC\/AC Store","offers":[{"title":"2 Years \/ Digital","offer_id":44073146515697,"sku":null,"price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/ACDigitalEdition-SubPage_696ca426-01f7-4726-99a3-47768fd9144b.jpg?v=1700257324"},{"product_id":"january-2024-issue-of-american-cinematographer","title":"January 2024 Issue of American Cinematographer","description":"\u003cbr\u003e\n\u003cp\u003eThe \u003cstrong\u003eJanuary 2024 \u003c\/strong\u003eissue presents coverage of \u003cstrong\u003e\u003cem\u003eNapoleon\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e, \u003cstrong\u003eFerrari\u003c\/strong\u003e\u003c\/em\u003e and \u003cstrong\u003e\u003cem\u003ePoor Things\u003c\/em\u003e\u003c\/strong\u003e, with a special focus on the \u003cstrong\u003edirector-cinematographer collaboration\u003c\/strong\u003e — as well as reportage on \u003cstrong\u003e\u003cem\u003eThe Killer\u003c\/em\u003e\u003c\/strong\u003e and \u003cstrong\u003e\u003cem\u003ePriscilla\u003c\/em\u003e\u003c\/strong\u003e. 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Kemper\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eWrap Shot\u003c\/strong\u003e: \u003cstrong\u003e\u003cem\u003eNapoléon\u003c\/em\u003e\u003c\/strong\u003e (1927), directed by \u003cstrong\u003eAbel Gance\u003c\/strong\u003e, and shot by \u003cstrong\u003eLéonce-Henri Burel\u003c\/strong\u003e, \u003cstrong\u003eJules Kruger\u003c\/strong\u003e, \u003cstrong\u003eJoseph-Louis Mundwiller\u003c\/strong\u003e and \u003cstrong\u003eNikolai Toporkoff\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":44163337257201,"sku":"2024-01","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/ACJan2024-Cover.jpg?v=1703629534"},{"product_id":"february-2024-issue-of-american-cinematographer","title":"February 2024 Issue of American Cinematographer","description":"\u003cbr\u003e\n\u003cp\u003eThe \u003cstrong\u003eFebruary 2024 \u003c\/strong\u003eissue presents a special focus on \u003cstrong\u003elighting \u003c\/strong\u003ethat includes coverage of \u003cstrong\u003e\u003cem\u003eGriselda\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e, \u003cstrong\u003eDrive-Away Dolls\u003c\/strong\u003e\u003c\/em\u003e and\u003cstrong\u003e \u003cem\u003eThe Taste of Things\u003c\/em\u003e\u003c\/strong\u003e. Also featured are an analysis of \u003cstrong\u003ethe art of the music video\u003c\/strong\u003e; reportage from Kyiv on \u003cstrong\u003efilmmaking in Ukraine\u003c\/strong\u003e; a discussion of\u003cstrong\u003e working with HDR\u003c\/strong\u003e; and a look at \u003cstrong\u003evisual effects\u003c\/strong\u003e in \u003cstrong\u003e\u003cem\u003eI’m a Virgo\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003ePresident’s Desk:\u003c\/strong\u003e \u003cstrong\u003eASC President Shelly Johnson \u003c\/strong\u003econsiders the unique qualities of the \u003cstrong\u003eASC family\u003c\/strong\u003e that make the Clubhouse a true home.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eArmando Salas, ASC \u003c\/strong\u003eand director \u003cstrong\u003eAndrés Baiz \u003c\/strong\u003ediscuss their work on the period crime drama \u003cstrong\u003e\u003cem\u003eGriselda\u003c\/em\u003e\u003c\/strong\u003e, and Salas details his \u003cstrong\u003elighting strategy \u003c\/strong\u003efor the nightclub that serves as the epicenter of the action.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographer \u003cstrong\u003eAri Wegner, ASC, ACS\u003c\/strong\u003e, director\/co-writer \u003cstrong\u003eEthan Coen \u003c\/strong\u003eand co-writer\/editor \u003cstrong\u003eTricia Cooke \u003c\/strong\u003eoffer their perspectives on creating a B-movie aesthetic for the action-comedy \u003cstrong\u003e\u003cem\u003eDrive-Away Dolls\u003c\/em\u003e\u003c\/strong\u003e — and Coen and Wegner also share how \u003cstrong\u003elighting\u003c\/strong\u003e factored into the approach.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eJonathan Ricquebourg, AFC \u003c\/strong\u003eexplains how \u003cstrong\u003elighting key spaces \u003c\/strong\u003ein Trần Anh Hùng’s \u003cstrong\u003e\u003cem\u003eA Taste of Things\u003c\/em\u003e\u003c\/strong\u003e contributes to the period drama’s tactile quality, and he and gaffer \u003cstrong\u003eGeorges Harnack \u003c\/strong\u003ereveal how they approached an especially romantic sequence.