Sue Smith

2021 EditFest Global Presents Top Talent from Around the World Panels, networking and conversation set for August 28 and 29 American Cinema Editors’ EditFest Global returns during a virtual event on August 28 and 29, 2021, offering access to the insight and experiences of the world’s finest editors. EditFest Global successfully debuted in 2020 as the online partner to EditFest’s popular in-person events in Los Angeles and London. The lineup for the two-day virtual event features live and prerecorded conversations with an array of the world’s most talented editors working across all genres and outlets. EditFest Global also offers direct interaction with ACE editors, industry experts and a community of attendees in live breakout rooms. The schedule for EditFest Global 2021 is available here. The days kick off at 9:15 am, and end at 2:00 pm PDT, on Saturday and Sunday August 28 and 29. Highlights include: Editing For Musicals Moderated by Carolyn Giardina, Tech Editor at The Hollywood Reporter Kris Fitzgerald – Central Park Ali Greer – Schmigadoon! Alan Heim, ACE – All That Jazz Virginia Katz, ACE – Dreamgirls, Beauty and the Beast Myron Kerstein, ACE – In the Heights, Crazy Rich Asians, tick, tick…Boom Inside the Cutting Room with Bobbie O’Steen: A Conversation with Tom Cross, ACE The author of The Invisible Cut & Cut to the Chase joins the esteemed editor of Whiplash, La La Land, First Man, No Time to Die From Assistant to Editor: Mentoring the Next Generation Moderated by Matt Feury, Senior Director, Artist Relations, AVID Part 1 – The Mentors Alan Baumgarten, ACE – Trial of the Chicago 7, Molly’s Game Ben Bulatao, ACE – Deadliest Catch, Florida Man Melissa McCoy, ACE – Ted Lasso, Whiskey Cavalier Joi McMillon, ACE – Zola, The Underground Railroad, Moonlight Harry Yoon, ACE ­– Minari, Shang-Chi and the Legend of the Ten Rings Part 2 – The Assistants Francesca Castro Irene Chun Christina Mar Daniel Morfesis Art O’Leary, ACE International Partner Program Launch Strengthening the Art of Editing in the Global Film Community Moderated by Jazz Tangcay, Senior Artisans Editor at Variety Panelists: Alexander Berner, ACE – Babylon Berlin, Cloud Atlas, Resident Evil Janus Billeskov Jansen – Flee, Another Round, Pelle The Conqueror Yang Jinmo, ACE – Parasite, Snowpiercer, Train to Busan Soledad Salfate – A Fantastic Woman, Somos., Gloria Bell Michelle Tesoro, ACE – The Queen’s Gambit, Flag Day, When They See Us Over the course of EditFest Global, attendees can sign up to engage in breakout rooms and converse with a world of talented editors: Networking Break-Out Rooms Josie Azzam and Susan E Kim – Discussion with Sally Menke 2020/21 Fellows Patricia Barnett, ACE – iCarly, Everybody Loves Raymond, Call Your Mother Kirk Baxter, ACE – The Social Network, Mank Lillian Benson, ACE – Chicago Med, Maya Angelou: And Still I Rise Avril Beukes, ACE – Respect, Queen Sugar Daysha Broadway, ACE – A Black Lady Sketch Show, Insecure Erika Dapkewicz, ACE – Vivo, Puss and Boots Susan Federman, ACE – How I Met Your Mother, Man with a Plan Dana E. Glauberman, ACE – The Mandalorian, Ghostbusters: Afterlife Yana Gorskaya, ACE – What We Do in the Shadows, Hunt for the Wilderpeople Jessica Hernández, ACE – A Black Lady Sketch Show, Self-Made Charles Little II, ACE – 911, Lone Star Mikkel E.G. Nielsen, ACE – Sound of Metal Julio C. Perez IV, ACE – Euphoria, Malcolm & Marie Stephen Rivkin, ACE – Avatar, Pirates of the Caribbean Molly Shock, ACE – Top Chef All Stars, Rupaul’s Drag Race All Stars Rosanne Tan, ACE – The Falcon and the Winter Soldier, Mr. Robot, Homecoming Frédéric Thoraval, ACE – Promising Young Woman Andrew Weisblum, ACE – The French Dispatch, Black Swan, tick, tick…Boom! Breakout rooms will be moderated by Matthew Allen, Susana Benaim, Alfonso Carrion, Alyssa Donovan, Glenn Garland, Robbie Gibbon, Hailey Ruffner, Kelly Soll, Christina Velez, and Shannon Weiss. As announced earlier, EditFest Global is unveiling its long-awaited International Partner Program during the event. The program is designed to strengthen the art of editing in the global film community with formalized opportunities to be part of ACE. EditFest Global membership is open to all and can be purchased at www.editfestglobal.com. Membership and tickets for both days are $69; tickets for the event alone are available for $40. Valuable membership benefits include 2021 EditFest Global online events; an entire year of content; ongoing offers and discounts from ACE, its partners and sponsors; and a subscription to Cinema Editor magazine. ACE members and current Cinema Editor magazine subscribers can join EditFest Global for free. For further information about participating in EditFest Global, visit editfestglobal.com. For further information about American Cinema Editors, visit americancinemaeditors.com

