Tag Archives: ASC

The 5th annual Art of Cinematography speaker series set for NYC

Manhattan Edit Workshop’s “Sight, Sound & Story: The Art of Cinematography” returns to New York City on November 14, taking place at the NYIT Auditorium Theater on Broadway.

This year’s line-up features cinematographers Dean Cundey, ASC, (Jurassic Park, Halloween, Who Framed Roger Rabbit, Back to the Future, Apollo 13), Tom Hurwitz, ASC, (American Dream, Harlan County U.S.A., The Queen of Versailles), Claudia Raschke (RBG, God is the Bigger Elvis) and Tom Houghton, ASC, (Elementary, American Horror Story: Coven, Rescue Me).

Moderators include David Leitner (director/cinematographer), Jim Kamp (producer) and Tony Wisniewski (Zeiss’marketing manager).

Here is the evening’s schedule:

4:15pm – 5:30pm – In The Moment: The Art of Cinematography in Documentary Filmmaking
Panelists: Tom Hurwitz, ASC, Claudia Raschke

5:45pm – 6:45pm – The New Age of TV: Bringing the Look of Cinema to the Small Screen

Panelist: Tom Houghton, ASC

7:00pm – 8:30pm – Behind the Lens: A Conversation with Oscar-nominated cinematographer Dean Cundey, ASC

Seating is limited. You can purchase tickets here. Cost includes a ticket to all panels and networking party with an open bar, hors d’oeuvres and sponsored giveaways.

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 names film, TV nominees, Top 100 films

The American Society of Cinematographers (ASC) has announced the nominees for all categories of its 33rd Annual ASC Outstanding Achievement Awards.

Winners will be named at the awards gala on February 9 at the Ray Dolby Ballroom at Hollywood and Highland.

This year’s nominees are:

Theatrical Release
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

Spotlight Award
• Joshua James Richards for The Rider
• Giorgi Shvelidze for Namme
• Frank van den Eeden, NSC, SBC for Girl

Episode of a Series for Non-Commercial Television
• Gonzalo Amat for The Man in the High Castle, “Jahr Null”
• Adriano Goldman, ASC, ABC for The Crown, “Beryl”
• David Klein, ASC for Homeland, “Paean to the People”
• Colin Watkinson, ASC 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
• Nathaniel Goodman, ASC for Timeless, “The King of the Delta Blues”
• Jon Joffin, ASC for Beyond, “Two Zero One”
• 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
• James Friend, BSC for Patrick Melrose, “Bad News”
• 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 year’s awards ceremony will not only honor the most artful cinematography of 2018 but will also celebrate the ASC’s 100th anniversary. As part of the centennial celebrations, the Society released their members’ list of the 100 milestone films in the art and craft of cinematography of the 20th century.

Organized by Steven Fierberg, ASC, (The Affair, Good Girls Revolt, Entourage) and voted on by ASC members, it showcases the best of cinematography as selected by professional cinematographers.

The list represents a range of styles, eras and visual artistry, but most importantly, it commemorates films that are inspirational or influential to ASC members and have exhibited enduring influence to generations of filmmakers.

The Top 10 are:

1. Lawrence of Arabia (1962), shot by Freddie Young, BSC (Dir. David Lean)
2. Blade Runner (1982), shot by Jordan Cronenweth, ASC (Dir. Ridley Scott)
3. Apocalypse Now (1979), shot by Vittorio Storaro, ASC, AIC (Dir. Francis Ford Coppola)
4. Citizen Kane (1941), shot by Gregg Toland, ASC (Dir. Orson Welles)
5. The Godfather (1972), shot by Gordon Willis, ASC (Dir. Francis Ford Coppola)
6. Raging Bull (1980), shot by Michael Chapman, ASC (Dir. Martin Scorsese)
7. The Conformist (1970), shot by Vittorio Storaro, ASC, AIC (Dir. Bernardo Bertolucci)
8. Days of Heaven (1978), shot by Néstor Almendros, ASC (Dir. Terrence Malick)
9. 2001: A Space Odyssey (1968), shot by Geoffrey Unsworth, BSC with additional photography by John Alcott, BSC (Dir. Stanley Kubrick)
10. The French Connection (1971), shot by Owen Roizman, ASC (Dir. William Friedkin)

 Main Image: Roma

DP Chat: Polly Morgan, ASC, BSC

Cinematographer Polly Morgan, who became an active member of the ASC in July, had always been fascinated with films, but she got the bug for filmmaking as a teenager growing up in Great Britain. A film crew shot at her family’s farmhouse.

