{"product_id":"american-cinematographer-magazine-november-2024","title":"American Cinematographer Magazine ( November 2024 )","description":"\u003cp\u003eAmerican Cinematographer Magazine ( November 2024 )\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe November 2024 issue presents a special focus on \u003cb\u003etools for virtual production\u003c\/b\u003e, including coverage of how the \u003cb\u003e\u003ci\u003eDune: Part Two\u003c\/i\u003e\u003c\/b\u003e camera team used \u003cb\u003eUnreal Engine\u003c\/b\u003e for planning, an overview of how\u003cb\u003e virtual art departments\u003c\/b\u003e function, and a look at \u003cb\u003ereal-time ray tracing \u003c\/b\u003efor virtual production. Also featured in the issue are coverage of \u003cb\u003e\u003ci\u003eSeptember 5 \u003c\/i\u003e\u003c\/b\u003eand \u003cb\u003e\u003ci\u003eEmilia Pérez\u003c\/i\u003e\u003c\/b\u003e; a discussion with \u003cb\u003eRobert Richardson, ASC \u003c\/b\u003eabout color grading and his collaborations with colorists; and a 75th-anniversary\u003cb\u003e \u003c\/b\u003epictorial\u003cb\u003e \u003c\/b\u003etribute to the \u003cb\u003eBritish Society of Cinematographers\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 origin and evolution of the previsualization process.\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\u003eGreig Fraser, ASC, ACS \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eand director \u003cb\u003eDenis Villeneuve \u003c\/b\u003eilluminate their approach to \u003cb\u003e\u003ci\u003eDune: Part Two\u003c\/i\u003e\u003c\/b\u003e, including how \u003cb\u003eUnreal Engine \u003c\/b\u003ewas integrated into the cinematography department to facilitate planning. In an\u003cb\u003e \u003ci\u003eAC \u003c\/i\u003eexclusive\u003c\/b\u003e, the filmmakers also share an excerpt from the visual document created by virtual-cinematography technician \u003cb\u003eTamás Papp\u003c\/b\u003e.  \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\u003eMarkus Förderer, ASC, BVK \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003ediscusses creating suspense in a single setting for the fact-based drama \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eSeptember 5\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e,\u003cb\u003e \u003c\/b\u003edirected by Tim Fehlbaum.\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\u003ePaul Guilhaume, AFC \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003edetails his strategies for the ambitious musical production \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eEmilia Pérez\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e, directed by Jacques Audiard.   \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\u003eRobert Richardson, ASC \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eshares his perspective on the past, present and future of color grading, and colorists \u003cb\u003eÉlodie Ichter\u003c\/b\u003e, \u003cb\u003eYvan Lucas\u003c\/b\u003e, \u003cb\u003eStephen Nakamura\u003c\/b\u003e and \u003cb\u003eStefan Sonnenfeld\u003c\/b\u003e discuss some of their collaborations with the lauded cinematographer.\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\u003eBSC President Christopher Ross \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eintroduces \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eAC\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e’s pictorial tribute to the \u003cb\u003e75th anniversary \u003c\/b\u003eof the\u003cb\u003e British Society of Cinematographers\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\u003eShot Craft\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: A look at cinematographers’ creative interactions with the\u003cb\u003e virtual art department\u003c\/b\u003e, including observations from \u003cb\u003eMichael Goi, ASC, ISC \u003c\/b\u003eand \u003cb\u003eChristopher Probst, ASC\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\u003eThe Virtual World\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: \u003cb\u003eRichard Crudo, ASC \u003c\/b\u003eand producer\/VFX supervisor \u003cb\u003eChristopher Nichols \u003c\/b\u003ediscuss real-time LED-volume ray tracing and the demo short film \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eRay Tracing FTW\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e.\u003cb\u003e\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\u003eClubhouse News\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: The latest bulletins from the Society feature the 2024 Primetime Emmy Awards; ASC Master Classes in Los Angeles and New York; a Birns \u0026amp; Sawyer presentation on filtration; an Education \u0026amp; Outreach event for Hollywood CPR; \u003cb\u003eBradford Young, ASC \u003c\/b\u003ein conversation with Mark Lee Ping-bing; and a \u003cb\u003eJohn Bailey Heritage Screening\u003c\/b\u003e of \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe Innocents\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1961).\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\u003eWrap Shot\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eDune \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e(1984), shot by \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eFreddie Francis, BSC \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eand directed by \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eDavid Lynch\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"American Cinematographer","offers":[{"title":"Default Title","offer_id":49280113770666,"sku":"ncb1789763821010","price":4.22,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0709\/9518\/1738\/files\/american-cinematographer-magazine-november-2024_1.webp?v=1789763824","url":"https:\/\/palmshadewear.shop\/products\/american-cinematographer-magazine-november-2024","provider":"My Store 2","version":"1.0","type":"link"}