The industry’s coveted honors for Color Grading, Editing, Sound, VFX accepting entries until July 20, 2021 The 2021 Hollywood Professional Association (HPA®) Awards call for entries for creative categories has opened. For over fifteen years, the HPA Awards have recognized the creative brilliance of the HPA community, honoring artistry in color grading, editing, sound, and visual effects in feature film, episodic, and commercials. A sought-after honor, the HPA Awards have recognized the most compelling and important work from around the world. The HPA Awards successfully pivoted to a popular virtual ceremony in 2020. As the creative community has hoped, the 2021 HPA Awards will again be an in-person celebration. Details for the event will be revealed in coming weeks but the evening promises to deliver an engaging take on the popular event. Submissions for consideration in the creative categories will be accepted between June 11 and July 20, 2021. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 10, 2020 through September 7, 2021. Entrants need not be members of the Hollywood Professional Association or working in the U.S. Submissions are now being accepted in the following competitive categories: Outstanding Color Grading - Theatrical Feature Outstanding Color Grading - Episode or Non-theatrical Feature Outstanding Color Grading - Commercial Outstanding Editing - Theatrical Feature Outstanding Editing - Episode or Non-Theatrical Feature (30 Minutes and Under) Outstanding Editing - Episode or Non-Theatrical Feature (Over 30 minutes) Outstanding Sound (Design, Editing, Mixing) - Theatrical Feature Outstanding Sound (Design, Editing, Mixing) - Episode or Non-Theatrical Feature Outstanding Sound (Design, Editing, Mixing) - Commercial Outstanding Visual Effects - Theatrical Feature Outstanding Visual Effects - Episode or Non-Theatrical Feature (13 Episodes and Fewer) Outstanding Visual Effects - Episode (Over 13 Episodes) The call for entries for the HPA Engineering Excellence Award, honoring products and processes representing outstanding technical and creative ingenuity in media, content production, finishing, distribution, and archive, opened last month and submissions will be accepted until June 24, 2021. The Judges Award for Creativity and Innovation, a juried award, will be announced in advance of the gala. Both special awards will be bestowed during the HPA Awards. Seth Hallen, HPA President and a founding member of the HPA Awards Committee, said: “I am thrilled to open the call for creative categories; this year we have much to celebrate. For the past year and a half, we’ve seen artists face unforeseen difficulties and yet continue to create amazing work. It’s been nothing short of awe inspiring. Our community came together during an unbelievably challenging, and hopefully once-in-a-lifetime crisis. Like their clients, these talented artists continued to do what needed to be done, and to do it creatively. I am looking forward to celebrating the talent and dedication of the artists and companies who persevered, who were flexible and inventive and brilliant. What they have done during the past year is what we will honor this year - it’s truly special and we are going to make this a very special event!" The HPA Awards are made possible through the generous sponsorship of Awards Title Diamond Sponsor Blackmagic Design and Event Sponsors DTS and Zeiss. For sponsorship or program advertising opportunities, contact Joyce Cataldo at jcataldo@hpaonline.com. Complete rules, guidelines and entry information for the creative categories and all of the HPA Awards, as well as a list of previous winners, are available at hpaonline.com.

As production continues to ramp up and content creation for a multitude of platforms increases, industry veteran Andre Trejo has joined FotoKem as vice president of Creative Services, the theatrical dailies and finishing division of FotoKem. The role was previously led by Tom Vice, who moves up to co-chief operating officer, overseeing operations across multiple divisions and business units. The appointments support the company’s commitment to serving filmmakers with industry-leading digital and film post production services. Mike Brodersen, FotoKem’s COO and chief strategy officer, comments, “Tom has played an integral part in Creative Services and having known Andre for many years was tremendously excited with what his expertise and industry relationships bring to the table. We are thrilled to have him aboard.” Since joining FotoKem in 2008, Vice has thoroughly navigated the critical requirements of dailies and creative finishing services. He adds, “Andre’s decades of experience supporting the creative community – including editors, cinematographers and directors – gives us a knowledgeable ambassador to seamlessly guide projects through the creative and technical offerings available at FotoKem.” Trejo has worked closely with some of the most revered feature filmmakers, up-and-coming independents, and top-tier episodic creators in a career spanning over 25 years. He is well known in the industry for his expertise in strategic management, client service, and post-production workflows. Prior to joining FotoKem, he was director of Theatrical Operations at Technicolor, where he managed the Los Angeles facility’s team of DI colorists, editors, and producers, and contributed to the design and implementation of solutions that optimized efficiencies for both clients and staff. Before Technicolor, Trejo oversaw operations for the DI and Mastering divisions of LaserPacific, playing a pivotal role in the company’s transition from servicing primarily film-captured productions to embracing digital acquisition and finishing. For more information, visit www.fotokem.com.

The Board of Governors of the American Society of Cinematographers (ASC) has voted on the organization’s 2021-2022 officers and Stephen Lighthill has been re-elected president. He will serve his next one-year term alongside Vice Presidents Amy Vincent, Steven Fierberg and John Simmons; Treasurer Steven Poster; Secretary Gregg Heschong; and Sergeant-at-Arms Jim Denault. Lighthill was elevated to president last year and previously served in the role from 2012-2013. He and the Board have been guiding the Society through the challenging transitions necessitated by the global pandemic, focusing on helping members learn safe practices on set and sharing those findings with the industry at large. The organization also streamed its annual Outstanding Achievement Awards online for the first time, which was watched by over 4,500 people worldwide. Lighthill notes, “As we safely emerge from the pandemic, we plan to continue to share our expertise on best practices for remote solutions and virtual production in service to the artistic process of filmmaking. We also remain focused on recruiting diverse and inclusive crews as well as supporting underrepresented filmmakers through our scholarship and mentorship programs.” As the Discipline Chair: Cinematography at the American Film Institute Conservatory, Lighthill continually advocates for gender diversity at both the faculty and graduate levels. Additionally, he has served as an officer on the National Executive Board of the International Cinematographers Guild (ICG). Lighthill began his career shooting for San Francisco Bay area news programs and national news shows, such as 60 Minutes. He segued into documentary cinematography, working on many films including Gimme Shelter and Berkeley in the Sixties, which was nominated for an Academy Award® and won the Audience Award at Sundance. His narrative credits include such television dramas as Vietnam War Story, Earth 2, and Nash Bridges, among many others. In 2018, Lighthill was bestowed the ASC Presidents Award. He is also the recipient of the Society of Operating Cameramen’s (SOC) President’s Award in 2000. The ASC strives to serve its mission of inspiring the next generation of cinematographers and advancing the art of filmmaking through many industry events and organizational initiatives. The Society has over 20 committees leading the ASC’s various activities, such as: the Future Practices Committee, which worked tirelessly to assist and advise ASC members and the industry on COVID-19 safety on set; the award-winning Motion Imaging Technology Council (MITC) that promotes ongoing education in the role of technology on the imaging chain, including a focus on virtual production and the new tools available to cinematographers for this creative style of filmmaking; and the Vision Committee, which is actively helping to advance underrepresented cinematographers, their crews and other filmmakers. Other ASC programs include Master Classes taught by members; Clubhouse Conversations with members and filmmakers about highly regarded work; and the activities of the Education & Outreach Committee with film schools. “We are following the recommended health and safety guidelines and look forward to relaunching some our events in person later this year, in addition to reopening our historic clubhouse,” Lighthill adds. ASC was founded in 1919. There are over 420 members today who have national roots in some 20 countries. More than 250 associate members hail from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com.

