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2016 / 03 — March issue of American Cinematographer
2016 / 03 — March issue of American Cinematographer


 
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Here's the March 2016 issue of American Cinematographer magazine, with a special focus on this year's ASC Awards honorees.

Vinyl (HBO)
Rodrigo Prieto, ASC, AMC photographed the pilot and Reed Morano, ASC and David Franco divvied the remaining episodes for the first season of this HBO series, which follows record-label president Richie Finestra (Bobby Cannavale) as he navigates the turbulent music scene of 1970s New York City. All three cinematographers discuss their work on the Terence Winter-created series, which was shot in New York City and is executive produced by Martin Scorsese and Mick Jagger.

Race (Focus Features)
Peter Levy, ASC joined director Stephen Hopkins to tell the true story of track-and-field star Jesse Owens (played by Stephan James), who set multiple world records while attending the Ohio State University before competing for the United States at the 1936 Summer Olympics in Berlin, Germany. Levy takes readers behind the scenes of the production, which was shot in Montreal and on location at the Olympic Stadium in Berlin.

ASC Lifetime Achievement Award
John Toll, ASC notched his first cinematography credits on commercials before moving into features with director Carol Ballard's Wind. He then received consecutive Oscars for his second and third features, Legends of the Fall and Braveheart, respectively. His other credits include The Thin Red Line, Almost Famous, The Last Samurai, Gone Baby Gone, Iron Man 3 and Jupiter Ascending. In a career-spanning interview, Toll discusses getting his start in the camera department and working across a multitude of genres.

ASC Career Achievement in Television Award
Lowell Peterson, ASC first worked as director of photography on the series Knots Landing. He received an Emmy nomination for his work on Six Feet Under, and he received ASC Award nominations for the series Second Chances and Profiler and the telefilm Just Ask My Children. His series credits also include Jane the Virgin, The Fosters, Desperate Housewives, Moloney, Lois & Clark and The Client. In a detailed profile, Peterson looks back over his storied career to date.

ASC Presidents Award

Bill Bennett, ASC has elevated the car spot to an art form. With a bachelor's degree in drama, he moved to Los Angeles to launch his career and found work with director-cinematographer Ron Dexter, ASC. A member of the ASC since 2004, Bennett was the first cinematographer to be accepted into the Society based on work done exclusively in television commercials. In an in-depth interview, Bennett discusses mentors, collaborators and a rewarding career in commercials.

The March issue's departments also offer illuminating insights:

  • Short Takes takes readers under the hood of the racing drama Yellow, a short film shot by Alexander Hankoff and co-directed by Hankoff and Alexander Maxwell.
  • Production Slate takes a brave look at the period horror film The Witch, photographed by Jarin Blaschke, as well as the Norwegian disaster movie The Wave, shot by John Christian Rosenlund, FNF.
  • ASC Close-Up spotlights Society member Peter Moss, who climbed the ranks of the camera department and worked as an operator on the Australian classic Breaker Morant before serving as cinematographer on features including Flashpoint, The Cutter and Tell the World, and commercials for such clients as Chevrolet, Labatt, American Airlines and Johnson & Johnson.