{"product_id":"american-cinematographer-magazine-january-2025","title":"American Cinematographer Magazine ( January 2025 )","description":"\u003cp\u003eAmerican Cinematographer Magazine ( January 2025 )\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe January 2025 issue presents a special focus on \u003cb\u003ethe cinematographer-director collaboration\u003c\/b\u003e — including coverage of \u003cb\u003e\u003ci\u003eWicked\u003c\/i\u003e\u003c\/b\u003e,\u003cb\u003e \u003ci\u003eConclave\u003c\/i\u003e\u003c\/b\u003e, \u003cb\u003e\u003ci\u003eNosferatu\u003c\/i\u003e\u003c\/b\u003e and \u003cb\u003e\u003ci\u003eThe Fire Inside\u003c\/i\u003e\u003c\/b\u003e — and reporting on the production of \u003cb\u003e\u003ci\u003eGladiator II\u003c\/i\u003e\u003c\/b\u003e. Also in focus this issue is \u003cb\u003elighting for virtual production\u003c\/b\u003e, with a look at the latest \u003cb\u003ecolor-fidelity advancements for LED volumes\u003c\/b\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cb\u003e\u003cspan\u003ePresident’s Desk: Shelly Johnson, ASC\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e considers the energy and spirit that inform imagery created by a strong cinematographer-director collaboration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eAlice Brooks, ASC \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eand director \u003cb\u003eJon M. Chu \u003c\/b\u003ediscuss their creative strategy for the musical \u003cb\u003e\u003ci\u003eWicked\u003c\/i\u003e\u003c\/b\u003e, including large practical set builds, prototype Panavision lenses and meticulous color choices.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eStéphane Fontaine, AFC \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eand director \u003cb\u003eEdward Berger \u003c\/b\u003edetail how they infused the Vatican City drama \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eConclave \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003ewith the mood and feel of classic paranoid thrillers of the 1970s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cspan\u003eCinematographer \u003cb\u003eJarin Blaschke \u003c\/b\u003eand director \u003cb\u003eRobert Eggers \u003c\/b\u003ebreak down their approach to \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eNosferatu\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e, which incorporated shooting on film, employing unconventional optics and using practical candlelight.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eJohn Mathieson, BSC \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eand visual-effects supervisor \u003cb\u003eMark Bakowski \u003c\/b\u003ediscuss their work on the long-awaited sequel \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eGladiator II\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e, directed by \u003cb\u003eRidley Scott\u003c\/b\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cb\u003e\u003cspan\u003ePicture Partners:\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e Director \u003cb\u003eRachel Morrison, ASC \u003c\/b\u003eand cinematographer \u003cb\u003eRina Yang, BSC \u003c\/b\u003ediscuss their collaboration on the fact-based boxing drama \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eThe Fire Inside\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eShot Craft:\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e Inspired by the work of ASC associate member \u003cb\u003eTim Kang\u003c\/b\u003e, a lighting test focuses on the \u003cb\u003efluorescent properties of\u003c\/b\u003e \u003cb\u003elaundry detergent\u003c\/b\u003e and an LED fixture that includes a UV emitter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eThe Virtual World:\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e \u003cb\u003eCraig Kief, ASC \u003c\/b\u003eupdates his 2021 findings on \u003cb\u003ecolor fidelity in LED volumes \u003c\/b\u003eby testing fixtures designed to achieve wide-spectrum distribution in a volume.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eWrap Shot:\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eThe Wizard of Oz \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e(1939), shot by \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eHal Rosson, ASC\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e, with Technicolor cinematography by \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eAllen Davey, ASC\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e, and directed by \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eVictor Fleming\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"American Cinematographer","offers":[{"title":"Default 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