Colorist Élodie Ichter has joined the roster at Picture Shop, a Streamland Media company providing award-winning post production services. Ichter, who recently collaborated with cinematographer Joshua James Richardson on Oscar®-winning Best Picture “Nomadland” for Searchlight Pictures, will focus on picture finishing for both features and episodic content. “We are delighted to welcome Élodie to the Picture Shop family,” said Sherri Potter, president of Picture and VFX for Streamland Media. “Her international experience will serve our goal of continuing to provide industry-leading picture finishing services to creative clients around the world.” In addition to her work on Nomadland, Ichter recently reunited with Academy Award®-winner Robert Richardson, ASC on Venom: Let There Be Carnage. She previously collaborated with him as associate colorist on Quentin Tarantino's Once Upon A Time… In Hollywood. Ichter began her career at Éclair in Paris, where she focused on the art of color grading in a traditional film environment. During her career she has developed a repertoire of creative skills that are widely respected across the film and television industry. Her credits include Marshall, Okja and The Shallows. Prior to that she assisted on dozens of titles such as The Irishman, The Hunger Games: Mockingjay – Part 1, Maleficent and Snow White and the Huntsman, among others. With a network of creative influences spanning Europe and America, Ichter brings a distinctly collaborative and personable approach to the art of color grading. She is skilled at crafting unique looks that enhance the creative vision set by her clients. "While the industry begins a new chapter after an unprecedented year, I am thrilled to join a team of the most talented and renowned artists and technologists in the world,” said Ichter. “In this time of pivot and growth, I am excited to further expand my craft and help clients bring their stories to life.”

Picture Shop, an award-winning post production house offering comprehensive picture services, and Ghost VFX, a renowned full-service visual effects company, collaborated on the recently released series Shadow and Bone, based on Leigh Bardugo's bestselling fantasy novels. A Netflix production from 21 Laps Entertainment, Shadow and Bone follows mapmaker and orphan Alina Starkov (Jessie Mei Li), who discovers she has extraordinary powers that could greatly impact her war-torn country. As she struggles to perfect her power, she finds that nothing is what it seems and dangerous forces are in play, including a group of charismatic criminals. Showrunner Eric Heisserer tapped director Lee Toland Krieger and cinematographer David Lanzenberg to create the series look over the first two episodes. Picture Shop Senior Colorist Shane Harris, who first collaborated with Krieger and Lanzenberg on Celeste & Jesse Forever (2012), was also brought on board. “Shane has a great eye for palette,” notes Krieger. “He usually knows what David and I want without even having a conversation. Shane also doesn’t like anything that looks too clean or sterile. He’s great at protecting our look.” Principal photography took place at the Mafilm Studio complex in Fót outside of Budapest, Hungary. Before filming began, Harris worked to create LUTs based on film references from the DP and director. “I’ve been lucky enough to work with Lee and David on several projects over the past decade,” says Harris. “Between Lee’s meticulous, clear vision for the look and David’s framing, they’re able to capture so much in-camera that it always makes my job that much easier.” Krieger, Lanzenberg and Harris handled the color finishing out of Picture Shop’s flagship facility in Burbank, with Harris completing SDR and HDR grades in the Resolve. Picture Shop’s Zac Dych handled editorial on the show. Harris also worked closely with Shadow and Bone’s award-winning VFX Supervisor Ted Rae to go through every VFX shot and make them seamless using mattes, simultaneously diffusing to give it an organic feel. For a show of this epic size and scale, numerous vendors delivered 1,700 visual effects shots. Leading the team for Ghost VFX were VFX Supervisors Matt von Brock (Burbank) and Martin Gardeler (Copenhagen). “We reviewed shots every morning together while each location did their own shots,” explains von Brock. “The Shadow Fold is a key visual and critical story element in Shadow and Bone. Ghost created the exterior surface of the Shadow Fold, which has been described in many ways, but the one that sticks most is thinking of the surface of it like the sun. There are millions of constant nuclear reactions keeping it together, but in the case of the Shadow Fold, it is dark energy, not light energy. It’s full of terrors, and the surface consists of a dark penetrable membrane that organically lives while emitting a thick smoke-like particulate. It keeps the evil from within it from escaping.” Ghost VFX producers on Shadow and Bone included David Brown, Cilie Kragegaard, Monique van Buitenen, and Rikke Hovgaard Jørgensen. “Ghost VFX did a lot of work on the Shadow Fold,” describes Krieger, who worked closely with Rae and reviewed the show’s visual effects shots. “Even their first round of something is really exceptional.” To learn more about the making of Shadow and Bone, watch interviews with Krieger, Lanzenberg and Harris here. (https://youtu.be/GtRuZ6DR_fo) Picture Shop and Ghost VFX are Streamland Media companies.

