{"product_id":"american-cinematographer-magazine-february-2023","title":"American Cinematographer Magazine ( February 2023)","description":"\u003cp class=\"MsoNormal\"\u003eAmerican Cinematographer Magazine ( February 2023) \u003c\/p\u003e\n\u003cp\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFebruary 2023\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eissue goes behind the scenes on the features\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eBabylon\u003c\/em\u003e\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThirteen Lives\u003c\/em\u003e\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe Whale\u003c\/em\u003e\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e18½\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe Banshees of Inisherin\u003c\/em\u003e\u003c\/strong\u003e, and also explores\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ecamera tracking in the virtual-production process\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand the multi-faceted\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003erole of the dolly grip\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eon set.\u003c\/p\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\u003eshares a few favorite films about filmmaking.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eLinus Sandgren, ASC, FSF\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ediscusses why he and director\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDamien Chazelle\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003echose an aggressive visual approach — including\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e“a curious camera”\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e— for\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eBabylon\u003c\/em\u003e\u003c\/strong\u003e, set in the early days of the American film industry. In a sidebar, Atlas Lens Co.’s president and lead designer,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eForrest Schultz\u003c\/strong\u003e, details how he customized\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eanamorphic lenses\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003efor the project.\u003cspan\u003e \u003c\/span\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\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSayombhu Mukdeeprom\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand director\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRon Howard\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ego deep on their approach to\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThirteen Lives\u003c\/em\u003e\u003c\/strong\u003e, which depicts the 2018 rescue of a young soccer team and their from Thailand’s Tham Luang cave.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMatthew Libatique, ASC, LPS\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003estrives for simplicity to tell the story of a lonely, chronically ill college professor in\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe Whale\u003c\/em\u003e\u003c\/strong\u003e, directed by longtime collaborator\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDarren Aronofsky\u003c\/strong\u003e. In a sidebar, Aronofsky shares the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ecreative philosophy\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ebehind their choices.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographer\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eElle Schneider\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eteams with director\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDan Mirvish\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eon the Watergate-era caper\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e18½\u003c\/em\u003e\u003c\/strong\u003e, a low-budget indie shot in 15 days.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eGlobal Village:\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBen Davis, BSC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eemphasizes the beauty of a storm-swept landscape for\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe Banshees of Inisherin\u003c\/em\u003e\u003c\/strong\u003e, directed by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMartin McDonagh\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eShot Craft: A look at the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003edolly grip\u003c\/strong\u003e, a role that is almost a department unto itself, with insights from expert\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRalph Scherer\u003c\/strong\u003e.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Virtual World: A consideration of\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ecamera-tracking methods employed in virtual production\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e— their advantages, disadvantages and potential future applications.\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 ASC members\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eJonathan Sela\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMarcell Rév\u003c\/strong\u003e; the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e2022 ASC MITC Technology Showcase\u003c\/strong\u003e; and\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBand Pro One World Open House\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ehonorees\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChecco Varese, ASC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eOtto Nemenz\u003c\/strong\u003e, an ASC associate member.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWrap Shot:\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eSingin’ in the Rain\u003c\/em\u003e\u003c\/strong\u003e, shot by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eHarold Rosson, ASC\u003c\/strong\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"American Cinematographer","offers":[{"title":"Default Title","offer_id":49280115376298,"sku":"mua1789763924172","price":4.46,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0709\/9518\/1738\/files\/american-cinematographer-magazine-february-2023_1.webp?v=1789763950","url":"https:\/\/palmshadewear.shop\/products\/american-cinematographer-magazine-february-2023","provider":"My Store 2","version":"1.0","type":"link"}