“I was fixated by the camera and cranes that were being used, and my journey toward becoming a cinematographer began.”

We reached out to Morgan recently to talk about her process and about working on the FX show Legion.

What inspires you artistically? And how do you simultaneously stay on top of advancing technology that serves your vision?
I am inspired by the world around me. As a cinematographer you learn to look at life in a unique way, noticing elements that you might not have been aware of before. Reflections, bouncing light, colors, atmosphere and so many more. When I have time off, I love to travel and experience different cultures and environments.

I spend my free time reading various periodicals to stay of top of the latest developments in technology. Various publications, such as the ASC’s magazine, help to not only highlight new tools but also people’s experiences with them. The filmmaking community is united by this exploration, and there are many events where we are able to get together and share our thoughts on a new piece of equipment. I also try to visit different vendors to see demos of new advances in technology.

Has any recent or new technology changed the way you work?
Live on-set grading has given me more control over the final image when I am not available for the final DI. Over the last two years, I have worked more on episodic television, and I am often unable to go and sit with the colorist to do the final grade, as I am working on another project. Live grading enables me to get specific with adjustments on the set, and I feel confident that with good communication, these adjustments will be part of the final look of the project.

How do you go about choosing the right camera and lenses to achieve the right look for a story?
I like to vary my choice of camera and lenses depending on what story I am telling.
When it comes to cameras, resolution is an important factor depending on how the project is going to be broadcast and if there are specific requirements to be met from the distributor, or if we are planning to do any unique framing that might require a crop into the sensor.

Also, ergonomics play a part. Am I doing a handheld show, or mainly one in studio mode? Or are there any specifications that make the camera unique that will be useful for that particular project? For example, I used the Panasonic VariCam when I needed an extremely sensitive sensor for night driving around downtown Los Angeles. Lenses are chosen for contrast and resolution and speed. Also, sometimes size and weight play a part, especially if we are working in tight locations or doing lots of handheld.

What are some best practices, or rules, you try to follow on each job?
Every job is different, but I always try to root my work in naturalism to keep it grounded. I feel like a relatable story can have the most impact on its viewer, so I want to make images that the audience can connect with and be drawn into emotionally. As a cinematographer, we want our work to be invisible but yet always support and enhance the narrative.

On set, I always ensure a calm and pleasant working environment. We work long and bizarre hours, and the work is demanding so I always strive to make it an enjoyable and safe experience for everyone,

Explain your ideal collaboration with the director when setting the look of a project.
It is always my aim to get a clear idea of what the director is imagining when they describe a certain approach. As we are all so different, it is really about establishing a language that can be a shorthand on set and help me to deliver exactly what they want. It is invaluable to look at references together, whether that is art, movies, photography or whatever.

As well as the “look,” I feel it is important to talk about pace and rhythm and how we will choose to represent that visually. The ebb and flow of the narrative needs to be photographed, and sometimes directors want to do that in the edit, or sometimes we express it through camera movement and length of shots. Ideally, I will always aim to have a strong collaboration with a director during prep and build a solid relationship before production begins.

How do you typically work with a colorist?
This really varies from project to project, depending if I am available to sit in during the final DI. Ideally, I would work with the colorist from pre-production to establish and build the look of the show. I would take my camera tests to the post house and work on building a LUT together that would be the base look that we work off while shooting.

I like to have an open dialogue with them during the production stage so they are aware and involved in the evolution of the images.

During post, this dialogue continues as VFX work starts to come in and we start to bounce the work between the colorist and the VFX house. Then in the final grade, I would ideally be in the room with both the colorist and the director so we can implement and adjust the look we have established from the start of the show.

Tell us about FX’s Legion. How would you describe the general look of the show?
Legion is a love letter to art. It is inspired by anything from modernist pop art to old Renaissance masters. The material is very cerebral, and there are many mental planes or periods of time to express visually, so it is a very imaginative show. It is a true exploration of color and light and is a very exciting show to be a part of.

How early did you get involved in the production?
I got involved with Legion starting in Season 2. I work alongside Dana Gonzales, ASC, who established the look of the show in Season one with creator Noah Hawley. My work begins during the production stage when I worked with various directors both prepping and shooting their individual episodes.

Any challenging scenes that you are particularly proud of how it turned out?
Most of the scenes in Legion take a lot of thought to figure out… contextually as well as practically. In Season 2, Episode 2, a lot of the action takes place out in the desert. After a full day, we still had a night shoot to complete with very little time. Instead of taking time to try to light the whole desert, I used one big soft overhead and then lit the scene with flashlights on the character’s guns and headlights of the trucks. I added blue streak filters to create multiple horizontal blue flares from each on-camera source (headlights and flashlights) that provided a very striking lighting approach.

