American Cinematographer 2010-02American Cinematographer 2010-02, Movie Magazines, American Cinematographer Magazine Collection PDF MEGAPACK
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AMERICAN CINEMATOGRAPHER FEBRUARY 2010 THE WOLFMAN – CHRIS MENGES, ASC, BSC – RED ONE CAMERA – SUSPIRIA VOL. 91 NO. 2 MEMBER PORTRAI T Don McCuaig, ASC, CSC y earliest memories of film are of sensory experiences involving popcorn and soda pop, plus a wide-eyed enchantment with the larger-than-life images on the screen. Fate stepped in when I became a student lens maker in the military, and I was soon thereafter handed a camera and told to shoot the sunset. “ American Cinematographer was incredibly helpful at the inception of my cinematography career, and it remains as valuable to me as my light meter. For decades, AC has provided me with the opportunity to experience my colleagues’ work through up-close and personal looks at sets, the sharing of technical information, and anecdotes about managing stage and location dilemmas. “I remain a perpetual student of my craft, and AC continues to provide an informed resource for information about both film and digital media.” — Don McCuaig, ASC, CSC TO SUBSCRIBE BY PHONE: Call (800) 448-0145 (U.S. only) (323) 969-4333 or visit the ASC Web site WWW. THEASC. COM “M “On ‘The Office,’ our shots must appear real – documentary style – as if we are capturing the moment. That real feel grounds the subject matter for our audience. But ‘real’ implies an imperfect look like blown-out windows. And, when you’re working in HD, ‘blow out’ can look horrible. That’s where Schneider HD Classic Softs ™ are my go-to tool. They turn a blow out into a nice bloom. And because HD is so unforgiving, I always use a quarter or a half HD Classic Soft on our actors. This takes the edge off the HD and gives them a look that is both real and attractive at the same time. I use filters to help with things I can’t control so I choose the matchless quality of Schneider glass. Whether I’m the Director or the Cinematographer, Schneider filters make the good things great and the bad things better.” Director and Cinematographer Randall Einhorn is a two-time Emmy nominee for his work on the series Survivor . He has shot and/or directed over 113 episodes of The Office and directed episodes of series including Modern Family , It’s Always Sunny in Philadelphia and Pa r k s a n d Recreation, as well as numerous commercials and documentaries. NAB Booth#: C7633 B + W Century Schneider For Randall’s HD Classic Softs chat, visit: www.schneideroptics.com It Starts with the Glass tm FEBRUARY 2 0 1 0 VOL. 9 1 NO. 2 The International Journal of Motion Imaging On Our Cover: The full moon transforms Lawrence Talbot (Benicio Del Toro) into a snarling werewolf in The Wolfman, shot by Shelly Johnson, ASC. (Photo by Frank Ockenfels, courtesy of Universal Pictures.) FEATURES 32 Bad Moon Rising Shelly Johnson, ASC pens a firsthand account of his work on The Wolfman 46 Artistry and Conscience Chris Menges, ASC, BSC receives the Society’s International Award 56 Working With the Red AC technical editor Christopher Probst offers a hands-on assessment of the Red One camera 68 Terror in Technicolor Luciano Tovoli, ASC, AIC recalls his visual strategies for the 1977 horror classic Suspiria 46 DEPARTMENTS 8 Editor’s Note 10 President’s Desk 12 Short Takes: What’s in the Box? 18 Production Slate : Fish Tank Dollhouse 78 Post Focus : Offhollywood Digital 82 New Products & Services 88 International Marketplace 90 Classified Ads 90 Ad Index 92 In Memoriam: Marc E. Reshovsky, ASC 94 Clubhouse News 96 ASC Close-Up: Paul Cameron 68 — VISIT WWW.THEASC.COM TO ENJOY THESE WEB EXCLUSIVES — Q&A: John Cassaday on directing Dollhouse Podcasts: Werner Herzog and Peter Zeitlinger on Bad Lieutenant: Port of Call New Orleans Barry Markowitz, ASC on Crazy Heart Richard Crudo, ASC interviews Victor J. Kemper, ASC about The Friends of Eddie Coyle [ Pobierz całość w formacie PDF ] |
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