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2009 / 09 - September Issue of American Cinematographer

The September 2009 issue of American Cinematographer magazine, has a special focus on international production.

Inglourious Basterds (The Weinstein Co.)
Robert Richardson, ASC reteamed with director Quentin Tarantino on this stylized World War II action-adventure yarn about a group of Jewish-American soldiers tasked with spreading fear through Hitler’s Third Reich by killing and brutally scalping Nazis. Richardson and his crew will discuss their approach to key sequences shot at various locations throughout Germany.

The Baader-Meinhof Complex (Vitagraph Films)
Rainer Klausmann won the Camerimage Festival’s Bronze Frog for his cinematography on this intense historical drama, which also earned a 2009 Oscar nomination for Best Foreign-Language Film. Klausmann will analyze his approach to the true-life tale about The Red Army Faction (RAF), a German terrorist group that organized bombings, robberies, kidnappings and assassinations during the late 1960s and ’70s.

Mesrine (Senator Releasing)
Robert Gantz will offer a first-hand account of his work on this 4-hour French crime thriller, which comprises two separate and equally ambitious films: Mesrine: Part 1 — Death Instinct and Mesrine: Part 2 — Public Enemy #1. Starring several of France’s top stars, including Vincent Cassel, Gérard Depardieu, Mathieu Amalric and Ludivine Sagnier, the epic saga recalls the exploits of notorious gangster Jacques Mesrine, whose legendary crime spree — which included multiple bank robberies and prison breaks — lasted nearly two decades and led to his status as France’s #1 felon in the 1970s.

ASC Camera Assessment Series, Part 2
The ASC’s Digital Camera Subcommittee, chaired by David Stump, ASC, recently supervised the ASC Camera Assessment Series, during which a group of esteemed cinematographers staged a repeatable series of typical feature-film-style shots to test the performance characteristics of various digital-cinema cameras. The purpose of the tests is to enable filmmakers and other industry professionals to make more informed choices when they opt to use digital formats for their productions. Following up on our June coverage, which detailed the cinematographers’ methodologies and goals, this second article will present their findings about the cameras’ performances under a variety of shooting conditions.

The September issue’s departments will also offer illuminating insights:

  • Short Takes will detail the making of the wry, 19-minute HD short Love/Hate, shot by cinematographer John Lynch for English directors Dylan and Blake Ritson. Lynch used the Arri M-Scope to convert the project’s HD images to a widescreen ratio.
  • Production Slate will cover cinematographer Trent Opaloch’s work on the documentary-style sci-fi drama District 9, which was shot on location in South Africa. This section will also offer an interview with Kolja Brandt about the logistical challenges he faced while shooting North Face, a tense German film about the first attempted ascent of the Eiger’s north face.
  • Filmmakers’ Forum will explore the controversy surrounding the recent Blu-ray DVD of The French Connection, with input from director William Friedkin and cinematographer Owen Roizman, ASC.
  • Post Focus will detail the restorations of two classic foreign films: The Red Shoes (1948) and Mr. Hulot’s Holiday (1953).
  • ASC Close-Up will offer a profile of Society member Alexander Gruszynski, whose cinematography credits include Tremors, Kingfish: A Story of Huey P. Long, Deliver Us From Eva, The In-Laws, Nancy Drew, Hamlet 2 and Medea Goes to Jail.

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2009 / 09 - September Issue of American Cinematographer

 

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