Tag Archives: American Society of Cinematographers

SciTech Medallion Recipient: A conversation with Curtis Clark, ASC

By Barry Goch

The Academy of Motion Pictures Arts & Sciences has awarded Curtis Clark, ASC, the John A. Bonner Medallion “in appreciation for outstanding service and dedication in upholding the high standards of the Academy.” The presentation took place in early February and just prior to the event, I spoke to Clark and asked him to reflect on the transition from film to digital cinema and his contributions to the industry.

Clark’s career as a cinematographer includes features, TV and commercials. He is also the chair of the ASC Motion Imaging Technology Council that developed the ASC- CDL.

Can you reflect on the changes you’ve seen over your career and how you see things moving ahead in the future?
Once upon a time, life was an awful lot simpler. I look back on it nostalgically when it was all film-based, and the possibilities of the cinematographer included follow-up on the look of dailies and also follow through with any photographic testing that helped to hone in on the desired look. It had its photochemical limitations; its analog image structure was not as malleable or tonally expansive as the digital canvas we have now.

Do you agree that Kodak’s Cineon helped us to this digital revolution — the hybrid film/digital imaging system where you would shoot on film, scan it and then digitally manipulate it before going back out to film via a film recorder?
That’s where the term digital intermediate came into being, and it was an eye opener. I think at the time not everyone fully understood the ramifications of the sort of impact it was making. Kodak created something very potent and led the way in terms of methodologies, or how to arrive at integration of digital into what was then called a hybrid imaging system —combining digital and film together.

The DCI (Digital Cinema Initiative) was created to establish digital projection standards. Without a standard we’d potentially be creating chaos in terms of how to move forward. For the studios, distributors and exhibitors, it would be a nightmare Can you talk about that?
In 2002, I had been asked to form a technology committee at the ASC to explore these issues: how the new emerging digital technologies were impacting the creative art form of cinematography and of filmmaking, and also to help influence the development of these technologies so they best serve the creative intent of the filmmaker.

DCI proposed that for digital projection to be considered ready for primetime, its image quality needed to be at least as good as, if not better than, a print from the original negative. I thought this was a great commitment that the studios were making. For them to say digital projection was going to be judged against a film print projection from the original camera negative of the exact same content was a fantastic decision. Here was a major promise of a solution that would give digital cinema image projection an advantage since most people saw release prints from a dupe negative.

Digital cinema had just reached the threshold of being able to do 2K digital cinema projection. At that time, 4K digital projection was emerging, but it was a bit premature in terms of settling on that as a standard. So you had digital cinema projection and the emergence of a sophisticated digital intermediate process that could create the image quality you wanted from the original negative, but projected on a digital projection.

In 2004, the Michael Mann film Collateral film was shot with the Grass Valley Viper Film Stream, the Sony F900 and Sony F950 cameras, the latest generation of digital motion picture cameras — basically video cameras that were becoming increasingly sophisticated with better dynamic range and tonal contrast, using 24fps and other multiple frame rates, but 24p was the key.
These cameras were used in the most innovative and interesting manner, because Mann combined film with digital, using the digital for the low-light level night scenes and then using film for the higher-light level day exterior scenes and day interior scenes where there was no problem with exposure.

Because of the challenge of shooting the night scenes, they wanted to shoot at such low light levels that film would potentially be a bit degraded in terms of grain and fog levels. If you had to overrate the negative, you needed to underexpose and overdevelop it, which was not desirable, whereas the digital cameras thrived in lower light levels. Also, you could shoot at a stop that gave you better depth of field. At the time, it was a very bold decision. But looking back on it historically, I think it was the inflection point that brought the digital motion picture camera into the limelight as a possible alternative to shooting on film.

That’s when they decided to do Camera Assessment Series tests, which evaluates all the different digital cinema cameras available at the time?
Yeah, with the idea being that we’d never compare two digital cameras together, we’d always compare the digital camera against a film reference. We did that first Camera Assessment Series, which was the first step in the direction of validating the digital motion picture camera as viable for shooting motion pictures compared with shooting on film. And we got part way there. A couple of the cameras were very impressive: the Sony F35, the Panavision Genesis, the Arri D21 and the Grass Valley Viper were pretty reasonable, but this was all still mainly within a 2K (1920×1080) realm. We had not yet broached that 4K area.

A couple years later, we decided to do this again. It was called the Image Control Assessment Series, ICAS. That was shot at Warner Bros. It was the scenes that we shot in a café — daylight interior and then night time exterior. Both scenes had a dramatically large range of contrast and different colors in the image. It was the big milestone. The new Arri Alexa was used, along with the Sony F65 and the then latest versions of the Red cameras.

So we had 4K projection and 4K cameras and we introduced the use of ACES (Academy Color Encoding System) color management. So we were really at the point where all the key components that we needed were beginning to come together. This was the first instance where these digital workflow components were all used in a single significant project testing. Using film as our common benchmark reference — How are these cameras in relation to film? That was the key thing. In other words, could we consider them to be ready for prime time? The answer was yes. We did that project in conjunction with the PGA and a company called Revelations Entertainment, which is Morgan Freeman’s company. Lori McCreary, his partner, was one of the producers who worked with us on this.

