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2012 / 03 - March Issue of American Cinematographer

The March 2012 issue of American Cinematographer magazine, which featurea a special focus on television production. The issue will also include profiles of William Wages, ASC, this year’s ASC Career Achievement in Television Award recipient, and Francis Kenny, ASC, who received the ASC Presidents Award.

Chronicle
(20th Century Fox)

Matthew Jensen was behind the camera on this feature, which follows three high school friends who develop superpowers. As they learn to master their new abilities, the bonds of their friendship are put to the test, and each must wrestle with his own capacity for evil. Jensen details his collaboration with director Josh Trank and his approach to locations in Vancouver and Cape Town.

The Walking Dead (AMC)
David Boyd, ASC and Rohn Schmidt have shared cinematography duties on this series’ second season. Based on the popular comic-book series created by Robert Kirkman, Tony Moore and Charlie Adlard, the series follows a handful of human survivors in a world overrun by zombies. Boyd and Schmidt discuss working on location in Georgia and shooting the series on 16mm film with Arri 416 cameras.

Homeland (Showtime)
Nelson Cragg has been behind the camera on this series, which begins with Marine Sergeant Nicholas Brody’s (Damian Lewis) return to the United States after eight years missing in Iraq. Complicating his homecoming is CIA agent Carrie Mathison (Claire Danes), who suspects Brody of plotting a terrorist attack on U.S. soil. Cragg, who is a past recipient of the ASC Heritage Award and an ASC Outstanding Achievement in Cinematography Award, details his approach to the show, which he photographed with Arri’s Alexa digital camera.

Downton Abbey (ITV, Masterpiece Theatre/PBS)
Gavin Struthers was the primary cinematographer for the second season of this popular British production, which traces the goings-on at the Crawley family’s country estate, the eponymous Downton Abbey. In the series’ second season, the impact of the First World War takes center stage as Downton becomes a convalescent home where class lines are increasingly blurred. The show’s first season was shot with Arri’s D-21 digital camera, but season two — which also features the work of cinematographers David Marsh and Nigel Willoughby — saw a switch to Arri’s Alexa.

ASC Career Achievement in Television Award
William Wages, ASC steps into the spotlight on February 12 when he receives this prestigious honor during the 26th Annual ASC Awards ceremony in Los Angeles. A member of the ASC since 1992, Wages has been nominated for two Emmy Awards (for Buffalo Soldiers and Into the West) and eight ASC Awards (for Lincoln, Caroline?, Voices Within: The Lives of Truddi Chase, I’ll Fly Away, The Moving of Sophia Myles, Miss Lettie and Me, Riders of the Purple Sage and Buffalo Soldiers; he won the award for the latter two). His other credits include the pilot episode of Saving Grace and episodes of the series Surface, Big Love and Burn Notice. AC contributor David Heuring pens a comprehensive overview of Wages’ life and work.

ASC Presidents Award
Francis Kenny, ASC is also saluted at the ASC Awards Ceremony for his significant contributions to the industry. Throughout his career behind the camera, Kenny has moved seamlessly between documentaries, features, telefilms and series. His feature credits include Heathers, New Jack City, Coneheads, Bean and Scary Movie; most recently, he has been serving as the director of photography on the series Justified. Kenny became a member of the ASC in 1998, and for the past 10 years has served as the ASC Membership Committee Chair. These accomplishments and more are covered in a comprehensive overview penned by AC contributor Jean Oppenheimer.

The March issue’s departments also offer illuminating insights:

  • Short Takes examines cinematographer Andre Lascaris’ work on the short film When You Find Me, directed by Bryce Dallas Howard. The film was one of the first projects to utilize Canon’s recently introduced Cinema EOS C300 digital camera.
  • Production Slate details cinematographer Ken Seng’s work behind the camera on director Nima Nourizadeh’s Project X, about a house party that spirals radically out of control; and cinematographer Francisco Bulgarelli’s work on The Ghastly Love of Johnny X, which was directed by Paul Bunnell and shot in anamorphic 35mm with Eastman Plus-X black-and-white negative and is currently making the rounds on the festival circuit.
  • Filmmakers’ Forum offers a firsthand account from cinematographer Vincent De Paula regarding how to successfully negotiate with producers for a preferred shooting format.
  • ASC Close-Up offers a profile of Society member Jonathan Taylor, whose long list of credits as a second-unit cinematographer includes the features Independence Day, Charlie’s Angels, The Fast and the Furious, Spider-Man, Alexander, Live Free or Die Hard, Iron Man, G.I. Joe: The Rise of Cobra and Captain America: The First Avenger.

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2012 / 03 - March Issue of American Cinematographer

 

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