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The article delves into the enriching ASC Master Class program, emphasizing the diversity of perspectives brought by instructors from the American Society of Cinematographers (ASC). Topics discussed include virtual-production tools, portraiture lighting basics, and unconventional approaches to achieving cinematic excellence. Instructors like Christopher Probst and Natasha Braier share their unique insights, fostering creativity and skill development among participants.

The article features Amy Vincent, a cinematographer who will receive the American Society of Cinematographers' (ASC) Presidents Award during the 38th Annual ASC Awards ceremony on March 3, 2024. Topics discussed include her personal and educational background, her first job in the industry which was in the Warner Bros. archives, and her personal introduction to the ASC.

The article focuses on the career and creative achievements of cinematographer Owen Roizman, known for his work on films such as The French Connection and The Exorcist.

The article focuses on the use of still cameras to shoot motion-picture film as a cost-effective and practical way to gain experience with film stocks and exposure. Topics include the availability of motion-picture film in still-camera canisters, the differences between processing motion-picture and still film, and the resurgence of labs offering development services for motion-picture stocks.

The article offers information on cinematographer Charlie Lieberman's path to the ASC and his ongoing service to the society. Topics include discussing his interest in photography, his professional assignment was photographing Indigenous cultures for anthropology books, and highlights his recognition with the 2023 Presidents Award.

The article presents various news related to cinematography industry including Christian Sprenger a cinematographer as a new active member of American Society of Cinematographers and BLK Behind the Camera a grassroots education and inspiration effort launched by cinematographer Samuel Hicks.

The article focuses on Stephen H. Burum, ASC who would like the term profession to be part of the conversation. Topics include examines in accepting the 2022 Lifetime Achievement Award at the 30th annual EnergaCamerimage International Film Festival in Toruń, Poland, the esteemed cinematographer will address this.

The article focuses on the 1959 film On the Beach, highlighting its post-apocalyptic setting, the USS (United States Ship) Sawfish, and cinematographer Giuseppe Rotunno, ASC (American Society of Cinematographers), AIC (Accademia Italiana di Cinema).

The article presents the discussion on future installments including image-making experts as well as manufacturing and lab specialists. Topics include number of users being shooting for online marketing and Instagram advertising; and shooting film being one of the few ways in maintaining the show's visual integrity.

The article informs Joseph B. Walker, ASC, known for his collaborations with director Frank Capra, including classics like "Mr. Smith Goes to Washington," relied on self-taught expertise gleaned from an apprenticeship under cinematographer Billy Bitzer. Despite never serving as a camera assistant or operator, Walker became a prolific inventor and was honored by the Academy for his technological contributions with the Gordon E. Sawyer Award in 1982.

The article presents information on the periodical that provides information on the nominees of the Academy or American Society of Cinematographers (ASC) award since 2010 including Academy award for Inception, Black Swan, The King's Speech, The Social Network, True Grit in 2010; ASC award for The Tree of Life, The Artist, The Girl With the Dragon Tattoo, Hugo and Tinker Tailor Soldier Spy in 2011.

A personal narrative is presented which explores the author's experience of being a cinematographer at American Society of Cinematographers.

An interview with Mulan film director Niki Caro is presented. It mentions that she accomplished something unusual on the film ''Mulan'', which was to deliver the very real and raw and visceral in a very beautiful way. It also mentions that she understands the real value of performance and the soul of the character and the character's journey. INSETS: Into Battle on Mulan;A Word From Mulan's Director.

The article presents excerpts from periodical American Cinematographer from March 1922, August 1926, and February 1944 issue, focused on role of lighting in Cinematographer's artistic sense; impact of expansion of motion pictures on cinematographer; and impact of recession on film production.

The article focuses on interview of Curtis Clark, member of the American Society of Cinematographers (ASC) on future of cinematography. Topics discussed include examination of how the latest techniques, trends and tools support the collaborative creativity of cinematographers; creative opportunities in terms of lighting, movement and compositions; and adopting o non-traditional tools for creative purposes which offers new opportunities and choices.

