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The article offers information on the efforts of the American Society of Cinematographers in sharing its collective knowledge and educating the next generation of moving-image professionals. It discusses the educational opportunities for the betterment of everyone working within the motion-picture art form offered by the American Society of Cinematographers. It mentions the several aspects of changing cinematography.

The article reports that American Society of Cinematographers (ASC) President Kees van Oostrum welcomed a group of 36 emerging cinematographers from around the world to attend a special session of the ASC Master Class that focused on shooting on motion-picture film stocks.

This article, titled "What cannot be said will be wept," is a collection of two poems by Sylvia O'Connor and Debra Kaufman. O'Connor's poem expresses a desire to lean on friends for support and to temporarily escape the pain of loss. Kaufman's poem reflects on the author's mother, who was religious and believed in heaven, but the author now dreams of her in a darker place. Both poems explore themes of grief, sadness, and the difficulty of expressing emotions. [Extracted from the article]

The article announces ASC Student Heritage Awards given to directors of photography including Lukasz Dziedzic, of the American Film Institute; Oscar Ignacio Jimenez, of Brigham Young University and Jazleana Jones, of Florida State University.

The article focuses on 12 rising stars of cinematography such as Eli Born, Carolina Costa and Johnny Derango. Topics discussed include how these cinematographers developed the love for cinematography; information on their acclaimed thrillers and dramas such as Super Dark Times, The Chosen Ones and Small Town Crime; and their career path.

The article announces American Society of Cinematographers Student Heritage Awards given to cinematographers in Graduate Category to Andrew Jeric for "Prisoner;" Undergraduate Category to Emmett Sutherland for "Closer;" and Documentary Category to Colin F. Shepherd for "Into the Microscope."

The article announces the recipients of the American Society of Cinematographers (ASC) Student Heritage Awards (SHA) including Gerald Hirschfeld SHA to Matthew Hayward, Sol Negrin SHA to Steven Breckon and Haskell Wexler Student Documentary Award to Alejandro Cortés Sánchez.

The article focuses on experiences of former participants of the American Society of Cinematographers' (ASC) Master Class, a teaching session for the cinematography students. Topics discussed include the views of cinematographer Shelly Johnson on teaching students the lighting technique being a self-learning experience, comments of ASC President Richard Crudo on half of the participants coming from outside the U.S., and the class providing opportunities to students to work with ASC members.

The article presents an interview with women cinematographers Allie Ames, Jill Bogdanowicz, and Eileen Godoy who discusses why they chose to make career in post-production, on changing role of women in post-production, and latest technological innovation.

The article discusses International Cinematography Summit organized by the American Society of Cinematographers where Cinematographers from all around the world participated in it. Topics discussed include experience related with work environments are shared by cinematographers, expanding role of cinematographers due to increase in democratization of technology and importance of preserving film and set culture.

The article evaluates the upgraded broadcast standard Advanced Television Systems Committee (ATSC) 3.0 with 4K-acquired signals and products include Capture Drive 2.0 Thunderbolt Dock dailies and archiving system from Codex, Colorfront's 2016 On-Set Dailies, and 4k storage solutions from EMC and Aspera.

The article presents an interview with several women visual effects experts including Lucy Ainsworth-Taylor, Camille Cellucci and Jenny Fulle who discusses the challenges, debut project and their excitement towards virtual effects.

The article announces the American Society of Cinematographers' (ASC) Gordon Willis Student Heritage Awards given to Rob W. Scribner for Documentary category, Steven Holloway for the Graduate category, Nicolas Aguilar for Undergraduate category.

The article offers information on the winners of the 2017 Student Heritage Award of the American Society of Cinematographers (ASC) that were announced at the Society’s Clubhouse in Hollywood, California. People who were mentioned include Favienne Howsepian of the American Film Institute, Logan Fulton, an undergraduate student at the Loyola Marymount University, and Connor Ellmann of the University of Southern California.

The article discusses the American Society of Cinematographers (ASC) member Mauro Fiore's work in the film, "Southpaw," a boxing drama directed by Antoine Fuqua. Both Fiore and Fuqua enlisted camera operators who work on HBO boxing broadcasts in order to make the film's fight scenes look as authentic as possible. All four of the fights shown in the film were shot in the first two weeks of production.

The article offers information on several workflow products used in cinematography including FilmLight's Baselight Editions, Codex's Review Live, and the Foolcat app from FoolColor.

The article offers information on several display products used in cinematography including the Canon DP-V2410 4K on-set monitor, the Sony BVM-X300 30-inch 4K OLED, and the Flanders Scientific 24-inch DM250 10-bit OLED monitor.

The article focuses on the American Society of Cinematographers (ASC) Technology Committee, with particular consideration on its work to integrate an unprecedented new developments into the complex landscape of digital filmmaking. Topics include the Academy Color Encoding System (ACES), Curtis Clark of ASC Technology Committee, and David Morin of Joint Technology Subcommittee on Virtual Production.

The article focuses on the technologies that are making virtual reality (VR) programming possible. Topics discussed include the debut of VR-oriented films "Zero Point," "Birdly," and "Kaiju Fury!" at the 2015 Sundance Film Festival and the digital strategies, particularly the Oculus headset, employed by television and film studios to market their upcoming titles. The use of a 360-degree camera for capturing the environment and the impact of 3D on VR immersion are also mentioned. INSET: LOCK AND LOAD.