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSix-time MTV Video Music Award nominee \u003cstrong\u003eChristopher Probst, ASC \u003c\/strong\u003eintroduces a look at the\u003cstrong\u003e art of the music video\u003c\/strong\u003e that includes interviews with ASC cinematographers \u003cstrong\u003eCrescenzo Notarile\u003c\/strong\u003e, \u003cstrong\u003eNatasha Braier \u003c\/strong\u003eand \u003cstrong\u003eMarcell Rév\u003c\/strong\u003e. Notarile and director \u003cstrong\u003eMeiert Avis \u003c\/strong\u003erecall creating a spontaneous look for \u003cstrong\u003eU2\u003c\/strong\u003e’s classic video\u003cstrong\u003e “Where the Streets Have No Name”\u003c\/strong\u003e; Braier discusses how she emphasized naturalism in \u003cstrong\u003eEd Sheeran’s “Eyes Closed”\u003c\/strong\u003e; and Rév explains how he shot \u003cstrong\u003eMiley Cyrus’ “Flowers”\u003c\/strong\u003e at a singular L.A. location. \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cem\u003eAC \u003c\/em\u003evisits Kyiv to explore how the \u003cstrong\u003eUkrainian cinematography community \u003c\/strong\u003eis navigating the war.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eShot Craft:\u003c\/strong\u003e An overview of \u003cstrong\u003ehigh dynamic range\u003c\/strong\u003e — including interviews with ASC members \u003cstrong\u003eCraig Kief\u003c\/strong\u003e, \u003cstrong\u003eArmando Salas \u003c\/strong\u003eand \u003cstrong\u003eErik Messerschmidt\u003c\/strong\u003e — illuminates why cinematographers must understand the technology. \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe VFX Perspective:\u003c\/strong\u003e Visual-effects supervisor \u003cstrong\u003eTodd Perry \u003c\/strong\u003eexplains how his team created a teenage giant and situated him in downtown Oakland, Calif., for \u003cstrong\u003e\u003cem\u003eI’m a Virgo\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e.\u003c\/em\u003e \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eClubhouse News: \u003c\/strong\u003eThe latest bulletins from the Society feature new member \u003cstrong\u003eEben Bolter, ASC, BSC\u003c\/strong\u003e; the Society’s \u003cstrong\u003ebicoastal holiday gatherings\u003c\/strong\u003e, including the unveiling of a vintage Pathé Studio camera used by \u003cstrong\u003eBilly Bitzer\u003c\/strong\u003e; \u003cstrong\u003eJames Neihouse\u003c\/strong\u003e’s election to the Giant Screen Cinema Association board of directors; \u003cstrong\u003eClubhouse Conversations\u003c\/strong\u003e on \u003cem\u003eOppenheimer\u003c\/em\u003e, \u003cem\u003eNapoleon\u003c\/em\u003e, \u003cem\u003ePoor Things \u003c\/em\u003eand \u003cem\u003eThe Zone of Interest\u003c\/em\u003e; the Society’s lighting demo for the \u003cstrong\u003eIATSE Latinx Caucus\u003c\/strong\u003e; an ASC panel at \u003cstrong\u003eCine Gear Atlanta\u003c\/strong\u003e; and an \u003cstrong\u003eEducation \u0026amp; Outreach \u003c\/strong\u003eevent with Loyola Marymount University.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eWrap Shot:\u003c\/strong\u003e \u003cstrong\u003e\u003cem\u003e Smith Goes to Washington\u003c\/em\u003e\u003c\/strong\u003e (1939), shot by \u003cstrong\u003eJoseph B. Walker, ASC \u003c\/strong\u003eand directed by \u003cstrong\u003eFrank Capra\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":44263663927537,"sku":"2024-02","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/ACFeb2024-Cover_1.jpg?v=1706562761"},{"product_id":"march-2024-issue-of-american-cinematographer","title":"March 2024 Issue of American Cinematographer","description":"\u003cp data-mce-fragment=\"1\"\u003eThe \u003cstrong data-mce-fragment=\"1\"\u003eMarch 2024 \u003c\/strong\u003eissue shines a spotlight on this year’s \u003cstrong data-mce-fragment=\"1\"\u003eASC Award honorees\u003c\/strong\u003e, featuring profiles of \u003cstrong data-mce-fragment=\"1\"\u003eLifetime Achievement Award \u003c\/strong\u003erecipient \u003cstrong data-mce-fragment=\"1\"\u003eDon Burgess, ASC\u003c\/strong\u003e; \u003cstrong data-mce-fragment=\"1\"\u003eCareer Achievement in Television Award \u003c\/strong\u003erecipient \u003cstrong data-mce-fragment=\"1\"\u003eSteven Fierberg, ASC\u003c\/strong\u003e; \u003cstrong data-mce-fragment=\"1\"\u003ePresidents Award \u003c\/strong\u003erecipient \u003cstrong data-mce-fragment=\"1\"\u003eAmy Vincent, ASC\u003c\/strong\u003e; and \u003cstrong data-mce-fragment=\"1\"\u003eBoard of Governors Award \u003c\/strong\u003erecipient \u003cstrong data-mce-fragment=\"1\"\u003eSpike Lee\u003c\/strong\u003e. Also featured are looks at \u003cstrong data-mce-fragment=\"1\"\u003efilm capture on LED walls\u003c\/strong\u003e and the making of the music video for \u003cstrong data-mce-fragment=\"1\"\u003ethe Police’s “Every Breath You Take.” \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003ePresident’s Desk:\u003c\/strong\u003e \u003cstrong data-mce-fragment=\"1\"\u003eASC President Shelly Johnson \u003c\/strong\u003ereflects on the many contributions the late \u003cstrong data-mce-fragment=\"1\"\u003eVictor J. Kemper, ASC \u003c\/strong\u003emade to the Society and to the art of cinema.