The article highlights periodicals' 1980s published works and cinematographers' cinematography techniques that they used in their respective projects. Topics include the in-depth cover stories on productions such as The Black Hole shot by Frank Phillips, Star Trek: The Motion Picture by Richard H. Kline, and Star Wars: Episode V:The Empire Strikes Back by Peter Suschitzky.

An interview with cinematographer, Bradford Young. It mentions his views on understanding the role of teacher for Young, and a mentor for cinematographers; challenges for cinematographers as authenticity and Vulnerability; and experience that helped to discover filmmaking as a different thing and a big moment.

The article highlights the works and techniques of American cinematographers on armed conflicts. Topics include early cinematographers' contribution in cinetographying armed conflicts; application of cameras, deep shadows and expressive lighting for narration; and usage of technical refinements, including improved silent cameras, and anti-reflective coatings to make lenses faster.

The article presents the interview of Supernatural director of photography, Serge Ladouceur. Topics include application of digital cameras including the Arriflex D-21, the Red One Mysterium-X, and Arri's Alexa family; usage of Light emitting diodes (LED) lighting and digital cameras; and lighting cinematographic effects.

The article present profile of cinematographer Don McCuaig. Topics discussed include honored with the Presidents Award of the American Society of Cinematographers (ASC); educating the next generation and elevate cinematographers as key collaborators in the motion-picture community; and working with the firm Compact Video. Also mentions about his entry into feature-film production by shooting additional photography on the indie thriller "Stepfather II" (1989).

The article focuses on celebration of the American Society of Cinematographers' periodical documentations. Topics include present various collections of art form tools, techniques and creativity; mission is to educate motion picture professionals and to determine the cinematographer's role in art form; and republish several stories from each decade picked out from different issues.

The article focuses on the American Society of Cinematographers (ASC) Museum's motion picture camera collection that was formalized in the 1950 by Society member Arthur C. Miller. It mentions that the collection is curated and maintained by Steve Gainer of ASC; and also mentions about the Bell & Howell's 2709 hand-cranked camera and the Akeley "Pancake" camera.

The article discusses the cinematography of "The Color Purple" (1985), emphasizing Allen Daviau, American Society of Cinematographers attention to storytelling clarity and collaboration with Steven Spielberg and the production team.

The article offers information on the American Society of Cinematographers (ASC), which celebrated its first 100 years of loyalty, progress and artistry. Topics include ASC was the first organization in the film industry to be devoted exclusively to furthering and honoring professional achievement, and in 1918, Philip E. Rosen was elected to a third term as president of the New York branch.

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.

The article discusses the history of the American Society of Cinematographers (ASC) Clubhouse, located in Hollywood in Los Angeles, California. Topics discussed include comments by ASC President Kees van Oostrum of having visited the place when he was an American Film Institute student in 1979, and images of the clubhouse.

The article discusses the remarkable career of Harry Perry, American Society of Cinematographers, a cinematographer who worked on pioneering aerial shots for early feature films and later transitioned to filming nuclear tests for the U.S. Air Force during the Cold War. Topics include his contributions to filmmaking, his role in documenting nuclear tests, and his legacy in the film industry.

The article offers information on the International Cinematography Summit (ICS), organized and coordinated by the American Society of Cinematographers(ASC) International Committee held on June 4-7, 2018 at ASC Clubhouse in Los Angeles, California.

The article focuses on George A. Romero the director of "Night of the Living Dead" and his accomplishments as both a filmmaker and a cinematographer. Topics include his other films such as "The Crazies and Creepshow," his production house The Latent Image, and "Night of the Living Dead" success as a box-office hit and cultural phenomenon.

The article explores the making of the classic musical comedy film, Singin' in the Rain, which depicts Hollywood's transition from silent films to "talkies". It focuses on the use of a Technicolor three-strip camera and the work of cinematographer Harold Rosson, as well as the film's enduring legacy as a pinnacle of Hollywood cinema.

The article reports that Super 8 film was introduced in 1965, and Beaulieu provide professional-level support for the new format with tools such as the Beaulieu 4008 including examines it featured reflex viewing and a precision-engineered electric movement that was rugged.