So filmmakers started using digital motion picture cameras instead of film. And with digital cinema having replaced film print as a distribution medium, these new generation digital cameras started to replace film as an image capture medium. Then the question was would we have an end-to-end digital system that would become potentially viable as an alternative to shooting on film.

L to R: Josh Pines, Steve MacMillan, Curtis Clark and Dhanendra Patel.

Part of the reason you are getting this acknowledgement from the Academy is your dedication on the highest quality of image and the respect for the artistry, from capture through delivery. Can you talk about your role in look management from on-set through delivery?
I think we all need to be on the same page; it’s one production team whose objective is maintaining the original creative intent of the filmmakers. That includes director and cinematographer and working with an editor and a production designer. Making a film is a collective team effort, but the overall vision is typically established by the director in collaboration with the cinematographer and a production designer. The cinematographer is tasked with capturing that with lighting, with camera composition, movement, lens choices — all those elements that are part of the process of creative filmmaking. Once you start shooting with these extremely sophisticated cameras, like the Sony F65 or Venice, Panavision Millennium DXL, an Arri or the latest versions of the Red camera, all of which have the ability to reproduce high dynamic range, wide color gamut and high resolution. All that raw image data is inherently there and the creative canvas has certainly been expanded.

So if you’re using these creative tools to tell your story, to advance your narrative, then you’re doing it with imagery defined by the potential of what these technologies are able to do. In the modern era, people aren’t seeing dailies at the same time, not seeing them together under controlled circumstances. The viewing process has become fragmented. When everyone had to come together to view projected dailies, there was a certain camaraderie constructive contributions that made the filmmaking process more effective. So if something wasn’t what it should be, then everyone could see exactly what it was and make a correction if you needed to do that.

But now, we have a more dispersed production team at every stage of the production process, from the initial image capture through to dailies, editorial, visual effects and final color grading. We have so many different people in disparate locations working on the production who don’t seem to be as unified, sometimes, as we were when it was all film-based analog shooting. But now, it’s far easier and simpler to integrate visual effects into your workflow. Like Cineon indicated when it first emerged, you could do digital effects as opposed to optical effects and that was a big deal.

So coming back to the current situation, and particularly now with the most advanced forms of imaging, which include high dynamic range, wider color gamut, wider than even P3, REC 2020, having a color management system like ACES that actually has enough color gamut to be able to contain any color space that you capture and want to be able to manipulate.

Can you talk about the challenges you overcame, and how that fits into the history of cinema as it relates to the Academy recognition you received?
As a cinematographer, working on feature films or commercials, I kept thinking, if I’m fortunate enough to be able to manage the dailies and certainly the final color grading, there are these tools called lift gain gamma, which are common to all the different color correctors. But they’re all implemented differently. They’re not cross-platform-compatible, so the numbers from a lift gain gamma — which is the primary RGB grading — from one color corrector will not translate automatically to another color corrector. So I thought, we should have a cross platform version of that, because that is usually seen as the first step for grading.

That’s about as basic as you can get, and it was designed so that it would be a cross-platform implementation, so that everybody who installs and applies the ASC-CDL in a color grading system compatible with that app, whether you did it on a DaVinci, Baselight, Lustre or whatever you were using, the results would be the same and transferable.

You could transport those numbers from one set-up on set using a dailies creation tool, like ColorFront for example. You could then use the ASC CDL to establish your dailies look during the shoot, not while you’re actually shooting, but with the DIT to establish a chosen look that could then be applied to dailies and used for VFX.

Then when you make your way into the final color grading session with the final cut — or whenever you start doing master color grading going back to the original camera source — you would have these initial grading corrections as a starting point as references. This now gives you the possibility of continuing on that color grading process using all the sophistication of a full color corrector, whether it’s power windows or secondary color correction. Whatever you felt you needed to finalize the look.

I was advocating this in the ASC Technology Committee, as it was called, now subsequently renamed the Motion Imaging Technology Council (MITC). We needed a solution like this and there were a group of us who got together and decided that we would do this. There were plenty of people who were skeptical, “Why would you do something like that when we already have lift gain gamma? Why would any of the manufacturers of the different color grading systems integrate this into their system? Would it not impinge upon their competitive advantage if they had a system that people were used to using, and if their own lift gain gamma would work perfectly well for them, why would they want to use the ASC CDL?

We live in a much more fragmented post world, and I saw that becoming even more so with the advances of digital. The ASC CDL would be a “look unifier” that would establish initial look parameters. You would be able to have control over the look at every stage of the way.

I’m assuming that the cinematographer would work with the director and editor, and they would assess certain changes that probably should be made because we’re now looking at cut sequences and what we had thought would be most appropriate when we were shooting is now in the context of an edit and there may need to be some changes and adjustments.

