AmericanCinematographer201201

More documents

Recommendations

Info

President’s DeskAs another year kicks off, the challenges facing those who desire to pursue a career in filmmakingseem greater than ever. Technology continues to shift and evolve, the economy hasmade even low-budget movies a risk for investors, and websites that facilitate the illegal viewingor downloading of films and television shows are making it difficult to get more daringprojects financed. When studios or producers cannot earn a profit from the work they create,budgets get smaller, and the kinds of projects that are approved get “safer.”Lifting copyrighted material became popular when sampling exploded on the music sceneand was legitimized as a form of artistic expression. That opened the door to lifting images aswell, and subsequently entire movies. Such piracy has so infiltrated the mentality of the publicthat the suggestion that it’s wrong is met with dismissive sneers. If it’s out there, it’s mine. Whyshould I have to pay for it?How does this affect cinematography? In many ways. Most of the pirate sites do notdisplay images in anything remotely like optimum conditions. The images might have been“ripped” onto someone’s laptop from a DVD that was created by someone crouching in amovie theater with a small digital camera. The images might be highly compressed suggestionsof what they actually were. They may have been reproduced through excessive copyingand duping until they no longer reflect the creators’ intent in any form.When someone experiences a visual work of art for the first time, they will never again beable to relive that emotional moment of discovery. It is gone forever. Yes, they may have“seen” the movie, but they have not experienced it to its fullest, the way its creators intended.Digital piracy is a huge international operation. It’s not just some guy in his garage with a DVD burner. In some countries,major producers and stars provide pirates with digital masters of their films, because the financial kickbacks they receive are morethan they would earn from conventional means. This leads to a lack of concern about preservation. Why should a producer pay toproperly store materials when there is no chance of monetizing the product in the future because unauthorized copies are floodingthe market? Many thousands of movies could be lost forever.Please don’t support torrent sites that show pirated material, and please don’t buy cheap bootlegged DVDs of current movies.And I ask you to talk to your friends who do. Let them know that, beyond the momentary satisfaction of seeing something “first”or for free, they are effectively altering the kinds of movies that will be made in the future; they are helping to ruin the im mersivecinematic experience for many others; and the movies that they love might not be available to them in the future in versions th atare better than adequate.The history of cinema is a legacy of an audience emotionally bonding with the work of a group of artists, of creating memoriesthat mold our perception of the world. The considerable negative impact digital piracy has on the profitability of the ind ustry ismatched by its negative impact on our love of the movies. Remember how you felt when you saw Frodo sail away at the end ofThe Lord of The Rings: Return Of The King, or the swell of emotion you felt at the climax of The King’s Speech, or the thrill of watchingBruce Willis get the bad guys in Die Hard? Then do your part to make sure that future audiences can also experience those cinematichighs.Michael Goi, ASCPresidentPhoto by Owen Roizman, ASC.10 January 2012 American Cinematographer
C O N S I D E R . . .“THE CINEMATOGRAPHY FROM EDUARDO SERRA IS ONCE AGAINRICHLY OMINOUS AND BEAUTIFULLY BLEAK.”CHRISTY LEMIRE,BEST CINEMATOGRAPHYEDUARDO SERRA, A.S.C., A.F.C.WWW.WARNERBROS2011.COMHarry Potter Publishing Rights © J.K.R.
Page 1: JANUARY 2012$5.95Canada $6.95
Page 5 and 6: J A N U A R Y 2 0 1 2 V O L . 9 3 N
Page 7 and 8: “ A SPLENDID EXAMPLE OF HOW TO TU
Page 9 and 10: BEST CINEMATOGRAPHYHOYTE VAN HOYTEM
Page 11: © 2011 Paramount Pictures. All Rig
Page 16 and 17: Top: String Theory begins in a dust
Page 18: Top, left and right:Shooting at 1,0
Page 21 and 22: F O R Y O U R C O N S I D E R A T I
Page 24: Top left: The crew films the long w
Page 28 and 29: Clockwise from top-left: ASC Lifeti
Page 30 and 31: IHPA Lifetime Achievement Award rec
Page 32 and 33: ASC President Michael Goi (left) an
Page 34 and 35: Cold CaseDavid Fincher reteams with
Page 36 and 37: ◗ Cold CaseThe emotionally remote
Page 38 and 39: ◗ Cold CaseTop: Banks offluoresce
Page 40 and 41: ◗ Cold CaseTop: The crewconfronte
Page 42: ◗ Cold CaseStepping awayfrom herc
Page 45 and 46: Built on revolutionary Thunderbolt
Page 47 and 48: Dolby congratulates Light Ironon th
Page 49 and 50: Fincher and production designerDona
Page 51 and 52: Photos by Andrew Cooper, SMPSP and
Page 54 and 55: ◗ Animal InstinctsTop: The camera
Page 56 and 57: ◗ Animal InstinctsTop and middle:
Page 58: ◗ Animal InstinctsCameraoperator
Page 61 and 62: Michael Condon, SOCVP Digital Divis
Page 63 and 64:
Land required several previsualizat
Page 65 and 66:
Opposite page:After he is exiledfro
Page 68:
◗ Lord of WarTop: Marcius bows to
Page 71 and 72:
111098 TES712615243TESSIVE
Page 74 and 75:
◗ Lord of WarFiennes blocks out a
Page 76 and 77:
GoFlowAC’swiththetechnical editor
Page 78:
◗ Go with the FlowThis illustrate
Page 82 and 83:
◗ Go with the FlowThis diagram sh
Page 84:
◗ Go with the FlowThis illustrate
Page 87 and 88:
does the transform accurately from
Page 89 and 90:
Once the post processing of theimag
Page 91 and 92:
Redrock MicroIntroduces UltraCageRe
Page 93 and 94:
Lensbaby PackagesMovie Maker’s Ki
Page 95 and 96:
Company 3 Offers DI DictionaryCompa
Page 97 and 98:
AJA Ki Pro Mini SupportsAvid CodecA
Page 100 and 101:
International MarketplaceMonitor Yo
Page 102:
Advertiser’s Index16x9, Inc. 98AC
Page 105 and 106:
Top left: Anastas Michos, ASC leads
Page 107 and 108:
ACQUIREwww.aja.comAcquire with AJA.
show all

AmericanCinematographer201201

Create successful ePaper yourself

Delete template?

Save as template?