FX’s Legion, Season 2, Episode 2

With the limited hours available, we didn’t have enough time to complete all the coverage we had planned so, instead, we created one very dynamic camera move that started overhead looking down at the trucks and then swooped down as the characters ran out to approach the mysterious object in the scene. We followed the characters in the one move, ending in a wide group shot. With this one master, we only ended up needing a quick reverse POV to complete the scene. The finished product was an inventive and exciting scene that was a product of limitations.

What’s your go-to gear (camera, lens, mount/accessories you can’t live without)?
I don’t really have any go-to gear except a light meter. I vary the equipment I use depending on what story I am telling. LED lights are becoming more and more useful, especially when they are color- and intensity-controllable and battery-operated. When you need just a little more light, these lights are quick to throw in and often save the day!

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 names Eric Rodli executive director

Eric Rodli has been named executive director of the American Society of Cinematographers (ASC). Rodli, an ASC associate member since 2001, has served six years as co-chair of the ASC Motion Imaging Technology Council’s Cinema Display Committee. He co-authored the committee’s 2016 white paper “Cinema Display Evaluation Plan and Test Protocol,” which explores the key image quality parameters of dynamic range, color space and overall luminance, as well as suggesting testing parameters.

He has also been a member of the Academy of Motion Picture Arts and Sciences Task Force on Content Preservation, and has participated in numerous industry panels ranging on topics from digital media distribution to projection.

Rodli served as president at Iwerks Entertainment, Bexel and Kodak’s motion picture film division, and most recently as CFO of BeBop Technologies. He has worked on many creative and technical initiatives across multiple industry sectors, dating back to pioneering the use of the first generation of HD cameras, as well as 3D projection, digital streaming technology and laser projection systems. His strategic and hands-on experience in the imaging chain has fueled his belief that technology should serve the artist.

Focused on education, the ASC hosts many programs, including the ASC Master Classes, Student Heritage Awards, Coffee and Conversation Q&As with cinematographers and panel discussions by the Education and Outreach Committee. The efforts of the ASC Motion Imaging Technology Council (MITC) since 2003 have shaped the standards and practices of cinematography for digital workflows, with the group and its committees working closely with the Academy’s Sci-Tech Council and SMPTE. The ASC Vision Committee also holds events to foster diversity and equality on camera crews.

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

Sony adds 36×24 full-frame camera to CineAlta line

Sony has introduced Venice, the company’s first full-frame digital motion picture camera system and the newest of its CineAlta camera lineup, which is designed to expand the filmmaker’s creative freedom through immersive, large-format, full-frame capture of filmic imagery that enables production of natural skin tones, elegant highlight handling and wide dynamic range.

Venice was officially unveiled on September 6 to American Society of Cinematographers (ASC) members and a range of other industry pros. Sony also screened the first footage shot with Venice, a short film, The Dig, that was produced in anamorphic, written and directed by Joseph Kosinski, and shot by Academy Award-winning cinematographer Claudio Miranda, ASC.

The new sensor.

“We really went back to the drawing board for this one,” says Peter Crithary, marketing manager, Sony Electronics. “It is our next-generation camera system, a ground-up development initiative encompassing a completely new image sensor. We carefully considered key aspects such as form factor, ergonomics, build quality, ease of use, a refined picture and painterly look — with a simple, established workflow. We worked in close collaboration with film industry professionals. We also considered the longer-term strategy by designing a user-interchangeable sensor that is as quick and simple to swap as removing four screws, and can accommodate different shooting scenarios as the need arises.”

Venice features a newly developed 36x24mm full-frame sensor to meet the demands of feature filmmaking. Full frame offers the advantages of compatibility with a wide range of lenses, including anamorphic, Super 35mm, spherical and full-frame PL mount lenses for a greater range of expressive freedom with shallow depth of field. The lens mount can also be changed to support E-mount lenses for shooting situations that require smaller, lighter and wider lenses. User-selectable areas of the image sensor allow shooting in Super 35mm 4-perf. Future firmware upgrades are planned to allow the camera to handle 36mm-wide 6K resolution. Fast image scan technology minimizes “Jello” effects.

A new color management system with an ultra-wide color gamut gives users more control and greater flexibility in working with images during grading and post production. Venice also has more than 15 stops of latitude to handle challenging lighting situations from low light to harsh sunlight with a gentle roll-off handling of highlights.