Were you involved in ACES? Was it a similar impetus for ACES coming about? Or was it just spawned because visual effects movies became so big and important with the advent of digital filmmaking?
It was bit of both, including productions without VFX. So I would say that initially it was driven by the fact that there really should be a standardized color management system. Let me give you an example of what I’m talking about. When we were all photochemical and basically shooting with Kodak stock, we were working with film-based Kodak color science.

It’s a color science that everybody knew and understood, even if they didn’t understand it from an engineering photochemical point of view, they understood the effects of it. It’s what helps enable the look and the images that we wanted to create.

That was a color management system that was built into film. That color science system could have been adapted into the digital world, but Kodak resisted that because of the threat to negatives. If you apply that film color science to digital cameras, then you’re making digital cameras look more like film and that could pose a threat to the sale of color film negative.

So that’s really where the birth of ACES came about — to create a universal, unified color management system that would be appropriate anywhere you shot and with the widest possible color gamut. And it supports any camera or display technology because it would always have a more expanded (future proofing) capability within which the digital camera and display technologies would work effectively and efficiently but accurately, reliably and predictably.

Very early on, my ASC Technology Committee (now called Motion Imaging Technology Council) got involved with ACES development and became very excited about it. It was the missing ingredient needed to be able to make the end-to-end digital workflow the success that we thought that it could become. Because we no longer could rely on film-based color science, we had to either replicate that or emulate it with a color management system that could accommodate everything we wanted to do creatively. So ACES became that color management system.

So, in addition to becoming the first cross-platform primary color grading tool, the ASC CDL became the first official ACES look modification transform. Because ACES is not a color grading tool, it’s a color management system, you have to have color grading tools with color management. So you have the color management with ACES, you have the color grading with ASC CDL and the combination of those together is the look management system because it takes them all to make that work. And it’s not that the ASC CDL is the only tool you use for color grading, but it has the portable cross-platform ability to be able to control the color grading from dailies through visual effects up to the final color grade when you’re then working with a sophisticated color corrector.

What do you see for the future of cinematography and the merging of the worlds of post and on-set work and, what do you see as future challenges for future integrations between maintaining the creative intent and the metadata.
We’re very involved in metadata at the moment. Metadata is a crucial part of making all this work, as you well know. In fact, we worked on the common 3D LUT format, which we worked on with the Academy. So there is a common 3D LUT format that is something that would again have cross-platform consistency and predictability. And it’s functionality and its scope of use would be better understood if everyone were using it. It’s a work in progress. Metadata is critical.

I think as we expand the canvas and the palette of the possibility of image making, you have to understand what these technologies are capable of doing, so that you can incorporate them into your vision. So if you’re saying my creative vision includes doing certain things, then you would have to understand the potential of what they can do to support that vision. A very good example in the current climate is HDR.

That’s very controversial in a lot of ways, because the set manufacturers really would love to have everything just jump off the screen to make it vibrant and exciting. However, from a storytelling point of view, it may not be appropriate to push HDR imagery where it distracts from the story.
Well, it depends on how it’s done and how you are able to use that extended dynamic range when you have your bright highlights. And you can use foreground background relationships with bigger depth of field for tremendous effect. They have a visceral presence, because they have a dimensionality when, for example, you see the bright images outside of a window.

When you have an extended dynamic range of scene tones that could add dimensional depth to the image, you can choreograph and stage the blocking for your narrative storytelling with the kind of images that take advantage of those possibilities.

So HDR needs to be thought of as something that’s integral to your storytelling, not just something that’s there because you can do it. That’s when it can become a distraction. When you’re on set, you need a reference monitor that is able to show and convey, all the different tonal and color elements that you’re working with to create your look, from HDR to wider color gamut, whatever that may be, so that you feel comfortable that you’ve made the correct creative decision.

With virtual production techniques, you can incorporate some of that into your live-action shooting on set with that kind of compositing, just like James Cameron started with Avatar. If you want to do that with HDR, you can. The sky is the limit in terms of what you can do with today’s technology.

So these things are there, but you need to be able to pull them all together into your production workflow to make sure that you can comfortably integrate in the appropriate way at the appropriate time. And that it conforms to what the creative vision for the final result needs to be and then, remarkable things can happen. The aesthetic poetry of the image can visually drive the narrative and you can say things with these images without having to be expositional in your dialogue. You can make it more of an experientially immersive involvement with the story. I think that’s something that we’re headed toward, that’s going to make the narrative storytelling very interesting and much more dynamic.

Certainly, and certainly with the advancements of consumer technology and better panels and the high dynamic range developments, and Dolby Vision coming into the home and Atmos audio coming into the home. It’s really an amazing time to be involved in the industry; it’s so fun and challenging.

