{"product_id":"american-cinematographer-magazine-april-2023","title":"American Cinematographer Magazine ( April 2023)","description":"\u003cp class=\"MsoNormal\"\u003eAmerican Cinematographer Magazine ( April 2023) \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan\u003eThe \u003cstrong\u003eApril 2023 \u003c\/strong\u003eissue presents coverage of the series \u003cstrong\u003e\u003cem\u003eThe Last of Us \u003c\/em\u003e\u003c\/strong\u003eand \u003cstrong\u003e\u003cem\u003eDaisy Jones \u0026amp; The Six\u003c\/em\u003e\u003c\/strong\u003e; a conversation with visual-effects innovator \u003cstrong\u003eRobert Legato, ASC \u003c\/strong\u003eabout \u003cstrong\u003ebroadcast television’s role \u003c\/strong\u003eas a testing ground for\u003cstrong\u003e virtual-production techniques\u003c\/strong\u003e; a profile of \u003cstrong\u003e2023 \u003c\/strong\u003e\u003cstrong\u003eCurtis Clark ASC Technical Achievement Award \u003c\/strong\u003ehonoree \u003cstrong\u003eSam Nicholson, ASC\u003c\/strong\u003e; a look at the French drama \u003cstrong\u003e\u003cem\u003eAthena\u003c\/em\u003e\u003c\/strong\u003e; and an explanation of \u003cstrong\u003eelectrical distribution on set\u003c\/strong\u003e.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIn his monthly column,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eASC President Stephen Lighthill\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ereflects on the increasing use of machines to create images.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cem\u003eThe Last of Us\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ecinematographers\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eKsenia Sereda, RGC\u003c\/strong\u003e;\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEben Bolter, BSC\u003c\/strong\u003e;\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eNadim Carlsen, DFF\u003c\/strong\u003e; and\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChristine A. Maier, AAC, BVK\u003c\/strong\u003e, along with showrunner\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCraig Mazin\u003c\/strong\u003e, explain how visuals grounded in reality contribute to the drama.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eDirectors of photography\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChecco Varese, ASC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eJeff Cutter\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ecapture the emotional turbulence that helps propel a 1970s band to fame for the 10-part miniseries\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eDaisy Jones \u0026amp; The Six\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographer and visual-effects supervisor\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRobert Legato, ASC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003econsiders the ongoing evolution of\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003evirtual production\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand its roots in\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ebroadcast television\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCurtis Clark ASC Technical Achievement Award\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ehonoree\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSam Nicholson, ASC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eexplains how an attraction to uncharted territory has shaped his career.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShot Craft: An introduction to\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eelectrical distribution on set\u003c\/strong\u003e, featuring a breakdown of the components that are common on today’s motion-picture productions.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eGlobal Village: Cinematographer\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMatias Boucard, AFC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ereveals how the 10-minute, action-packed shot that opens\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eAthena\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003ewas created.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eClubhouse News: The latest bulletins from the Society feature new member\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChristian Sprenger\u003c\/strong\u003e; a\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBLK Behind the Camera\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eevent featuring ASC members\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eErnest Dickerson\u003c\/strong\u003e,\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eKira Kelly\u003c\/strong\u003e,\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eTommy Maddox-Upshaw\u003c\/strong\u003e,\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eDonald A. 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