Venice uses Sony’s 16-bit RAW/X-OCN via the AXS-R7 recorder, and 10-bit XAVC workflows. The new camera is also compatible with current and upcoming CineAlta camera hardware accessories, including the DVF-EL200 full-HD OLED viewfinder, AXS-R7 recorder, AXS-CR1 and high-speed Thunderbolt-enabled AXS-AR1 card reader, using established AXS and SxS memory card formats.

Venice has a fully modular and intuitive design with functionality refined to support simple and efficient on-location operation. It is the film industry’s first camera with a built-in stage glass ND filter system, making the shooting process efficient and streamlining camera setup. The camera is designed for easy operation with an intuitive control panel placed on the assistant and operator sides of the camera. A 24-V power supply input/output and LEMO connector allow use of many standard camera accessories designed for use in harsh environments.

Users can customize Venice by enabling the features needed, matched to their individual production requirements. Optional licenses will be available in permanent, monthly and weekly durations to expand the camera’s capabilities, with new features including 4K anamorphic and full frame sold separately.

The Venice CineAlta digital motion picture camera system is scheduled to be available in February 2018.

Sight, Sound & Story takes on cinematography

By Daniel Rodriguez

Manhattan Edit Workshop’s recent Sight, Sound & Story: Art of Cinematography in New York City featured two one-hour panels: “Thinking In Pictures — Perspectives, Compositions, Lighting and Mood” and “Life Behind the Lens: DPs Talk Careers and Creativity in Film and Television.” The first focused on documentary work and the second on narrative-based storytelling. Both sparked questions and ideas in the head of this DP, including what roles and responsibilities cinematographers play in the storytelling process.

Docs
“Thinking In Pictures — Perspectives, Compositions, Lighting and Mood,” moderated by DP David Leitner, featured fellow cinematographers Wolfgang Held and Kirsten Johnson. Johnson’s documentary Cameraperson has made the Academy Awards Documentary shortlist.

The role of a cameraperson is essential to any film, narrative or documentary, but especially in the documentary world where much of the action is unplanned or out of one’s control. Johnson remarked how “we all live in a new way of filming and being filmed.” So, while much of their talk reflected on their own careers, they also looked toward the future. Her statement made me think about the current state of filming and seeing how stories are becoming much easier to tell thanks to technology that ranges from high-end digital cinema cameras to the ever-improving video quality of cellphones.

It brought to mind the saying, “the best camera is the one you have with you,” as some of the most stunning documentation of the human condition in the past decade have been on phones and lower-end cameras. Today’s ability to capture images is a far cry from a time when Super 8 and 16mm were the few feasible formats for documentary work — even then, the technology limited the possibilities due to technical skill or the unfortunate reality of a film magazine running out and the precious few minutes one might lose while reloading.

Working off older terms like “reloading,” all three on the stage expressed their distaste with the term “shooter.” They emphasized how they weren’t shooting any firearms and, if anything, the real shooters were the ones pointing guns at them — this had them reflecting on the death of Leonardo Henrichsen, a cameraperson who filmed his death while staring down a rifle’s barrel as a soldier fired at him during Salvador Allende’s rule in Chile.

Oftentimes camerapersons have to live in the moment, whether in narrative or documentary to judge the conditions they’re in and make decisions that’ll maximize their coverage and approach. To paraphrase Johnson, she made the brilliant observation that “directors work by anticipating what happens next, while a cameraperson nourishes in the present.” Regardless of filming background, whether documentary or narrative, this statement rings true because time is usually the most pressing factor in the field or on set.

While I do believe that a cameraperson must be somewhat aware of what they are striving to tell or cover, this feeling of nourishing in the present permits one to be flexible with how the given moment affects mood and emotion. I’m going to paraphrase once more — Cartel Land director Matthew Heineman has said, “If the documentary you were looking to shoot is the same one you get at the end then you weren’t paying attention.” The statement that Johnson made only enforces this idea because you must be able to fully immerse yourself in that moment in order to truly understand how to capture it.

Possibly the most simple and effective statement hat really summarized the role of a cameraperson was from moderator Leitner. He said, “Every shot matters.” While that is a very general statement, it does raise many questions regarding the cameraperson’s role in today’s world. Since we are now living in a predominantly digital age where truly cinematic images can be captured easily and on cheaper prosumer cameras, our artistic roles as cinematographers and camerapersons come down to the intuition we have as artists to make every shot matter.