The article discusses the work of cinematographer John Toll. Topics discussed include his work in the films "Wind"; "Braveheart" and "The Adjustment Bureau"; Lifetime Achievement Award from the American Society of Cinematographers to Toll; and Toll's work as an assistant to director of photography Archie R. Dalzell for a season of the cop series "The Rookies".

An interview with cinematographer Dariusz Wolski is presented. Topics discussed by Wolski include his works in the films "The Walk" and "The Martian," shooting the scene of actor Joseph Gordon-Levitt in "The Walk" where he directly addressing the audience while standing on the torch of the Statue of Liberty, and the camera lenses which he relied on for each film.

The article mentions the anniversary of Cinelease, which has been in business for 45 years.

The article focuses on the production and cinematography of the biographical film "Straight Outta Compton," directed by F. Gary Gray which tells the story of the hip hop group N.W.A. Topics discussed include the lighting techniques used by cinematographer Matthew Libatique, several equipment used in the production such as the Red Epic Dragon camera, Arri/Fujinon Alura spherical zooms, and Zeiss Super Speed spherical primes, and the use of light emitting diode (LED) lighting.

The article discusses the cinematography for the film "Godzilla," directed by Gareth Edwards and starring Bryan Cranston, Aaron Taylor-Johnson, and Ken Watanabe. Details related to the film's lighting, computer generated (CG) visual effects, and camera equipment are provided. The film's use of handheld cameras, Vancouver, Canada location, and the collaboration between Edwards and the film's cinematographer Seamus McGarvey are discussed.

The article discusses the production and cinematography of the police drama film "Prisoners," directed by Denis Villeneuve with cinematographer Roger Deakins. Torture in the film, location shooting in Georgia, and lighting for the film are discussed, as well as digital cameras, equipment for the filming, and a chase scene in the film. Deakins ' work on the film "Skyfall" is also mentioned.

The article analyzes the work of cinematographer Gil Hubbs on the film "Enter the Dragon" directed by Robert Clouse and starring Bruce Lee. It discusses the decision to film the motion picture in 35 millimeter anamorphic, in color, and without sync sound. Comments from Hubbs on filming in Hong Kong, delays in production, and collaborating with Clouse are included. Other topics covered include Lee's work as a fight choreographer, cameras used for the film, and filming techniques for fight scenes.

The article discusses the film "Abraham Lincoln: Vampire Hunter," directed by Timur Bekmambetov with cinematography by Caleb Deschanel. The film was shot digitally with the Arri Alexa camera and Phantom Flex camera and was converted from 2-D to 3-D after filming. Deschanel also used lighting to depict the transition to the inclusion of vampires in the film.

The article discusses the life and works of the late cinematographer William A. Fraker in Los Angeles, California. It elaborates the awards and expertise of Fraker in cinematography for the films "Paint Your Wagon," "The Day of the Dolphin," and "Baby Boom." It recounts how Fraker grew up and how he spent his education at the University of Southern California Film School. The working experiences of several directors and cinematographers with Fraker are also mentioned.

The article discusses the manner in which the gritty world of the science fiction movie "Blade Runner," directed by Ridley Scott was designed, built and photographed which reflected a delicate balance of art and craft. According to industrial designer Lawrence G. Paull, the movie depicts an urban world in which the consumer delivery system has sort of broken down. Scott created various preliminary sketches and storyboards to inspire his team.

This article explores the achievements of U.S. cinematographer Gerald Hirschfeld. It is noted Hirschfeld has not only excelled at his craft but also chosen to share what he has learned with his peers. With his achievements, the American Society of Cinematographers honored him with the Presidents Award. During his long career, Hirschfeld compiled more than 40 feature-film credits, including "The Incident" and "Diary of a Mad Housewife."

The article discusses the work of cinematographer Larry Fong in the movie "300." According to Fong, the graphic novel by Frank Miller was the blueprint for the look of the film. He explained that one of the first steps in capturing the film was to determine what illustrations would be matched exactly in the film in terms of lighting and composition. Extensive virtual landscapes and set extensions required Fong to make great use of bluescreen.