It’s a very interesting time, and a learning curve needs to happen. That’s what’s driven me from the very beginning and why I think our ASC Motion Imaging Technology Council has been so successful in its 16 years of continuous operation influencing the development of some of these technologies in very meaningful ways. But always with the intent that these new imaging technologies are there to better serve the creative intent of the filmmaker. The technology serves the art. It’s not about the technology per se, it’s about the technology as the enabling component of the art. It enables the art to happen. And expands it’s scope and possibility to broader canvases with wider color gamuts in ways that have never been experienced or possible before.


Barry Goch is a Finishing Artist at The Foundation and a Post Production Instructor at UCLA Extension. You can follow him on Twitter at @gochya.

ASC Awards honor cinematography

At this year’s ASC Awards, Łukasz Żal, PSC, took home Feature Cinematography Award for his work on Cold War. Giorgi Shvelidze won the Spotlight Award for Namme. In the TV categories, winners included Adriano Goldman, ASC, ABC, BSC, for The Crown; Jon Joffin, ASC for Beyond; and James Friend, BSC, for Patrick Melrose.

The 33 rd ASC Awards gala took place tonight in the Ray Dolby Ballroom at Hollywood & Highland, with Ben Mankiewicz from TCM taking his second turn as host.

The complete list of winners and nominees follows:

Theatrical Release Category (presented by John Bailey, ASC)

  • Alfonso Cuarón for “Roma”
  • Matthew Libatique, ASC for “A Star Is Born”
  • Robbie Ryan, BSC, ISC for “The Favourite”
  • Linus Sandgren, ASC, FSF for “First Man”
  • Łukasz Żal, PSC for “Cold War” – WINNER

Spotlight Award Category (presented by George Tillman Jr. and Ellen Kuras, ASC)

  • Joshua James Richards for “The Rider”
  • Giorgi Shvelidze for “Namme” – WINNER
  • Frank van den Eeden, NSC, SBC for “Girl”

Episode of a Series for Non-Commercial Television (presented by Lea Thompson)

  • Gonzalo Amat for “The Man in the High Castle” (Jahr Null)
  • Adriano Goldman, ASC, ABC, BSC for “The Crown” (Beryl) – WINNER
  • David Klein, ASC for “Homeland” (Paean to the People)
  • Colin Watkinson, ASC, BSC for “The Handmaid’s Tale” (The Word)
  • Cathal Watters, ISC for “Peaky Blinders” (The Company)
  • Zoë White, ACS for “The Handmaid’s Tale” (Holly)

Episode of a Series for Commercial Television (presented by Merrin Dungey)

  • Nathaniel Goodman, ASC for “Timeless” (The King of the Delta Blues)
  • Jon Joffin, ASC for “Beyond” (Two Zero One) – WINNER
  • Ben Richardson for “Yellowstone” (Daybreak)
  • David Stockton, ASC for “Gotham” (A Dark Knight: Queen Takes Knight)
  • Thomas Yatsko, ASC for “Damnation” (A Different Species)

Motion Picture, Miniseries, or Pilot Made for Television (presented by Thomas Lennon)

  • James Friend, BSC for “Patrick Melrose” (Bad News) – WINNER
  • Mathias Herndl, AAC for “Genius: Picasso” (Chapter 1)
  • Florian Hoffmeister, BSC for “The Terror” (Go for Broke)
  • M. David Mullen, ASC for “The Marvelous Mrs. Maisel” (Pilot)
  • Brendan Steacy, CSC for “Alias Grace” (Part 1)

This is Żal’s second win. He previously earned a Spotlight Award for his co-cinematography duties with Ryszard Lenczewsk on “Ida.” Goldman also won last year for “The Crown.” Shvelidze, Joffin and Friend are first-time winners.

The Spotlight Award – co-presented by George Tillman Jr., who produced the Oscar®-nominated “Mudbound” and directed this year’s “The Hate U Give” – recognizes cinematography in smaller features that may not receive wider theatrical release or awareness.

Honorary awards also handed out at the event included:

  • The ASC Board of Governors Award was presented to Jeff Bridges by actor-stuntman Loyd Catlett for his significant and indelible contributions to cinema. It is the only ASC Award not given to a cinematographer and is reserved for filmmakers who have been champions for directors of photography and the visual art form. 
  • The ASC Lifetime Achievement Award was given to Robert Richardson, ASC and presented by frequent collaborator, writer-director Quentin Tarantino. 
  • The ASC Career Achievement in Television Award was presented to Jeffrey Jur, ASC by director John Dahl. 
  • The ASC Bud Stone Award of Distinction was given to Franz Kraus, managing director, ARRI Group. This award is presented to an ASC Associate Member who has demonstrated extraordinary service to the society and/or has made a significant contribution to the motion-picture industry.

Main Image: Cold War camera operator Ernest Wilczynski_and John Bailey, ASC. Łukasz Żal, PSC, wasn’t at the ceremony.

The ASC: Mentoring and nurturing diversity

Cynthia Pusheck, ASC, co-chairs the ASC Vision Committee, along with John Simmons, ASC. Working together they focus on encouraging and supporting the advancement of underrepresented cinematographers, their crews and other filmmakers. They hope their efforts inspire others in the industry to help positive change through hiring talent that better reflects society.

