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2016 / 04 — April issue of American Cinematographer
2016 / 04 — April issue of American Cinematographer


 
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Here's at the April 2016 issue of American Cinematographer magazine, which features a special focus on optics and digital cameras.

Batman v Superman: Dawn of Justice (Warner Bros.)
Larry Fong, ASC reteamed with his 300, Watchmen and Sucker Punch director, Zack Snyder, to continue the big-screen adventures of the Man of Steel (Henry Cavill), who is forced into an uneasy alliance with Gotham City's Dark Knight (Ben Affleck) after Lex Luthor (Jesse Eisenberg) unleashes a maniacal, world-threatening plan. Fong details his work on the production, which mixed an array of cameras and formats, and involved location shooting in Michigan, Illinois, New Mexico and California.

Remembering Vilmos Zsigmond, ASC and Haskell Wexler, ASC
Vilmos Zsigmond, ASC and Haskell Wexler, ASC — two icons of cinematography — died within days of one another, leaving behind formidable legacies and stunning bodies of work that have influenced generations of filmmakers. Zsigmond won an Oscar for his work on Close Encounters of the Third Kind and received three other nominations, for The Deer Hunter, The River and The Black Dahlia; Wexler took home two Academy Awards, the first for Who's Afraid of Virginia Woolf? and the other for Bound for Glory, and he was nominated for his work on One Flew Over the Cuckoo's Nest, Matewan and Blaze. Both cinematographers also received the ASC's Lifetime Achievement Award, among numerous other accolades. AC salutes each of these legendary artists with memories from their peers, collaborators, friends and families.

Primer on Perspective
In the first in a series of introductory articles about optics, AC contributor Benjamin B discusses and illustrates how camera position, sensor size, focal length and angle of view interact to contribute to the distinctive look of Super 35mm, anamorphic and larger formats.

The April issue's departments also offer illuminating insights:

  • Short Takes explores the making of Nocturnes: The Paintings of Eric Merrell, for which director Alec Ernest and cinematographer Ryan Carmody worked by moonlight with a Sony a7S mirrorless digital camera to capture Merrell at work in Joshua Tree National Park.
  • Production Slate offers a Zapruder-like analysis of the miniseries 11.22.63, which mixes time travel with the Kennedy assassination and was photographed by Adam Suschitzky and David Katznelson. This section also takes an unflinching look at Travel Channel's Ghost Adventures, which features cinematography and camerawork by Mike Stodden, Zak Bagans, Aaron Goodwin, Jay Wasley and Billy Tolley.
  • ASC Close-Up spotlights Society member James Anderson, who worked as an operator on features such as Swing Shift, Ferris Bueller's Day Off, Tucker: The Man and His Dream and Tequila Sunrise before notching cinematography credits on features that include Grosse Pointe Blank, Small Soldiers, Jay and Silent Bob Strike Back and Bad Santa, and series such as Crossing Jordan and Pushing Daisies.