With Oscar® wins in the cinematography and documentary categories last night, productions shot on RED Digital Cinema capped off a successful awards season. Erik Messerschmidt, ASC took the Best Cinematography prize for his glorious black-and-white photography of Mank. Messerschmidt was a favorite going into Sunday night’s ceremony after winning awards from his peers at the American Society of Cinematographers (ASC) and British Society of Cinematographers (BSC). Mank, which took home two Oscars, led all nominations with 10, including a nod for legendary director David Fincher. The Netflix film was shot on a RED RANGER with a HELIUM 8K MONOCHROME sensor. It was the 17th black-and-white film in Academy Award® history to be nominated for cinematography since separate categories for color and black-and-white films were merged in 1967. “We are incredibly proud of Erik on his Oscar win for best cinematography,” said RED Digital Cinema President Jarred Land. “It is a well-deserved recognition for creating truly breathtaking images for Fincher’s Mank. We are honored that he chose to shoot it on RED cameras, and we can’t wait to see what he does next.” Best Documentary winners Pippa Ehrlich, James Reed and Craig Foster collaborated with cinematographer Roger Horrocks on Netflix’s My Octopus Teacher, shot on a RED DRAGON. The touching under-the-sea story has been widely recognized this season, winning BAFTA, ACE, PGA and IDA awards. It also earned nominations from DGA, MPSE, and CAS. Horrocks claimed a Best Cinematography Award for a documentary at the Critics’ Choice Awards. Additional productions shot on RED that received accolades this awards season include Netflix’s The Queen’s Gambit, shot by Steven Meizler on the RED RANGER. The limited series earned Meizler an ASC Award. The show also won DGA, PGA, SAG, Golden Globes, AFI, ACE, ADG and WGA awards, among others. Ammonite, The Dissident, The Last Dance, The Social Dilemma and David Attenborough: Life on Our Planet were also recognized for their achievements.

The virtual presentation of the 35th American Society of Cinematographers (ASC) Awards for Outstanding Achievement in Cinematography takes place on April 18, 2021. Awards for feature film, documentary and television cinematography will be handed out in seven categories (For a full list of nominees, go here). Writer-producer-director Sofia Coppola will also receive the organization’s Board of Governors Award. The live stream takes place at 12:30 pm PDT. For the first time in the history of the ASC, everyone around the globe will be able to share in the online celebration in their time zone: · 12:30 pm Pacific Time (Los Angeles, Vancouver) · 2:30 pm Central Time (Chicago) · 3:30 pm Eastern Time (New York, Atlanta, Toronto) · 8:30 pm GMT (London) · 9:30 pm Central European Time (Paris, Berlin, Prague) · And on April 19 at 5:30 am Australian Time (Sydney) To tune into the live stream of the 35th ASC Awards, register for a high-quality, HD viewing link via Luma or watch it on the American Cinematographer Facebook page.

Picture Shop, an award-winning post-production house offering comprehensive picture services as part of the Streamland Media community of companies, has added distinguished industry colorist Steven Bodner to its roster of artists. Bodner joins Picture Shop as supervising colorist, bringing over 15 years of finishing experience on award-winning episodics and features. “Steve’s artistry and collaborative spirit will be a great addition to our extraordinary creative team,” says Bill Romeo, CEO of Streamland Media. “His immense talent, in addition to his warm personality, have made him a trusted partner of many cinematographers and showrunners. We are excited to welcome him to the Streamland Media community.” Bodner has been nominated for three Outstanding Color Grading Awards from the Hollywood Professional Association (HPA) for his work on the acclaimed series The Marvelous Mrs. Maisel and Vinyl. His extensive credits include the highly lauded The Queen’s Gambit, Ramy, Emily in Paris, Maniac, and True Detective (‘S1’). What the Constitution Means to Me, Selah and the Spades, Can You Ever Forgive Me?, and Beasts of No Nation comprise Bodner’s feature work. A native New Yorker, Bodner was introduced to world of post-production by his father, who owned an offline editorial commercial company. His career began at Nice Shoes, where he ultimately moved up to color assistant. During his time at Deluxe, he transitioned into a finishing colorist role for features. Most recently he was a senior colorist at Light Iron. “I’m excited to be joining Streamland,” adds Bodner. “It offers a unique experience backed by a team of talented creatives and technological experts. I look forward to being a part of their network of global, boutique businesses that set the bar among industry facilities.”

The winners of the 2020 American Society of Cinematographers (ASC) Student Heritage Awards were named Saturday night (February 27) during a virtual presentation. Three student filmmakers were chosen for demonstrating exceptional cinematography skills in their submitted work. ASC cinematographers Paul Atkins, Tommy Maddox-Upshaw and David Stockton presented the awards alongside ASC President Stephen Lighthill, Student Awards Co-Chairs Crag Kief and Armando Salas, and Sony’s Manager of Digital Cinema Camera Sales and Business Development Daniel Perry. As this year’s student awards sponsor, Sony also bestowed gift packages, including Sony cameras, to the nominees and winners. The recorded event will be made available for on-demand streaming on the ASC website and social channels in the coming weeks. Following is the complete list of winners: Michael Chapman Student Heritage Award – Graduate Category: Ai Chung for A Young Tough (Chapman University) Allen Daviau Student Heritage Award – Undergraduate Category: Elias Ginsberg for Milk Teeth (University of Southern California) Haskell Wexler, ASC Student Documentary Award: Melanie Grams for Driven (University of Southern California) Designed to encourage and support the next generation of cinematographers, the annual ASC Student Heritage Awards also celebrate the memory of an ASC member. This year’s Undergraduate Award was named in honor five-time Oscar®-nominee Allen Daviau, ASC (Bugsy, Avalon, Empire of the Sun, The Color Purple, E.T. the Extra-Terrestrial). The ASC Graduate Award recognizes two-time Academy Award nominee Michael Chapman, ASC (Raging Bull, The Fugitive). The Documentary category is enduringly dedicated to multi-Oscar®-winner Haskell Wexler, ASC (Who’s Afraid of Virginia Woolf?, Bound for Glory). Many of those recognized by the ASC Student Heritage Award program since inaugurated in 1999 have gone on to have successful careers in filmmaking, including the Student Awards Committee Co-chairs Craig Kief and Armando Salas, alongside other ASC members Nelson Cragg, Masanobu Takayanagi, and Lisa Wiegand.

