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2008 / 04 - April Issue of American Cinematographer

21
Russell Carpenter, ASC (an Oscar winner for Titanic) placed his bets on Panavision’s digital Genesis camera while shooting this suspense-filled gambling drama, which is based on the true story of six MIT students who were trained to count cards and subsequently beat Vegas casinos for millions of dollars. Carpenter discusses why he chose to shoot the film digitally and how the Genesis performed. He also details the show’s use of previsualization systems provided by the Los Angeles-based company Proof, Inc.

The Ruins
Darius Khondji, ASC, AFC (Seven) revisited the horror genre for this terror-inducing movie, which was adapted from a bestselling novel. The tale concerns a group of friends whose Mexican holiday turns into a nightmare when they visit a remote archeological dig in the jungle, where evil lurks in the ruins. AC’s Australian correspondent, Simon Gray, offers a complete overview of the production, which combined location footage shot along Australia’s Gold Coast with studio work shot at Warner Roadshow Studios in Queensland.

Principles of 3-D Cinematography
With 3-D productions once again becoming a hot trend in Hollywood, ASC associate member Rob Hummel, the president of Dalsa Digital Cinema, presents a detailed primer on the basic principles of 3-D cinematography. Based on his recent seminar about 3-D production, Hummel’s article addresses the do’s and don’ts of “in your face” cinema, offering a strong foundation for anyone seeking to explore this special photographic format.

Sundance Film Festival
Each January, industry insiders flock to Park City, Utah to attend this key festival, which has launched the careers of many independent filmmakers. AC’s team of writers scouts out the most visually compelling entries for our annual roundup, which spotlight the event’s most promising cinematographers.

The April issue's department also offers illuminating insights:

Short Takes presents interviews with cinematographer Philipp Friesenbichler and director Jorge Valds-Iga about their stylish short film Milia, which was shot with Arriflex’s D-20 digital production camera.

Global Village seeks out cinematographer Benedict Neuenfels, who analyzes his work on The Counterfeiters, Austria’s official submission in the foreign-film category of the 2008 Academy Awards.

Production Slate offer insights from Chris Doyle, HKSC about his work on Gus Van Sant’s dramatic feature Paranoid Park and Darren Genet about his cinematography for the indie thriller All the Boys Love Mandy Lane.

Filmmakers’ Forum offers an article by Steven Fierberg, ASC about digital cinematography for the indie feature Searchers 2.0, a postmodern take on the classic John Ford Western.


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2008 / 04 - April Issue of American Cinematographer

 

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