With the advent of digital cinematography, excessive coverage and the ability to shoot longer has now become part of the norm; oftentimes this is a sacrifice of quality for the sake of having more to work with. Coming from analog film backgrounds, each person on the panel, specifically Leitner, emphasized how this finite length of film made the utmost care and attention go into every shot.

Wolfgang Held most effortlessly showed this approach as he screened bits from the latest film he worked on as cinematographer, Sophie and the Rising Sun was largely shot handheld, but unlike this feeling of over-coverage, each shot feels thought out and effective in adding to the story. The role of a cameraperson is an ever-changing one, especially in our current age, and as technology becomes more accessible to many the emphasis will always be on the artist and their approach.

Narrative
“Life Behind The Lens: DPs Talk Careers and Creativity in Films and Television” was moderated by cinematographer Marcin Kapron and featured Eric Lin, Eric Alan Edwards and Vanja Černjul, ASC. All four cinematographers come from a narrative-based background and they reflected on the moments that inspired their career choices and projects they’ve worked on.

I loved hearing how each panelist began in the industry. They all came from different walks of life and have built their careers in different fields, ranging from television to indie films to major blockbusters. As a young DP, it was very exciting to hear that they each shared a persistent and infinitely curious approach to creating images from early on, mostly originating through stills photography and related techniques.

Each pro screened clips from projects and discussed their approach on set and the technical challenges they each faced. The talk eventually looked toward the future and newer storytelling formats, such as high frame rate, HDR, and 4K projection. All agreed that there has yet to be a common standard set for newer methods of displaying these new formats. Despite this, each panelist agreed that there is definitely potential in these formats, especially in HDR which Vanja has direct experience with, shooting episodes of Marco Polo for Netflix, which requesedt an HDR version for delivery.

Speaking with Vanja directly after the event and having spoken with the colorist who collaborated with him on the SDR and HDR versions, Dado Valentic, the biggest challenge with HDR is having ways of displaying and monitoring on set in a cost-effective way. Ultimately, each panelist agreed that these are simply tools to aid and provide new methods of storytelling and, as cinematographers, they’re excited for the future.

Summing Up
We currently live in an industry where the tools that were once exclusive to camerapersons and cinematographers are now affordable, compact and available to anyone. Listening to these panelists talk about their experiences and opinions on the future was exhilarating and encouraging. Regardless of whether you work on narrative or documentary fare, ultimately comes down to the role of the artist to bring their unique approach and creative work ethic to make every shot matter.


Daniel Rodriguez is cinematographer and photographer living in New York City. Check out his work here. Dan took many of the pictures featured in this article. He is credited with the photos in this piece.

Rotolight Anova Pro LEDs shipping with updated feature set

The Anova Pro, from British LED lighting company Rotolight, is now shipping with an enhanced feature set for use in studios and on location. Featuring five patented effects, the Anova Pro includes CineSFX, which provides customizable cinematic lighting, including common effects like fire, lightning, TV, film, neon and spark simulation, and more novel effects, such as police, paparazzi and gunshot visual effects. CineSFX can now be used with a wired remote trigger for wireless as well.

The light also includes FX Slave, enabling CineSFX effects to be slaved to up to 512 third-party light sources in realtime with zero latency; True Aperture Dimming, which calculates and displays F-stop for a subject at a given distance; Designer Fade, which provides custom fade up/down production effects; and High Speed Sync Flash, providing a powerful HSS flash with zero recycle time at 150 percent of the maximum continuous light output for traditional photographic workflows.

DP Roy H. Wagner, ASC, on set, with the Rotolight, and his dog!

Recently, DP Roy H. Wagner, ASC, (Ray Donovan, Elementary, House) met a long-term goal using a Rotolight system. “I’ve often spoken of simplicity of image creation and had wished to do a feature with just one light and one lens. Of course, this seldom happens, but I was given the encouragement to do just that on an independent feature, Trouble Sleeping. I chose the Rotolight system to pursue this goal for it had proven to me that it could accurately reproduce the color and power that I needed.

“It survived the rough handling of the everyday professional production crews who have very little time to ‘baby’ any equipment, and it was easily controllable from the back of the unit or from my iPhone,” he continues. “LED lighting is also very tough on actors’ eyes, but Rotolight has found a way of filtering that notch of blue wavelength that is harsh and difficult on the eyes. My crew was also pleased with how easily controlled and mounted the units are.”