The American Society of Cinematographers (ASC) will present writer-producer-director Sofia Coppola with the organization’s Board of Governors Award during the 35th Annual ASC Awards on April 18. The Society bestows the ASC Board of Governors Award to filmmakers for their significant and indelible contributions to cinema through their body of work. It is the only ASC Award not given to a cinematographer and is reserved for industry stalwarts who have been champions for directors of photography and the visual art form. This year, the award is sponsored by Picture Shop, a Streamland Media company. Coppola earned an Academy Award® for Best Original Screenplay as well as Academy Award nominations for Best Director and Best Picture for Lost in Translation (shot by Lance Acord, ASC) in 2004. The film received worldwide recognition from the DGA, WGA, BAFTA, Golden Globes, AFI, Film Independent and the Venice Film Festival, in addition to a host of worldwide honors for the cast and crew. In 2017, Coppola made history as only the second woman to win the Best Director prize at the Cannes Film Festival, and the first woman to win since 1961, for her film The Beguiled (photographed by Philippe Le Sourd, ASC, AFC), starring Nicole Kidman, Kirsten Dunst, Elle Fanning and Colin Farrell. “Beginning with her breakout hit The Virgin Suicides, Sofia Coppola has been a powerful influence in the filmmaking community,” says ASC President Stephen Lighthill. “We’re excited to honor her contributions and celebrate her accomplishments. Her collaborative spirit and imaginative execution puts her at the forefront of a unique cinematic category." Over her 20-year career, Coppola has compiled an illustrious body of work and extensive accolades for her vanguard approach to indie filmmaking. Her directorial debut, The Virgin Suicides with Oscar®-nominated cinematographer Ed Lachman, ASC, won the MTV Movie Award for Best New Filmmaker after screening at the Cannes and Sundance film festivals. She has worked with an array of DPs to bring her dexterous storytelling talents to the screen on such films as Marie Antoinette (Acord), Somewhere (Harris Savides, ASC), The Bling Ring (Savides and Christopher Blauvelt), and A Very Murray Christmas (John Tanzer). She wrote and directed her current film, On the Rocks, starring Rashida Jones, Bill Murray and Marlon Wayans, with Le Sourd returning behind the camera. She is also in development on an adaptation of Edith Wharton’s classic novel Custom of the Country as a limited series for Apple. In addition to her film career, Coppola directed a production of Verdi’s classic, “La Traviata” at the Rome Opera House, for which she teamed up with fashion designer Valentino Garavani and production designer Nathan Crowley. Francis Ford Coppola, Sofia Coppola’s father, received the ASC Board of Governors Award in 1998. Previous recipients also include Jeff Bridges, Angelina Jolie, Denzel Washington, Ridley Scott, Barbra Streisand, Harrison Ford, Julia Roberts, Christopher Nolan, Morgan Freeman, Francis Ford Coppola, Sally Field, Ron Howard, Martin Scorsese and Steven Spielberg, among many others. For information regarding the 35th ASC Awards for Outstanding Achievement in Cinematography, visit www.theasc.com or call 323-969-4333.

Online Interview Series Features Filmmakers Discussing the Art and Craft of Visual Storytelling The American Society of Cinematographers (ASC) resumes its popular Clubhouse Conversations series this month, featuring insightful interviews with leading filmmakers discussing their creative process. The online video conversations highlight a wide array of award-contending productions. Moderated by ASC members, the in-depth discussions explore the cinematographer’s experience, and, in some instances, include their collaborators. Clubhouse Conversations are accessible on the American Cinematographer website and through its social media channels (Twitter, Facebook, Vimeo, and Instagram) for free. For more than 100 years, the ASC’s mission has been to advance the art of cinematography. Clubhouse Conversations are one of several outreach initiatives by the society to connect filmmakers and fans of cinematography with some of the top creative visual talent in the industry. This new season of Clubhouse Conversations kicks off on December 28 with a look at the making of the controversial documentary The Dissident with director of photography Jake Swantko and director Bryan Fogel. The two previously collaborated on the Oscar®-winning documentary Icarus. The initial lineup – with more to come – is expected to include: · Cherry with Newton Thomas Sigel, ASC · Fatale with Dante Spinotti, ASC, AIC · Judas and the Black Messiah with Sean Bobbitt, BSC · Mank with Erik Messerschmidt, ASC · Nomadland with Joshua James Richards · One Night in Miami with Tami Reiker, ASC · Small Axe with Shabier Kirchner · Sound of Metal with Daniël Bouquet, NSC and composer/supervising sound editor Nicolas Becker · The Midnight Sky with Martin Ruhe, ASC · The Mauritanian with Alwin Kuchler, BSC and director Kevin Macdonald · Waiting for the Barbarians with two-time Oscar winner Chris Menges, ASC, BSC A venerable group of award-winning ASC members will conduct the discussions, including Rodrigo Prieto, Lawrence Sher, Eric Steelberg, Buddy Squires, David Mullen, James Laxton, Patti Lee, Armando Salas, John Bailey, Richard Crudo, and Amy Vincent, among others. Clubhouse Conversations will run December 2020 through April 2021. Episodes will go live as they are produced, with a scheduled release of one to three per week. Guests and moderators are subject to change based on availability. To watch the most recent episodes of Clubhouse Conversations, visit the American Cinematographer website here.

