The January 2025 issue presents a special focus on the cinematographer-director collaboration — including coverage of Wicked, Conclave, Nosferatu and The Fire Inside — and reporting on the production of Gladiator II. Also in focus this issue is lighting for virtual production, with a look at the latest color-fidelity advancements for LED volumes.
· President’s Desk: Shelly Johnson, ASC considers the energy and spirit that inform imagery created by a strong cinematographer-director collaboration.
· Alice Brooks, ASC and director Jon M. Chu discuss their creative strategy for the musical Wicked, including large practical set builds, prototype Panavision lenses and meticulous color choices.
· Stéphane Fontaine, AFC and director Edward Berger detail how they infused the Vatican City drama Conclave with the mood and feel of classic paranoid thrillers of the 1970s.
· Cinematographer Jarin Blaschke and director Robert Eggers break down their approach to Nosferatu, which incorporated shooting on film, employing unconventional optics and using practical candlelight.
· John Mathieson, BSC and visual-effects supervisor Mark Bakowski discuss their work on the long-awaited sequel Gladiator II, directed by Ridley Scott.
· Picture Partners: Director Rachel Morrison, ASC and cinematographer Rina Yang, BSC discuss their collaboration on the fact-based boxing drama The Fire Inside.
· Shot Craft: Inspired by the work of ASC associate member Tim Kang, a lighting test focuses on the fluorescent properties of laundry detergent and an LED fixture that includes a UV emitter.
· The Virtual World: Craig Kief, ASC updates his 2021 findings on color fidelity in LED volumes by testing fixtures designed to achieve wide-spectrum distribution in a volume.
· Wrap Shot: The Wizard of Oz (1939), shot by Hal Rosson, ASC, with Technicolor cinematography by Allen Davey, ASC, and directed by Victor Fleming.