Quick Chat with new ASC president Kees Van Oostrum

The Board of Governors of the American Society of Cinematographers (ASC) has elected Kees Van Oostrum as its president. This is Oostrum’s first term, which will run for one year, beginning immediately. The ASC Board also selected its slate of officers, which includes Bill Bennett, Dean Cundey and Lowell Peterson as VPs; Levi Isaacs as treasurer; Fred Goodich as secretary; and Roberto Schaefer as sergeant-at-arms.

“It is our task as an organization to educate the industry on the value of the cinematographer as the author of the images, to be involved in advancing imaging technology, and most importantly, to promote our artistry,” said Amsterdam native Van Oostrum.

Van Oostrum previously served as VP and has fulfilled other ASC board roles over the years. He is also the chairman and originator of the ASC Master Class, which takes place five times a year. The Master Class is one of several educational initiatives of the ASC. Inaugurated in 2013, the five-day course is taught by award-winning cinematographers and is designed for cinematographers with an intermediate-to-advanced skill set. It incorporates practical, hands-on demonstrations of lighting and camera techniques with essential instruction in current workflow practices.

In addition to the Master Class, other efforts of the organization include its Student Heritage Awards, Breakfast Club seminars, panel discussions by the Education and Outreach committee, the Friends of the ASC membership, and the ongoing committee collaborations with other industry participants vital to the image-making process. Possibly the most notable is the ASC Technology Committee, which has proven unique in its ability to shape the standards and practices of cinematography for digital workflows

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. Currently, he serves as director of photography on The Fosters which airs on Freeform.

Van Oostrum studied at the Dutch Film Academy with an emphasis on both cinematography and directing, and 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 and Gods and Generals, and occasional documentaries.

Shortly after this news, we reached out to Van Oostrum with a couple of questions:

As a cinematographer yourself, what does it mean to you to now be president of the organization?
As ASC president I need to listen to and guide the membership in making decisions on key issues that impact all cinematographers in our international industry. In researching and addressing those issues, I plan to lead the process in a civilized and transparent way. Hopefully, those efforts will result in a greater understanding of what cinematographers do, why our work is so important to every production, and how we can help all of our collaborators excel — ideally, while helping the entire industry move forward, both technically and artistically.

You are already a big believer in educational initiatives, such as the ASC Master Class. What’s next?
Education is the strength of our future, and it’s the foundation for keeping cinematography both relevant and progressive as a creative craft. I consider us first and foremost to be visual artists and managers of a team. We need to stay up to date on imaging technologies and techniques. No one knows everything, but the ASC is supportive in providing an endless stream of knowledge to our members, to peers and to students.

What do you hope to accomplish in this role over the next year?
I would like cinematographers to feel like “Rembrandt” again. Our profession, like others in the filmmaking industry, has been democratized by technology. Cinematographers do much more than just “seeing”— we tell stories and we can create memorable images that evoke emotion.

In the end, every artist is edited. Rembrandt’s “Nightwatch” had the sides chopped off because it did not fit between two doors, but when you enter the exhibition room to see it, you become momentarily breathless — the world around you disappears, and you leave the room a different person. That’s the “Rembrandt” business, and that’s what we do as cinematographers.

Quick Chat: DP Dejan Georgevich, ASC

By Randi Altman

Long-time cinematographer Dejan Georgevich, ASC, has been working in television, feature film production and commercials for over 35 years. In addition to being on set, Georgevich regularly shares his experience and wisdom as a professor of advanced cinematography at New York’s School of Visual Arts.

Georgevich’s TV credits include the series Mercy, Cupid, Hope & Faith, The Book of Daniel and The Education of Max Bickford. In the world of documentaries, he has worked on HBO’s Arthur Ashe: Citizen of the World, PBS’ A Wayfarer’s Journey: Listening to Mahler and The Perfumed Road.

One of his most recent projects was as DP on Once in a Lifetime, a 30-minute television pilot about two New Jersey rockers trying to make it in the music business. The show’s musical roots are real — Once in a Lifetime was written by Iron Maiden’s bass player and songwriter, Stephen Harris.

Georgevich, who was in Australia on a job, was kind enough to use some of his down time to answer our questions about shooting, lighting, inspiration and more. Enjoy…

How did you decide TV production and cinematography, in particular, would be your path?
Perhaps it all started when I hauled around a Bell & Howell projector half my size in elementary school, showing films to an assembly of kids transfixed to a giant screen. Working on the stage crew in middle school revealed to me that I was “a fish to water” when it came to lighting.