The American Society of Cinematographers (ASC) will celebrate the 35thASC Outstanding Achievement Awards on April 18, 2021. The annual ceremony will be streamed live from the ASC Clubhouse in Hollywood, with plans for a simultaneous in-person component to be determined at a later date. “The ASC Awards recognize the finest work of the year and its exceptional creators,” notes ASC Awards Co-Chair Dana Gonzales. “We look forward to celebrating the exceptional visual art of the many talented cinematographers contributing to the stories that are entertaining us through these unprecedented times.” The organization has also officially opened the call for entries in four television categories: · Episode of a One-Hour Television Series – Commercial · Episode of a One-Hour Television Series – Non-Commercial · Episode of a Half-Hour Television Series · Motion Picture, Limited Series, or Pilot Made for TV The deadline to enter is January 8, 2021, by 5 p.m. PST. To qualify, shows must have a premiere date in the United States between October 1, 2019, and December 31, 2020. The shift in the eligibility period reflects adjustments for the new awards date. Entry forms can be filled out online here on the ASC website. In addition to the TV categories, the ASC Awards recognizes outstanding cinematography in feature films and documentaries. The Spotlight Award, introduced in 2014, recognizes cinematography in features that typically screen at film festivals, internationally or in limited theatrical release. The ASC Documentary Award recognizes exceptional cinematography in nonfiction filmmaking. ASC members nominate and vote on winners in both categories. Movies that qualify for the Academy Awards® under their new eligibility guidelines for 2021 will also qualify for the ASC Theatrical Award. A complete timeline for the 35th ASC Outstanding Achievement Awards, can be found here on the ASC website. There are currently 415 active members of the ASC, who have national roots in some 20 countries. There are also 260 associate members from ancillary segments of the industry, and eight honorary members. For additional information about the ASC, visit www.theasc.com. #

LOS ANGELES (October 13, 2020) – The American Society of Cinematographers (ASC) announces the return of its popular ASC Master Class series as a virtual offering. The newly configured course consists of a three-day online seminar with live interactions and Q&A discussions. The first class is set to resume Oct. 30 with ASC instructors Larry Fong, ASC (300, Watchmen, Super 8, Kong: Skull Island), M. David Mullen, ASC (two-time Emmy® Award winner for The Marvelous Mrs. Maisel) and Lawrence Sher, ASC (Oscar® and ASC Award nominee for Joker, The Hangover trilogy). ASC Master Classes are interactive courses taught by members representing some of the world’s top working cinematographers. Limited to 30 participants, the class is designed for cinematography students with an intermediate skill set and focuses on advancing their understanding of the art of visual storytelling. Instructors also analyze the creative work of filmmakers that are relevant to the coursework. “Since 2013, ASC Master Classes have been held in person at the ASC Clubhouse in Hollywood, as well as other international locations, offering students a unique opportunity to interact directly with ASC members and learn new creative techniques,” notes Shelly Johnson, ASC, who worked with fellow members Steven Fierberg, ASC and Mullen to re-invent the experience online. “Our hope is to transition that signature learning format into virtual interaction for a global audience. We’re excited to relaunch this educational trademark of the Society and hope to attract an even broader sector of students interested in learning more about cinematography from our accomplished members.” The online event will include live instruction, pre-recorded lighting demonstrations, selected film clips, and group discussion periods. Classes will run about 3.5 hours per day, at a time that is friendly for an international audience. Registration is now open for students worldwide. All instruction will be in English. The price of participation is $750 USD, and the deadline to register is October 26. Dates for additional courses will be announced as ASC instructors are confirmed. For more information, visit www.theasc.com.

