{"product_id":"american-cinematographer-magazine-october-2024","title":"American Cinematographer Magazine ( October 2024 )","description":"\u003cp\u003eAmerican Cinematographer Magazine ( October 2024 )\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe October 2024 issue presents a special focus on \u003cb\u003elighting\u003c\/b\u003e, including coverage of \u003cb\u003e\u003ci\u003eLee\u003c\/i\u003e\u003c\/b\u003e and the horror films \u003cb\u003e\u003ci\u003eThe Front Room\u003c\/i\u003e\u003c\/b\u003e,\u003cb\u003e\u003ci\u003e Strange Darling\u003c\/i\u003e\u003c\/b\u003e, \u003cb\u003e\u003ci\u003eThe Substance\u003c\/i\u003e\u003c\/b\u003e and \u003cb\u003e\u003ci\u003eSmile 2\u003c\/i\u003e\u003c\/b\u003e, and discussions of \u003cb\u003eunmotivated lighting \u003c\/b\u003eand the latest in \u003cb\u003eimage-based lighting\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 discusses how a cinematographer’s lighting can impact the creative dynamic on set.\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\u003cspan\u003eDirector \u003cb\u003eEllen Kuras, ASC \u003c\/b\u003eand cinematographer \u003cb\u003ePaweł Edelman, PSC \u003c\/b\u003ediscuss their collaboration on the period drama \u003cb\u003e\u003ci\u003eLee\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e, \u003c\/i\u003eabout World War II photographer Lee Miller — and Edelman explains how the filmmakers re-created vintage lighting equipment for key scenes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e·       \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eAva Berkofsky, ASC \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003edetails their approach to lighting the housebound thriller \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eThe Front Room\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e,\u003cb\u003e \u003c\/b\u003edirected by Max and Sam Eggers.\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\u003eGiovanni Ribisi \u003c\/b\u003eand director \u003cb\u003eJT Mollner \u003c\/b\u003eshare why they embraced 35mm for the indie shocker \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eStrange Darling\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e — and Ribisi details a key, lighting-heavy sequence that called for “emptying the truck.”  \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\u003eBenjamin Kračun, BSC \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eoffers his perspective on shooting Coralie Fargeat’s body-horror feature \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eThe Substance\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e, including his approach to lighting the main character’s sleek L.A. apartment.\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\u003eFilmmakers’ Forum:\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e Cinematographer \u003cb\u003eCharlie Sarroff \u003c\/b\u003ereflects upon his work on Parker Finn’s \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eSmile 2\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e. The piece features a discussion of their lighting strategies for a large-scale musical performance.\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 Motivated lighting is a tried-and-true tenet of cinematography, but \u003cb\u003eunmotivated lighting \u003c\/b\u003ecan feel just as organic to a scene or story.\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\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e \u003cb\u003eWorld:\u003c\/b\u003e A look at advances in \u003cb\u003eimage-based lighting\u003c\/b\u003e, with remarks from cinematographers \u003cb\u003eQuyen Tran, ASC \u003c\/b\u003eand \u003cb\u003eBrett Pawlak\u003c\/b\u003e,\u003cb\u003e \u003c\/b\u003eand ASC associate members \u003cb\u003eFrieder Hochheim \u003c\/b\u003eand \u003cb\u003eTim Kang\u003c\/b\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 new members \u003cb\u003eSean Porter\u003c\/b\u003e, \u003cb\u003eCybel Martin \u003c\/b\u003eand \u003cb\u003eManuel Billeter\u003c\/b\u003e; a recap of three recent \u003cb\u003eASC Master Class\u003c\/b\u003e sessions; a live The Ankler\u003cb\u003e podcast\u003c\/b\u003e at the Clubhouse; a celebration of the \u003cb\u003e2024 Rising Stars of Cinematography\u003c\/b\u003e; a New York screening of \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eSongs for Drella\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e, directed by \u003cb\u003eEd Lachman, ASC\u003c\/b\u003e; and an \u003cb\u003eASC-CSC lighting demo\u003c\/b\u003e at Capilano University.\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\u003eA behind-the-scenes still and a hand-drawn lighting diagram from \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan\u003eSleepy Hollow \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e(1999), shot by \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eEmmanuel Lubezki, ASC, AMC \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eand directed by \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eTim Burton\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"American Cinematographer","offers":[{"title":"Default Title","offer_id":49280114000042,"sku":"wht1789763840638","price":5.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0709\/9518\/1738\/files\/american-cinematographer-magazine-october-2024_1.webp?v=1789763843","url":"https:\/\/palmshadewear.shop\/products\/american-cinematographer-magazine-october-2024","provider":"My Store 2","version":"1.0","type":"link"}