You work on a variety of projects. How does your process change, if at all, going from a TV spot to a TV series to a documentary, etc.?
Each genre informs the other and has made me a better storyteller. For example, my work in documentaries demands being sensitive to anticipating and capturing the moment. The same skills translate perfectly when shooting dramas, which require making the best choices that visually express the idea, mood and emotion of a scene.

How do you decide what is the right camera for each job? Or do you have a favorite that you use again and again?
I choose a camera that offers the widest dynamic range, renders lovely skin tones, a natural color palette, and is user-friendly and ergonomic in handling. My camera choice will also be influenced by whether the end result will be projected theatrically on a big or small screen.

Once in a Lifetime

You used the Panasonic Varicam 35 on the TV pilot Once in a Lifetime. Why was this the right camera for this project, and was most of the shooting outdoors?
Once in a Lifetime was an independently financed TV pilot, on a tight schedule and budget, requiring a considerable amount of shooting in low-light conditions. This production demanded speed and a limited lighting package because we were shooting on-location night interiors/exteriors, including nightclubs, rooftops, narrow tenement apartments and dimly-lit city streets. Panasonic Varicam 35’s dual ISO of 800 and 5000 provided unbelievable image capture in low-light conditions, rendering rich blacks with no noise!

What were some of the challenges of this project? Since it was a pilot, you were setting a tone for the entire series. How did you go about doing that?
The biggest challenge for me was to “re-educate my eye” working with the Panasonic Varicam 35, which sees more than what my eye sees, especially in darkness. To my eye, a scene would look considerably under-lit at times, but surpringly the picture on the monitor looked organic and well motivated. I was able to light predominately with LEDs and low-wattage lights augmenting the practicals or, in the case of the rooftop, the Manhattan night skyline. House power and/or portable put-put generators were all that was necessary to power the lights.

The pilot’s tone, or look, was achieved using the combination of wide-angle lenses and high-contrast lighting, not only with light and shadow but with evocative primary and secondary colors. This is a comedic story about two young rockers wanting to make it in the music business and their chance meeting with a rock ’n’ roll legend offering that real possibility of fulfilling their dreams.

How did you work with the DIT on this project, and on projects in general?
I always prefer and request a DIT on my projects. I see my role as the “guardian of the image,” and having a DIT helps preserve my original intent in creating the look of the show. In other words, with the help of my DIT, I like to control the look as much as possible in-camera during production. I was very fortunate to have Dave Satin as my DIT on the pilot — we have worked together for many years — and it’s very much like a visual  pitcher/catcher-type of creative relationship. What’s more, he’s my second set of eyes and technical insurance against any potential digital disaster.

Can you talk about lighting? If you could share one bit of wisdom about lighting, what would it be?
As with anything to do with the arts, I believe that lighting should be seamless. Don’t wear it on your sleeve. Keep it simple… less is best! Direction of light is important as it best describes a story’s soul and character.

What about working with colorists after the shoot. Do you do much of that?
As a DP, I believe it’s critically important that we are active participants in post color correction. I enjoy outstanding collaborations with some of the top colorists in the business. In order to preserve the original intent of our image we, as directors of photography, must be the guiding hand through all phases of the workflow. Today, with the advent of digital image capture, the cinematographer must battle against too many entities that threaten to change our images into something other than what was originally intended.

What inspires you? Fine art? Photography?
I make it a point to get my “creative fix” by visiting art museums as often as possible. I’m inspired by the works of the Grand Master painters and photographers — the works of Rembrandt, Vermeer, Caravaggio, Georges de la Tour, Edward Hooper, Henri Cartier Bresson, William Eggelston — too many to name!  Recreating the world through light and perspective is magical and a necessary reminder of what makes us alive!

What haven’t I asked that you feel is important to talk about?
We’re currently experiencing a digital revolution that is being matched by an emerging revolution in lighting (i.e. LED technology). The tools will always change, but it’s our craft reflecting the heart and mind that remains constant and so important.

‘Beasts of No Nation’, ‘Macbeth,’ ‘Son of Saul’ nominated for ASC Spotlight

The American Society of Cinematographers (ASC) has nominated three cinematographers for the 2016 Spotlight Award, which recognizes outstanding cinematography in feature-length projects that are screened at festivals, internationally or in limited theatrical release. The winner will be announced at the 30th ASC Awards on February 14.

The 2016 nominees are Adam Arkapaw for Macbeth, Mátyás Erdély, HSC, for Son of Saul and Cary Joji Fukunaga (our main image) for Beasts of No Nation.

Adam Arkapaw on Macbeth

“Our panel had a wealth of material to choose from and worked very hard to determine the best in visual artistry and craftsmanship in this category,” said ASC President Richard Crudo.