RED DIGITAL CINEMA®’s new KOMODO™ 6K camera system is now available to order. The highly anticipated KOMODO 6K comes to market after extensive engineering to incorporate production-tested innovations, including a breakthrough global shutter sensor (27.03mm x 14.26mm) that maintains RED’s high standard of image quality and dynamic range. The camera is packaged in a small 4-cubic-inch (101.6 mm) form factor and weighs only 2.1 pounds (0.95 kgs). Joining RED’s product lineup in its own category, KOMODO includes an enviable list of features designed for professional filmmakers and content creators who want high-end visuals in an easy-to-use, compact, and versatile camera. “KOMODO has turned into quite the beast,” says Jarred Land, President of RED Digital Cinema. “This tiny chameleon of a camera packs in amazing resolution, dynamic range and image quality with a global shutter that has allowed filmmakers to capture footage in ways never thought possible.” KOMODO captures 6K at 40 fps, 6K WS at 50 fps, and 4K at 60 fps. Highlights of the camera include an RF mount for users to leverage adaptors for EF, PL and other lens systems, including anamorphic lenses, for maximum creative flexibility; a phase-detect based autofocus control on the integrated, color LED touchscreen display that simplifies monitoring and menu navigation; and new streamlined REDCODE® RAW settings (HQ, MQ, and LQ compression options) enhancing the user experience for various shooting needs. Additional features include compatibility with CFAST 2.0 recording media, 4K SDI output, built-in wireless capabilities, and connectivity via the all new RED Control app, which is available now for iOS devices and coming soon on Android. KOMODO comes to market after extensive testing by many of the industry’s leading creatives, among them, renowned filmmaker Michael Bay, avid storyteller and artist Jason Momoa, and Emmy-nominated cinematographer Erik Messerschmidt, ASC. “The sensor is beautiful,” says Bay. “I always wanted something this small, this sophisticated in terms of a high-quality image. It’s very lightweight; very handheld.” Messerschmidt notes, “There is no other camera on the market with a global shutter that is this size and this versatile. And yet there are no quality compromises.” Momoa put the KOMODO camera to the test in the frozen tundra of New Jersey while shooting footage for Harley-Davidson. On the size and quality of the camera, he remarks, “It’s like cinema in the palm of your hands.” Additionally, a dedicated community of partners worked with RED to bring KOMODO and KOMODO accessories to market, including Angelbird, CoreSWX, Fool Control, Gates Housing, KipperTie, SmallHD, and Wooden Camera, among others. Adobe, DaVinci Resolve, Final Cut, Assimilate, Autodesk, Avid, and Colorfront all offer post-production support for KOMODO via RED’s latest SDK. Priced at $5,995, the groundbreaking KOMODO is ideal for a wide range of filming situations. Studio productions can use KOMODO as a B, C, or D camera. Its small size also makes it a natural fit for gimbals, drones, cranes, remote heads, and more. For content creators at all levels, KOMODO’s user-friendly system combined with RED’s unrelenting commitment to image quality provides the ability to ramp up production value, or easily venture into the RED ecosystem for the first time. The KOMODO 6K includes: • KOMODO 6K camera brain • AC power adaptor 45W • 1x RF to EF mechanical lens adapter • Mini world travel adaptor kit RED is also launching two pre-bundled pack options: • KOMODO Starter Pack ($7,200) This pre-bundled setup is perfect for content creators and run and gun operators. Including KOMODO 6K with the Wing Grip and RF to EF adapter with ND filter. Also included is media and media reader, as well as a PTap-to-power cable and timecode cable. • KOMODO Production Pack ($8,200) This includes everything from the Starter Pack plus additional production-level accessories including the Expander Module and Outrigger Handle. Several accessories are also available from RED to customize the KOMODO, including the Outrigger Handle, an Expander Module, a Wing Grip, Link Adaptor, RED® CFast 2.0 Card Reader, and RED® PRO CFast 512GB, among other ancillary components. KOMODO, the KOMODO packs, and accessories are initially available to order at Red.com/Komodo or RED Premium Dealers. Customers can also visit any one of the RED Premium dealers across the globe to schedule a demo and learn more about the product.

LOS ANGELES (Oct. 6, 2020) – Moxion, creator of the revolutionary Moxion Immediates®, solution, its 'instant dailies' service platform, announced the integration of Dolby Vision®, Dolby’s advanced imaging technology that combines high dynamic range (HDR) with wide color gamut (WCG) capabilities for next-level visual storytelling. With the ability to monitor in Dolby Vision for remote cuts, color, dailies and VFX review, key creatives are now empowered to make decisions based on the image the director, colorist and cinematographer envisioned. Dolby Vision support will be available to users with compatible devices through the Moxion app on iOS, iPadOS, and tvOS. Increasingly, productions are shooting and monitoring on set in HDR, which is fueled by demand from leading content providers and streaming services. With many films and TV shows being shot simultaneously across multiple units and countries, being able to monitor in Dolby Vision, enables robust feedback and certainty of creative intent across all units. “Moxion is proud to be a pioneer with Dolby on the end-to-end integration of incredible Dolby Vision into the moving image production process,” says Hugh Calveley, CEO of Moxion. “Your Dolby Vision assets can be ingested, transcoded, and played back with the secure, high-speed Moxion ecosystem. Dolby Vision, plus Moxion’s ability to make frame accurate annotation and comments, gives certainty to the colorist, editor and VFX team that feedback is against their original creation.” Dolby Vision transforms entertainment through vivid, lifelike picture quality with highlights that are up to 40 times brighter and blacks are 10 times darker than a standard picture. Images blaze brightly from the screen and highlights dazzle. The combination of sharper contrast, true blacks, and nuanced shadow details add an amazing sense of depth. Additionally, the greatly expanded color palette of Dolby Vision adds true, distinctive colors across a wider brightness range. This means that subtle or muted colors look as real as bright, vibrant colors. Moxion’s integration of Dolby Vision into its platform will provide the production, post and visual effects communities with unmatched control over the image. Unlike HDR10, Dolby Vision allows DPs and colorists to adjust details for individual scenes on a frame by frame basis down to the exact frame. The need for such a solution is even more urgent during production in the current pandemic. Reduced numbers on-set and remote distributed workflows are the new normal, and Moxion’s support for Dolby Vision is the perfect solution to ensure that all participants are seeing identical images. Calveley adds, “Covid has forced the industry into innovating ways to sign off on cuts, VFX and color grades in scenarios where you can’t bring people into the same room. Dolby Vision guarantees that everyone is making creative decisions based on the same image.” # About Moxion Moxion was created in New Zealand in 2015, by founders experienced in film and TV, to help filmmakers make better films. Today they are based in Los Angeles with a team across the world, ensuring their customers benefit from 24/7 support, no matter where they are producing content. Their robust dailies and revolutionary Moxion Immediates platform have been put to the test by some of the biggest names in filmmaking, in some of the most complex and challenging productions, across the globe. More information available at https://www.moxion.io/

