{"product_id":"american-cinematographer-magazine-february-2024","title":"American Cinematographer Magazine ( February 2024)","description":"\u003cp class=\"MsoNormal\"\u003eAmerican Cinematographer Magazine ( February 2024) \u003c\/p\u003e\n\u003cp\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFebruary 2024\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eissue presents a special focus on\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003elighting\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ethat includes coverage of\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eGriselda\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDrive-Away Dolls\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Taste of Things\u003c\/em\u003e\u003c\/strong\u003e. Also featured are an analysis of\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ethe art of the music video\u003c\/strong\u003e; reportage from Kyiv on\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003efilmmaking in Ukraine\u003c\/strong\u003e; a discussion of\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eworking with HDR\u003c\/strong\u003e; and a look at\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003evisual effects\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ein\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eI’m a Virgo\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003ePresident’s Desk:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eASC President Shelly Johnson\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003econsiders the unique qualities of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eASC family\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ethat make the Clubhouse a true home.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eArmando Salas, ASC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand director\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAndrés Baiz\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ediscuss their work on the period crime drama\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eGriselda\u003c\/em\u003e\u003c\/strong\u003e, and Salas details his\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003elighting strategy\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003efor the nightclub that serves as the epicenter of the action.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCinematographer\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAri Wegner, ASC, ACS\u003c\/strong\u003e, director\/co-writer\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEthan Coen\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand co-writer\/editor\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eTricia Cooke\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eoffer their perspectives on creating a B-movie aesthetic for the action-comedy\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eDrive-Away Dolls\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e— and Coen and Wegner also share how\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003elighting\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003efactored into the approach.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eJonathan Ricquebourg, AFC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eexplains how\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003elighting key spaces\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ein Trần Anh Hùng’s\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eA Taste of Things\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003econtributes to the period drama’s tactile quality, and he and gaffer\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eGeorges Harnack\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ereveal how they approached an especially romantic sequence.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSix-time MTV Video Music Award nominee\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChristopher Probst, ASC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eintroduces a look at the\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eart of the music video\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ethat includes interviews with ASC cinematographers\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCrescenzo Notarile\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eNatasha Braier\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMarcell Rév\u003c\/strong\u003e. Notarile and director\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMeiert Avis\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003erecall creating a spontaneous look for\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eU2\u003c\/strong\u003e’s classic video\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e“Where the Streets Have No Name”\u003c\/strong\u003e; Braier discusses how she emphasized naturalism in\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEd Sheeran’s “Eyes Closed”\u003c\/strong\u003e; and Rév explains how he shot\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMiley Cyrus’ “Flowers”\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eat a singular L.A. location.\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cem\u003eAC\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003evisits Kyiv to explore how the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eUkrainian cinematography community\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eis navigating the war.\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\u003eShot Craft:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eAn overview of\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ehigh dynamic range\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e— including interviews with ASC members\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCraig Kief\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eArmando Salas\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eErik Messerschmidt\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e— illuminates why cinematographers must understand the technology.\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe VFX Perspective:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eVisual-effects supervisor\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eTodd Perry\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eexplains how his team created a teenage giant and situated him in downtown Oakland, Calif., for\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eI’m a Virgo\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e.\u003c\/em\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eClubhouse News:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eThe latest bulletins from the Society feature new member\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEben Bolter, ASC, BSC\u003c\/strong\u003e; the Society’s\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ebicoastal holiday gatherings\u003c\/strong\u003e, including the unveiling of a vintage Pathé Studio camera used by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBilly Bitzer\u003c\/strong\u003e;\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eJames Neihouse\u003c\/strong\u003e’s election to the Giant Screen Cinema Association board of directors;\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eClubhouse Conversations\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eon\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOppenheimer\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNapoleon\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoor Things\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Zone of Interest\u003c\/em\u003e; the Society’s lighting demo for the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eIATSE Latinx Caucus\u003c\/strong\u003e; an ASC panel at\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCine Gear Atlanta\u003c\/strong\u003e; and an\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEducation \u0026amp; Outreach\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eevent with Loyola Marymount University.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eWrap Shot:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eSmith Goes to Washington\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(1939), shot by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eJoseph B. Walker, ASC\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eand directed by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFrank Capra\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"American Cinematographer","offers":[{"title":"Default Title","offer_id":49280114950314,"sku":"ysd1789763907283","price":4.76,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0709\/9518\/1738\/files\/american-cinematographer-magazine-february-2024_1.webp?v=1789763910","url":"https:\/\/palmshadewear.shop\/products\/american-cinematographer-magazine-february-2024","provider":"My Store 2","version":"1.0","type":"link"}