In addition to her role on the ASC Vision Committee, Pusheck is a VP of the ASC board. She became a member in 2013. Her credits include Sacred Lies, Good Girls Revolt, Revenge and Brothers & Sisters. She is currently shooting Limetown for Facebook Watch.

To find out more about their work, we reached out to Pusheck.

Can you talk about what the ASC Vision Committee has done since its inception? What it hopes to accomplish?
The ASC Vision Committee was formed in January 2016 as a way for the ASC to actively support those who face unique hurdles as they build their cinematography careers. We’ve held three full-day diversity events, and some individual panel discussions.

We’ve also awarded a number of scholarships to the ASC Master Class and will continue awarding a handful each year. Our mentorship program is getting off the ground now with many ASC members offering to give time to young DPs from underrepresented groups. There’s a lot more that John Simmons (my co-chair) and our committee members want to accomplish, and with the support of the ASC staff, board members and president, we will continue to push things forward.

(L-R) Diversity Day panel: Rebecca Rhine, Dr. Stacy Smith, Alan Caso, Natasha Foster-Owens, Xiomara Comrie, Tema Staig, Sarah Caplan.

The word “progress” has always been part of the ASC mission statement. So, with the goal of progress in mind, we redesigned an ASC red lapel pin and handed it out at the ASC Awards earlier this year (#ASCVision). We wanted to use it to call attention to the work of our committee and to encourage our own community of cinematographers and camera people to do their part. If directors of photography and their department heads (camera, grip and set lighting) hire with inclusivity in mind, then we can change the face of the industry.

What do you think is contributing to more females becoming interested in camera crew careers? What are you seeing in terms of tangible developments?
Gender inequality in this industry has certainly gotten a lot of attention the last few years, which is fantastic but despite all that attention, the actual facts and figures don’t show as much change as you’d think.

The percentage of women or people of color shooting movies and TV shows hasn’t really changed much. There certainly is a lot more “content” getting produced for TV, and that has been great for many of us, and it’s a very exciting time. But, we have a long way to go still.

What’s very hopeful, though, is that more producers and studios are really pushing for inclusivity. That means hiring more women and people of color in positions of leadership, and encouraging their crews to bring more underrepresented crew members onto the production.

Currently we’re also seeing more young female DPs getting some really good shooting opportunities very early in their careers. That didn’t happen so much in the past, and I think that continues to motivate more young women to consider the camera department, or cinematography, as a viable career path.

We also have to remember that it’s not just about getting more women on set, it’s about having our sets look like society at large. The ultimate goal should be that everyone has a fair chance to succeed in this industry.

How can women looking to get into this part of the industry find mentors?
The union (Local 600), and also now the ASC have mentorship programs. The union’s program is great for those coming up the ranks looking for help or advice as they build their career.

For example, an assistant can find another assistant, or an operator, to help them navigate the next phase of their career and give them advice. The ASC mentorship program is aimed more for young cinematographers or operators from underrepresented groups who may benefit from the support of an experienced DP.

Another way to find a mentor is by contacting someone whom you admire directly. Many women would be surprised to find that if they reach out and request a coffee or phone call, often that person will try and find time for them.

My advice would be to do your homework about the person you’re contacting and be specific in your questions and your goals. Asking broad questions like “How do I get a job” or “Will you hire me?” won’t get you very far.

What do you think will create the most change? What are the hurdles that still must be overcome?
Bias and discrimination, whether conscious or unconscious, is still a problem on our sets. It may have lessened in the last 25 years, but we all continue to hear stories about crew members (at all levels) who behave badly, make inappropriate comments or just have trouble working for woman or people of color. These are all unnecessary stresses for those trying to get hired and build their careers.

Kees van Oostrum weighs in on return as ASC president

The American Society of Cinematographers (ASC) has re-elected Kees van Oostrum as president. He will serve his third consecutive term at the organization.

The ASC board also re-upped its roster of officers for 2018-2019, including Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.

Van Oostrum initiated and chairs the ASC Master Class program, which has expanded to locations worldwide under his presidency. The Master Classes take place several times a year and are taught by ASC members. The classes are designed for cinematographers with an intermediate-to-advanced skill set and incorporates practical, hands-on demonstrations of lighting and camera techniques with essential instruction in current workflow practices.

The ASC Vision Committee, founded during van Oostrum’s first term, continues to organize successful symposiums that encourage diversity and inclusion on camera crews, and also offers networking opportunities. The most recent was a standing-room-only event that explored practical and progressive ideas for changing the face of the industry. The ASC will continue to host more of these activities during the coming years.

Van Oostrum has earned two Primetime Emmy nominations for his work on the telefilms Miss Rose White and Return to Lonesome Dove. His peers chose the latter for a 1994 ASC Outstanding Achievement Award. Additional ASC Award nominations for his television credits came for The Burden of Proof, Medusa’s Child and Spartacus. He also shot the Emmy-winning documentary The Last Chance.