The article offers the views of cinematographers Steven Fierberg, Rory Taylor, and PJ Dillon on several television series including "The Affair," "Doctor Who," and "Vikings." According to Frierberg, he opted for "The Affair" to have a look of heightened realism and sensuality. Taylor notes that "Doctor Who" is a British institution and a series that is shown all over the world. Dillon mentions that "Vikings" uses established guidelines such as favoring primes and avoiding zoom shots.

The article discusses cinematographer Gareth Munden's experience while shooting the film “The Nostalgist". Topics include his relation and experience of working with director Giacomo Cimini, visual effects of lighting and lenses, and equipments such as digital camera. Images from the movie scenes are included.

The article discusses the filming of the ten minute short film "The Back of My Mind" directed by Luciano Podcaminsky. It states that the film's production crew chose several camera lenses including a 35mm, 50mm, and 75mm. It notes that the cinematographer Federico Cantini created two specific effects with color. It mentions that the film was edited by Gustavo Panich in New York.

The article discusses the American Society of Cinematographers' (ASC) Master Class program which it offers to young members and teaches lighting, camera techniques, and workflow practices. Topics include how the classes are taught by top cinematographers such as Kees van Oostrum, Paul Cameron, and Curtis Clark, the importance of work ethic, and the relationship between cinematographers and directors.

The article discusses the winners of the American Society of Cinematographers (ASC) Linwood Dunn Student Heritage Awards including Harper Alexander, Guy Pooles, and Matthew Blake. Topics include Harper Alexander's winning work on the motion picture "Starlight," Guy Pooles's winning work on the motion picture "Dirty Laundry," and Matthew Blake's winning work on the motion picture "Forest Keepers."

The article focuses on Los Angeles and New York cities' shift to light emitting diode (LED) lighting for their street lamps. The topics discussed include Los Angeles City's reason for the shift, the advantages of LED lights compared to sodium vapor street lights, and the shift's impact on cinematography. The lament of cinematographers over this development is presented, including that of Michael Mayer, Nancy Schreiber, and Jimmy Bagdonas.

The article features the making of the indie film "Chef" directed by Jon Favreau. The topics discussed include why Favreau chose cinematographer Kramer Morgenthau, the camera systems used and why, and the challenges of the project, including shooting food, a limited budget, and tight schedule. Morgenthau recounts their preparations for the project and describes the lighting they did for some of the scenes in the film. Photographs and a crew list are presented.

The article discusses the efforts of television series crew members including film director of photography Michael Satrazemis, operator Glenn Brown and still photographer Gene Page in the making of the series "The Walking Dead." Topics discussed include views of executive producer Gale Anne Hurd on visual effects, views of camera operator Stephen Campbell, and integration of special effects with practical make-up and mechanical effects.

The article focuses on the production of the television series "Detroit 1-8-7," highlighting its cinematography by Lisa Wiegand. It provides information on the series which follows detectives in the Detroit, Michigan area. It explores the cinematography techniques used as well as the equipment which include the Panasonic VariCam 3700 P2 camera for its documentary aesthetic. The production team includes film loader Chris Keith and digital imaging technician Robin Charters.

The article offers brief information on several display systems including the Orchid liquid crystal display (LCD) rack mount monitors from Marshall Electronics Inc., the Autoscript Xbox Ultra from Autoscript Inc., and the FOR-A CEQ-100HS Color Equalizer from FOR-A Co. Ltd.

The article features the three-dimensional (3D) animated version of Dreamworks' film "How to Train Your Dragon." The film, which is a Dreamworks adaptation of the popular British children's book by Cressida Cowell, centers around an age-old war between dragon and Vikings in a cold and austere Northern island. The author provides details of the technology choices incorporated in the film to create a live-action cinematography look.

The article features Tim Burton' three-dimensional (3D) film version of "Alice in Wonderland." Burton chose cinematographer Dariusz Wolski to realize his version of the often bizarre but familiar images in Alice's world. The author details how the team came up with the conversion of the film's two-dimensional (2D) version to 3D, which was done by Sony Imageworks and underwent two digital intermediates at Company 3 in Santa Monica, California before coming to the end result of the film's 2D-to-3D conversion.

The article discusses highlights of the International Cinematographers Guild's (ICG's) hands-on workshop on digital data handling held in Los Angeles, California in October 2009. ICG leaders explained that the workshop presented best, acceptable and unacceptable practices for a solid conceptual-grounding of safe practices in data handling. The instructors focused on various digital camera systems, clarified the role of a digital loader and explained various computer configurations.

The article focuses on the making of the short film "Monster in a House" by cinematographer Michael Helenek. It mentions that film director Christiano Dias had two specific visual ideas for the project, for lighting and composition. It mentions about the preparations for the flight scenes of the movie.

The article focuses on the changes digital intermediate process has done to the post-production environment. The cinematographers and DI colorists have collaborated to create lively films on screens. The films arranged with DI include "G-Force 3D," using a new three dimensional (3D) pipeline built by Ascent Media Company, "The Ghosts of Girlfriends Past" using Kodak's popular Vision3 5219 stock and "Leaves of Grass" using Ultra Primes for the East Coast scenes and Cooke Speed Panchros for the Little Dixie sections.

The article offers information on the gathering of American Society of Cinematographers' Vision Committee on "Framing the Future," a day of education, inspiration and networking held at Panavision's headquarters in Woodland Hills, California on March 7. It featured cinematographers creating more diversity, optics and the psychology of cinematography, and changing the face of the industry; also presented views of Vision Committee co-chairs Cynthia Pusheck and John Simmons.