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eASC Lifetime Achievement Award \u003c\/strong\u003ehonoree \u003cstrong data-mce-fragment=\"1\"\u003eDon Burgess, ASC \u003c\/strong\u003ereflects on his career — including his longstanding collaboration with Robert Zemeckis — and the critical personal and professional support he received from the very beginning.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eASC Career Achievement in Television Award \u003c\/strong\u003ehonoree \u003cstrong data-mce-fragment=\"1\"\u003eSteven Fierberg, ASC \u003c\/strong\u003etraces his career from its humble beginnings in New York City to the creative highs of television’s \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eEntourage\u003c\/em\u003e, \u003cem data-mce-fragment=\"1\"\u003eThe Affair \u003c\/em\u003e\u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eEmily in Paris\u003c\/em\u003e\u003c\/strong\u003e\u003cem data-mce-fragment=\"1\"\u003e. \u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eASC Presidents Award \u003c\/strong\u003ehonoree \u003cstrong data-mce-fragment=\"1\"\u003eAmy Vincent, ASC \u003c\/strong\u003ediscusses the synergy that drives her work and why \u003cstrong data-mce-fragment=\"1\"\u003ementorship \u003c\/strong\u003eand \u003cstrong data-mce-fragment=\"1\"\u003eeducation \u003c\/strong\u003eare at the heart of it.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eA portrait of \u003cstrong data-mce-fragment=\"1\"\u003eASC Board of Governors \u003c\/strong\u003ehonoree \u003cstrong data-mce-fragment=\"1\"\u003eSpike Lee \u003c\/strong\u003e— featuring observations from ASC cinematographers \u003cstrong data-mce-fragment=\"1\"\u003eErnest Dickerson\u003c\/strong\u003e, \u003cstrong data-mce-fragment=\"1\"\u003eEllen Kuras\u003c\/strong\u003e, and \u003cstrong data-mce-fragment=\"1\"\u003eNewton Thomas Sigel\u003c\/strong\u003e, among others — illuminates why the Society’s recognition is well deserved.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eASC associate member\/\u003cem data-mce-fragment=\"1\"\u003eAC \u003c\/em\u003etechnical editor \u003cstrong data-mce-fragment=\"1\"\u003eJay Holben \u003c\/strong\u003ereports on a recent test of \u003cstrong data-mce-fragment=\"1\"\u003eshooting film on LED walls\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eShort Takes:\u003c\/strong\u003e \u003cstrong data-mce-fragment=\"1\"\u003eDaniel Pearl, ASC \u003c\/strong\u003epens this account of shooting the music video for \u003cstrong data-mce-fragment=\"1\"\u003ethe Police’s “Every Breath You Take,” \u003c\/strong\u003ea classic of the genre.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eIn Memoria:\u003c\/strong\u003e A tribute to \u003cstrong data-mce-fragment=\"1\"\u003eJohn Bailey, ASC \u003c\/strong\u003ehighlights the blog he wrote for \u003cem data-mce-fragment=\"1\"\u003eAC \u003c\/em\u003efor 12 years, and a tribute to \u003cstrong data-mce-fragment=\"1\"\u003eVictor J. Kemper, ASC\u003c\/strong\u003e includes an appreciation by friend and colleague \u003cstrong data-mce-fragment=\"1\"\u003eRichard Crudo, ASC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eNew Products \u0026amp; Services:\u003c\/strong\u003e A look at some noteworthy tools for \u003cstrong data-mce-fragment=\"1\"\u003evirtual production\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cstrong data-mce-fragment=\"1\"\u003eWrap Shot: Martin Scorsese \u003c\/strong\u003ereceives the \u003cstrong data-mce-fragment=\"1\"\u003e1995 ASC Board of Governors Award\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":44360301773041,"sku":"2024-03","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/ACMarch2024-Cover.jpg?v=1709250164"}],"url":"https:\/\/store.ascmag.com\/collections\/frontpage.oembed?page=6","provider":"ASC\/AC Store","version":"1.0","type":"link"}