A native of Amsterdam, van Oostrum studied at the Dutch Film Academy with an emphasis on both cinematography and directing. He went on to earn a scholarship sponsored by the Dutch government, which enabled him to enroll in the American Film Institute (AFI). Van Oostrum broke into the industry shooting television documentaries for several years. He has subsequently compiled a wide range of some 80-plus credits, including movies for television and the cinema, such as Gettysburg, Gods and Generals and occasional documentaries. He recently wrapped the final season of TV series The Fosters.

The 2018-2019 board who voted in this election includes John Bailey, Paul Cameron, Russell Carpenter, Curtis Clark, Dean Cundey, George Spiro Dibie, Stephen Lighthill, Lowell Peterson, Roberto Schaefer, John Toll and Amelia Vincent. Alternate Board members are Karl-Walter Lindenlaub, Stephen Burum, David Darby, Charlie Lieberman and Eric Steelberg.

The ASC has over 20 committees driving the organization’s initiatives, such as the award-winning Motion Imaging Technology Council (MITC), and the Educational and Outreach committee.

We reached out to Van Oostrum to find out more:

How fulfilling has being ASC President been —either personally or professionally (or both)?
My presidency has been a tremendously fulfilling experience. The ASC grew its educational programs. The masterclass expanded from domestic to international locations, and currently eight to 10 classes a year are being held based on demand (up from four to five from the inaugural year of the master class). Our public outreach activities have brought in over 7,000 students in the last two years, giving them a chance to meet ASC members and ask questions about cinematography and filmmaking.

Our digital presence has also grown, and the ASC and American Cinematographer websites are some of the most visited sites in our industry. Interest from the vendor community has expanded as well, introducing a broader range of companies who are involved in the image pipeline to our members. Then, our efforts to support ASC’s heritage, research and museum acquisitions have taken huge steps forward. I believe the ASC has grown into a relevant organization for people to watch.

What do you hope to accomplish in the coming year?
We will complete our Educational Center, a new building behind the historic ASC clubhouse in Hollywood; produce several online master classes about cinematography; and we also are set to produce two major documentaries about cinematography and will continue to strengthen our role as a technology partner through the efforts of our Motion Imaging Technology Council (formerly the ASC Technology Committee).

What are your proudest achievements from previous years?
I’m most proud of the success of the Master Classes, as well as the support and growth in the number of activities by the Vision Committee. I’m also pleased with the Chinese language edition of our magazine, and having cinematography stories shared in a global way. We’ve also beefed up our overall internal communications so members feel more connected.

Sim and the ASC partner on educational events, more

During Cine Gear recently, Sim announced a 30-year sponsorship with the American Society of Cinematographers (ASC). Sim offers end-to-end solutions for creatives in film and television, and the ASC is a nonprofit focusing on the art of cinematography. As part of the relationship, the ASC Clubhouse courtyard will now be renamed Sim Plaza.

Sim and the ASC have worked together frequently on events that educate industry professionals on current technology and its application to their evolving craft. As part of this sponsorship, Sim will expand its involvement with the ASC Master Classes, SimLabs, and conferences and seminars in Hollywood and beyond.

During an official ceremony, a commemorative plaque was unveiled and embedded into the walkway of what is now Sim Plaza in Hollywood. Sim will also host a celebration of the ASC’s 100th anniversary in 2019 at Sim’s Hollywood location.

What else does this partnership entail?
• The two organizations will work together closely over the next 30 years on educational events for the cinematography community. Sim’s sponsorship will help fund society programs and events to educate industry professionals (both practicing and aspiring) on current technology and its application to the evolving craft.
• The ASC Master Class program, SimLabs and other conferences and seminars will continue on over these 30 years with Sim increasing its involvement. Sim is not telling the ASC what kind of initiatives they should be doing, but is rather lending a helping hand to drive visual storytelling forward. For example, they have already hosted ASC Master Class sessions in Toronto and Hollywood, sponsored the annual ASC BBQ for the last couple of years, and founder Rob Sim himself is an ASC associate member.

How will the partnership will increase programming and resources to support the film and television community for the long term?
• It has a large focus on three things: financial resources, programming assistance and facility support.
• It will provide access and training with world-class technology in film and television.
• It will offer training directly from industry leaders in Hollywood and beyond
• It will develop new programs for people who can’t attend ASC Master Class sessions, such as an online experience, which is something ASC and Sim are working on together.
• It will expand SimLabs beyond Hollywood —with the potential to bring it to Vancouver, Atlanta, New York and Toronto with the goal of creating new avenues for people who are associated with the ASC and who know they can call on Sim.
• It will bring volunteers. Sim has many volunteers on ASC committees, including the Motion Imaging Technology Council and its Lens committee.

Main Image: L-R: Sim President/CEO James Haggarty, Sim founder and ASC associate member Rob Sim,ASC events coordinator Patty Armacost and ASC president Kees van Oostrum.

