The October 2024 issue presents a special focus on lighting, including coverage of Lee and the horror films The Front Room, Strange Darling, The Substance and Smile 2, and discussions of unmotivated lighting and the latest in image-based lighting.
· President’s Desk: Shelly Johnson, ASC discusses how a cinematographer’s lighting can impact the creative dynamic on set.
· Director Ellen Kuras, ASC and cinematographer Paweł Edelman, PSC discuss their collaboration on the period drama Lee, about World War II photographer Lee Miller — and Edelman explains how the filmmakers re-created vintage lighting equipment for key scenes.
· Ava Berkofsky, ASC details their approach to lighting the housebound thriller The Front Room, directed by Max and Sam Eggers.
· Cinematographer Giovanni Ribisi and director JT Mollner share why they embraced 35mm for the indie shocker Strange Darling — and Ribisi details a key, lighting-heavy sequence that called for “emptying the truck.”
· Benjamin Kračun, BSC offers his perspective on shooting Coralie Fargeat’s body-horror feature The Substance, including his approach to lighting the main character’s sleek L.A. apartment.
· Filmmakers’ Forum: Cinematographer Charlie Sarroff reflects upon his work on Parker Finn’s Smile 2. The piece features a discussion of their lighting strategies for a large-scale musical performance.
· Shot Craft: Motivated lighting is a tried-and-true tenet of cinematography, but unmotivated lighting can feel just as organic to a scene or story.
· The Virtual World: A look at advances in image-based lighting, with remarks from cinematographers Quyen Tran, ASC and Brett Pawlak, and ASC associate members Frieder Hochheim and Tim Kang.
· Clubhouse News: The latest bulletins from the Society feature new members Sean Porter, Cybel Martin and Manuel Billeter; a recap of three recent ASC Master Class sessions; a live The Ankler podcast at the Clubhouse; a celebration of the 2024 Rising Stars of Cinematography; a New York screening of Songs for Drella, directed by Ed Lachman, ASC; and an ASC-CSC lighting demo at Capilano University.
· Wrap Shot: A behind-the-scenes still and a hand-drawn lighting diagram from Sleepy Hollow (1999), shot by Emmanuel Lubezki, ASC, AMC and directed by Tim Burton.
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