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2016 / 07 — July issue of American Cinematographer
2016 / 07 — July issue of American Cinematographer


 
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Here's the July 2016 issue of American Cinematographer magazine, which features a special focus on summer blockbusters and the philosophy of camera movement.

Independence Day: Resurgence (20th Century Fox)
Markus Förderer, BVK teamed with Roland Emmerich for this sequel to the director's smash-hit Independence Day (1996). Two decades after the Earth united to repel an alien invasion, the extraterrestrial forces return to wreak new, eye-popping levels of havoc on humankind. Förderer details his work on the blockbuster production, which involved 6K capture with Red Weapon cameras that were paired with Vantage Film's Hawk anamorphic lenses.

The Neon Demon (Amazon Studios)
Natasha Braier, ADF joined director Nicolas Winding Refn for this ultra-stylish dive into the horrors of Los Angeles' modeling scene, where new arrival Jesse (Elle Fanning) makes a significant splash, garnering attention both desired and dreaded. Braier and Refn discuss their collaboration, shooting in L.A., and the finer points of the director's signature stylistics.

Now You See Me 2 (Amazon Studios)
Peter Deming, ASC and director Jon M. Chu continue the high-stakes hijinks of criminal magicians the Four Horsemen. This time out, the group of illusionists appear to be pawns in a bigger trick being played by former magician Thaddeus Bradley (Morgan Freeman). Deming reveals the behind-the-scenes wizardry that brought the action to life onscreen.

Orange is the New Black (Netflix)
Ludovic Littee made the move from camera operator to cinematographer on this hit series, which follows Piper Chapman (Taylor Schilling) through her prison sentence after she's convicted for a decade-old crime. The fourth season premieres this June and was shot with Panasonic VariCam 35 cameras. Littee speaks to the series' evolution and detail the New York-based shoot.

The July issue's departments also offer illuminating insights:

  • Short Takes details the making of Monster in a House, a single-take film shot day-for-night by Michael Helenek.
  • Production Slate presents director John Ealer's first-person account of the making of the AMC miniseries The American West, shot by Kevin M. Graves. This section also dives into cinematographer Flavio Labiano's work on the feature The Shallows.
  • ASC Close-Up spotlights Society member Shane Hurlbut, whose credits include the features Crazy/Beautiful, Drumline, The Greatest Game Ever Played, Into the Blue, We Are Marshall, Swing Vote, Terminator Salvation, Act of Valor, Deadfall and Need for Speed, and the series Into the Badlands.