For the Spotlight Award, ASC members submit entries for consideration that go before a Blue Ribbon panel that choose the nominees. All active members may vote to select the winner.
“Each nominated film evokes intense emotions through its cinematography,” said Daryn Okada, chairman of the ASC Awards. “Their commitment to the visual narrative of their stories and characters are an integral part of the cinematic experience.”

Macbeth, directed by Justin Kurzel, premiered at the 2015 Cannes Film Festival. It’s been recognized by critics, festivals and industry organizations worldwide.

son of saul

Mátyás Erdély, HSC, was nominated for Son of Saul.

Son of Saul from director László Nemes won the Grand Prize of the Jury Award at the 2015 Cannes Film Festival, and went on to win the Bronze Frog at Camerimage, the international film festival of cinematography. It also won a Golden Globe and has been recognized by several critics and organizations

Beasts of No Nation, also directed by Fukunaga, premiered at the 2015 Venice Film Festival. It was the first feature film produced by Netflix, which received a limited theatrical release in addition to streaming on Netflix simultaneously. Beasts of No Nation has received Golden Globe, BAFTA and Spirit Award nominations, among other accolades.

Last year, Peter Flickenberg won the Spotlight Award for director Pirjo Honkasalo’s Concrete Night (Betoniyö).

 

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.

Continue reading

American Society of Cinematographers names television nominees

LOS ANGELES — The American Society of Cinematographers (ASC) has selected its television nominees for the organization’s 28th Annual Outstanding Achievement Awards.

The winners will be announced at the ASC Awards Show (www.theasc.com) on February 1  in Hollywood.

The nominees in each of the three categories are:
One-Hour Episodic Television Series
• Steven Bernstein, ASC for Starz Network’s Magic City (“The Sins of the Father”)
• David Franco for HBO’s Boardwalk Empire (“Erlkönig”)
• Jonathan Freeman, ASC for HBO’s Game of Thrones (“Valar Dohaeris”)
• Pierre Gill, CSC for Showtime’s The Borgias (“The Purge”)
• David Greene, CSC for The CW’s Beauty and the Beast (“Tough Love”)
• Anette Haellmigk for HBO’s Game of Thrones (“Kissed by Fire”)
• Kramer Morgenthau, ASC for Fox’s Sleepy Hollow (“Pilot”)
• Ousama Rawi, BSC, CSC for NBC’s Dracula (“The Blood is the Life”)

dracula-Dracula_ST_1920x1080_rgb

Ousama Rawi was nominated for NBC’s Dracula.

Half-hour Episodic Series
• Peter Levy, ACS, ASC for Showtime’s House of Lies (“The Runner Stumbles”)
• Matthew J. Lloyd, CSC for Amazon’s Alpha House (“Pilot”)
• Blake McClure for Comedy Central’s Drunk History (“Detroit”)

Television Movie/Miniseries:
• Jeremy Benning, CSC for National Geographic Channel’s Killing Lincoln
• David Luther for Starz Network’s The White Queen (“War at First Hand”)
• Ashley Rowe, BSC for Starz Network’s Dancing on the Edge (Episode 1.1)
Franco has been previously nominated for Boardwalk Empire (2012), Bury My Heart at Wounded Knee (2008), Intensity (1998), Falling for You (1996) and Million Dollar Babies (1995).

Freeman has collected three ASC Awards. His wins were for Boardwalk Empire (2012, 2011) and Homeland Security in (2005). He has also earned additional nominations for Taken (2003), Strange Justice (2000) and Prince Street (1998).

Gill and Morgenthau have each previously earned an ASC Outstanding Achievement Award.

Gill took home an Award for Hitler: The Rise of Evil (2004), and was nominated for Joan of Arc (2000).

Morgenthau earned his first ASC Award last year for Game of Thrones, and has nominations for Boardwalk Empire (2011), Life on Mars (2009) and The Five People You Meet in Heaven (2005).

This is Levy’s fourth nomination, having been nominated for House of Lies (2013), The Life and Death of Peter Sellers (2005) and 24 (2002).

Rowe and Rawi have both previously been nominated for The Roman Spring of Mrs. Stone (2004) and The Tudors (2009), respectively.

Benning, Bernstein, Greene, Haellmigk, Lloyd, Luther and McClure are all first-time nominees.
HBO and Starz led the pack with three nominations each, followed by Showtime with two noms. Amazon, Comedy Central, The CW, Fox, NBC and National Geographic Channel are also represented.