ASC Award winners include Roger Deakins for Blade Runner 2049

At the 32nd Annual American Society of Cinematographers (ASC) Awards, where cinematographers honor fellow cinematographers, industry legend Roger Deakins, ASC, BSC, won the Theatrical Award for best cinematography in a motion picture for his work on Blade Runner 2049. This is Deakins’ fourth win and his 15th ASC nomination. He previously won for Skyfall (2013), The Man Who Wasn’t There (2002) and The Shawshank Redemption (1995). His other nominations include Unbroken (2015), Prisoners (2014), True Grit (2011), The Reader (2009), Revolutionary Road (2009), The Assassination of Jesse James by the Coward Robert Ford (2008), No Country for Old Men (2008), O Brother, Where Art Thou? (2001), Kundun (1998) and Fargo (1997).

In other categories, Mart Taniel, ESC, was given the Spotlight Award for November. In the TV categories, winners included Adriano Goldman, ASC, ABC, for The Crown; Boris Mojsovski, CSC, for 12 Monkeys; and Mathias Herndl, AAC, for Genius. The awards ceremony took place tonight in the Ray Dolby Ballroom at Hollywood and Highland.

Here is the complete list of winners and nominees:

Theatrical Release Category (presented by Emmanuel Lubezki, ASC, AMC and Matthew Libatique, ASC)

  • Roger Deakins, ASC, BSC for “Blade Runner 2049” – WINNER
  • Bruno Delbonnel, ASC, AFC for “Darkest Hour”
  • Hoyte van Hoytema, ASC, FSF, NSC for “Dunkirk”
  • Dan Laustsen, ASC, DFF for “The Shape of Water”
  • Rachel Morrison, ASC for “Mudbound”

 Spotlight Award Category (presented by John Bailey, ASC)

  • Máté Herbai, HSC for “On Body and Soul”
  • Mikhail Krichman, RGC for “Loveless”
  • Mart Taniel, ESC for “November” – WINNER

 Episode of a Series for Non-Commercial Television (presented by Teri Polo)

  • Gonzalo Amat for “The Man in the High Castle” (Land O’ Smiles) on Amazon
  • Adriano Goldman, ASC, ABC for “The Crown” (Smoke and Mirrors) on Netflix – WINNER
  • Robert McLachlan, ASC, CSC for “Game of Thrones” (The Spoils of War) on HBO
  • Gregory Middleton, ASC, CSC for “Game of Thrones” (Dragonstone) on HBO
  • Alasdair Walker for “Outlander” (The Battle Joined) on Starz

 Episode of a Series for Commercial Television (presented by Sean Astin)

  • Dana Gonzales, ASC for “Legion” (Chapter 1) on FX
  • David Greene, ASC, CSC for “12 Monkeys” (Mother) on Syfy
  • Kurt Jones for “The Originals” (Bag of Cobras) on The CW
  • Boris Mojsovski, CSC for “12 Monkeys” (Thief) on Syfy – WINNER
  • Crescenzo Notarile, ASC for “Gotham” (Mad City: The Executioner) on Fox

 Motion Picture, Miniseries, or Pilot Made for Television (presented by Kerri Kenney-Silver)

  • Pepe Avila del Pino for “The Deuce” pilot on HBO
  • Serge Desrosiers, CSC for “Sometimes the Good Kill” on Lifetime
  • Mathias Herndl, AAC for “Genius” (Einstein: Chapter 1) on National Geographic – WINNER
  • Shelly Johnson, ASC for “Training Day” pilot (Apocalypse Now) on CBS
  • Christopher Probst, ASC for “Mindhunter” pilot on Netflix

 Honorary awards also presented this evening included:

  • The ASC Board of Governors Award was presented to Angelina Jolie by Dean Semler, ASC, ACS (“Maleficent,” “In the Land of Blood and Honey,” “The Bone Collector”) for her significant and indelible contributions to cinema. It is the only ASC Award not given to a cinematographer and is reserved for filmmakers who have been champions for directors of photography and the visual art form.
  • The ASC Lifetime Achievement Award was given to Russell Carpenter, ASC (Oscar winner for “Titanic”) and presented by Dante Spinotti, ASC, AIC (Oscar nominee for “The Insider” and “LA Confidential”)
  • The ASC Career Achievement in Television Award was presented to Alan Caso, ASC (Emmy nominee for “Into the West,” “Six Feet Under,” “George Wallace”) by actor-producer Daniel Dae Kim.
  • Russell Boyd, ASC, ACS (Oscar winner “Master and Commander: The Far Side of the World”) received the ASC International Award from Mandy Walker, ASC, ACS (“Hidden Figures,” “Australia”).
  • Stephen Lighthill, ASC (“Berkeley in the ‘60s,” “Gimme Shelter,” CBS’ “60 Minutes”) was bestowed the ASC Presidents Award by American Film Institute (AFI) President and CEO Bob Gazzale. This award is given not only for the recipient’s body of work, but dedication to the organization and its mission of advancing the art of cinematography through education. Lighthill is currently Senior Filmmaker in Residence: Cinematography at the AFI Conservatory.
  • The ASC Bud Stone Award of Distinction was given to Frieder Hochheim, president and founder of Kino Flo Lighting Systems. This award is presented to an ASC Associate Member who has demonstrated extraordinary service to the society and/or has made a significant contribution to the motion picture industry.

ASC celebrates cinematographers with annual award noms

The nominees for the 32nd Annual ASC Awards for Outstanding Achievement were revealed in all categories at a special event staged at the ASC Clubhouse.

In an announcement that drew cheers, Mudbound cinematographer Rachel Morrison became the first woman to be nominated in the feature category. Joining her in the Theatrical Release category were Roger Deakins for Blade Runner 2049, Bruno Delbonnel for Darkest Hour, Hoyte Van Hoytema for Dunkirk and Dan Laustsen for The Shape of Water.

Laustsen was the other first-time nominee for his work on Guillermo del Toro’s magical The Shape of Water. Deakins, a previous winner of the ASC’s Lifetime Achievement Award, celebrated his 15th nomination in the category. Delbonnel scored his fourth nomination, while Van Hoytema’s work was recognized for the second time.

In the television categories, HBO’s Game of Thrones and Syfy’s 12 Monkeys both received two nominations.

Here’s the complete list of this year’s nominees:

Dunkirk

Theatrical Release

  • Roger Deakins, ASC, BSC for Blade Runner 2049
  • Bruno Delbonnel, ASC, AFC for Darkest Hour
  • Hoyte van Hoytema, ASC, FSF, NSC for Dunkirk
  • Dan Laustsen, ASC, DFF for The Shape of Water
  • Rachel Morrison, ASC for Mudbound

Spotlight Award
(Recognizing outstanding cinematography in feature-length projects that are screened at festivals, internationally or in limited theatrical release.)

  • Máté Herbai, HSC for On Body and Soul
  • Mikhail Krichman, RGC for Loveless
  • Mart Taniel for November

    The Crown

     

Episode of a Series for Non-Commercial Television

  • Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles”) on Amazon
  • Adriano Goldman, ASC, ABC for The Crown (“Smoke and Mirrors”) on Netflix
  • Robert McLachlan, ASC, CSC for Game of Thrones (“The Spoils of War”) on HBO
  • Gregory Middleton, ASC, CSC for Game of Thrones (“Dragonstone”) on HBO
  • Alasdair Walker for Outlander (“The Battle Joined”) on Starz

 Episode of a Series for Commercial Television

  • Dana Gonzales, ASC for Legion (“Chapter 1”) on FX
  • David Greene, ASC, CSC for 12 Monkeys (“Mother”) on Syfy
  • Kurt Jones for The Originals (“Bag of Cobras”) on The CW
  • Boris Mojsovski, CSC for 12 Monkeys (“Thief”) on Syfy
  • Crescenzo Notarile, ASC for Gotham (“The Executioner”) on Fox

Motion Picture, Miniseries, or Pilot Made for Television

  • Pepe Avila del Pino for The Deuce pilot on HBO
  • Serge Desrosiers, CSC for Sometimes the Good Kill on Lifetime
  • Mathias Herndl, AAC for Genius (“Chapter 1”) on National Geographic
  • Shelly Johnson, ASC for the Training Day pilot (“Apocalypse Now”) on CBS
  • Christopher Probst, ASC for the Mindhunter pilot on Netflix

The winners will be announced at a ceremony on February 17 in Hollywood, emceed this year by Ben Mankiewicz, a longtime host on Turner Classic Movies (TCM).

Main Photo: The Shape of Water

ASC TV nominees and their reactions

The American Society of Cinematographers has named its nominees for the 29th Annual Outstanding Achievement in Cinematography Awards. The winners will be given their statuettes on February 15, during a ceremony in Los Angeles.

“Our members had a very difficult time choosing these nominees from such an incredible field of submissions,” said ASC president Richard Crudo. “They have done superlative work in a very challenging medium, and we salute them.”

The nominees for Episode of a Regular Series are: P.J. Dillon for Vikings, “Blood Eagle” (History); Jonathan Freeman, ASC, for Boardwalk Empire, “Golden Days for Boys and Girls” (HBO); Anette Haellmigk for Game of Thrones, “The Children” (HBO); Christopher Norr for Gotham, “Spirit of the Goat” (Fox); Richard Rutkowski for Manhattan, “Perestroika” (WGN Continue reading

‘Gravity’ earns top film honor from American Society of Cinematographers

Hollywood— At this past weekend’s ASC Awards show, Emmanuel Lubezki, ASC, AMC; Jeremy Benning, CSC; Jonathan Freeman, ASC and Blake McClure earned top honors in the four competitive categories at the 28th Annual American Society of Cinematographers (ASC) Awards for Outstanding Achievement.

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