Applications opened today for the 2021 class of HPA’s Young Entertainment Professionals (YEP) program. For five years, YEP has connected ambitious and talented creative, technical, project management and administrative professionals between the ages of 21 and 32 with mentors and educational offerings that accelerate their professional development. Applications are due Monday, October 12, and applicants will be notified of their status in mid-November. The 2021 YEP class will begin in January 2021. Since its inception in 2015, the YEP program has nurtured the critically important pipeline of young professionals ascending into industry leadership positions. Every year, the number of applications has increased, and YEP alumni continue to move into influential roles in the industry and maintain their relationship with the program and HPA. “We continue to be inspired by the young professionals who apply for and become YEPS,” said Kari Grubin, who co-created the YEP program with fellow WIP Chair and HPA board member Loren Nielsen. “The application process shows us that there are a number of exciting candidates who have long term goals for their careers, and we strongly believe that YEP is the place for them to get guidance and connection.” Nielsen noted, “It’s an understatement to say that this is an unusual time. To help these accomplished young people build their networks, peer groups and knowledge is completely thrilling. We look forward to seeing the class of 2021 take shape.” The YEP program comprises two distinct phases. Phase 1 will run for 5 months (January through May), beginning with the YEP orientation day. Attendance at the YEP orientation is mandatory along with participation in at least one other major event (e.g., the HPA Tech Retreat). YEPs are also expected to attend at least four virtual events or casual meet-ups during the full year program. Phase 2 of the YEP program will begin in May. In addition to receiving free or reduced fee access to YEP and other HPA community events, YEPs will be evaluated by the Mentorship Committee for pairing with an industry leader based on each individual’s participation and overall commitment to the program. At the end of the second phase, YEPs will be evaluated by the Mentorship Committee for eligibility to receive the certificate of completion. During the course of the Young Entertainment Professionals program, each YEP will receive access to the following: • SMPTE Virtual Technical Conference pass – November 9-12, 2020 • YEP Orientation Program • Annual Membership in HPA • Annual Membership in SMPTE • Entrance to the HPA Awards • YEP Roundtable Mentor Event • HPA Tech Retreat Conference Pass • Periodic in-person or virtual YEP events (could include coffee meet-ups, vendor field trips, virtual office hours, online mentor Q&A sessions) • Access to HPA’s virtual event series and members-only content library • Discounted or free admission throughout the year to HPA NET, Women in Post, and YEP events • Digital Certificate of Completion (based on Mentorship Committee Review) Upon successful completion of the YEP program, graduates will receive formal recognition as an HPA Class of 2021 Young Entertainment Professional at a culmination event. Grubin closed with “HPA is a place where those who participate make connections that last a lifetime. Becoming a YEP puts you in a great position to do just that, and if you are able to invest in your YEP experience, it will be an invaluable asset as you build your career. We encourage you to apply.” To be considered for the YEP program, applicants need to complete an online application and present one letter of recommendation. To learn more about the YEP program and HPA, visit www.hpaonline.com.

The Hollywood Professional Association (HPA) announced that its second Industry Recovery Task Force Virtual Global Town Hall will be held on August 26, 2020 from 11 AM to 12:30 PM PDT. As the industry grapples with the complexities of returning to work in the midst of the ongoing pandemic crisis, the need for comprehensive information from direct sources remains strong. The upcoming global town hall will feature another panel of experts from the creative, health and governmental arenas, who will share the latest scientific, technical and creative best practices to encourage a safe return to work. The event is chaired by IRTF Chair Leon Silverman and HPA Board member Craig German. Discussing the upcoming town hall, Silverman noted, “During our first town hall, we clearly learned that our community seeks viable information from credible experts. With nearly 800 people engaged online, we witnessed that the concerns facing our industry are focused on how to stay safe, connected, and creative. With the current situation evolving quickly, the HPA is committed to sharing sharply focused fact based, pragmatic knowledge in real time. For our event on the 26th, we have once again gathered important and informed voices who will help our industry and community get back to work safely and creatively as we navigate this ever changing road ahead.” The panelists bring varied perspectives, experiences and unique points of view to the vital conversations that professionals need in order to understand the changing nature of the pandemic and how it is impacting our work and workflows. Experts from VFX, cinematography, government and health and safety will come together to explore and discuss the most impactful issues we face right now. Panelists include: Moderator Carolyn Giardina – Tech Editor, The Hollywood Reporter Sara Bennett – Oscar winning VFX supervisor and co-founder, Milk VFX Markus Förderer, ASC, BVK – award winning cinematographer Kelly Howard – Senior Safety Engineer, Cal/OSHA Publications, Outreach Unit Robert Legato, ASC – Oscar-winning VFX supervisor, 2nd unit director, and cinematographer Peter Marx – Managing Partner, Biology Works; former CTO, City of Los Angeles The August 26th Industry Recovery Task Force Virtual Global Town Hall is free to attend by registering. Our HPA Town Hall events are designed to encourage global audience questions, interaction and engagement during the event. German remarked: “We want to keep the focus of the conversation on the needs of our entire industry workforce – not just here in LA or New York, but around the world. Understanding how we all move forward during this complex crisis requires a variety of expert perspectives and experiences. We’ll continue to put leaders from multiple disciplines in the viewfinder, enabling our live event attendees and those who watch later to have actionable knowledge from experts they would not normally have access to.” The key objectives of the HPA Industry Recovery Task Force are: To serve as a forum for collaboration, communication, and thought leadership regarding how to resume global production and post production in a sustainable fashion. To understand and influence evolving technical requirements such as the impact of industry remote collaboration, ‘work from home’ and other workflows which have been highlighted by the current crisis. To provide up-to-date information and access to emerging health and safety guidelines that will be issued by various governments, municipalities, unions, guilds, industry organizations and content creators. For further information and registration, including a link to the first Industry Recovery Task Force Virtual Global Town Hall, visit hpaonline.com. Additional details and speakers will be announced shortly. Future dates for HPA Industry Recovery Task Force Global Town Hall events will be announced shortly, including an event in mid-September.

The Hollywood Professional Association (HPA) has announced details of its Industry Recovery Task Force Virtual Global Town Hall, set for Wednesday, July 29, 2020 from 11 AM to 12:30 PM. The Industry Recovery Task Force (IRTF) was formed in May of this year as a critical HPA Board initiative, aimed at understanding how content creation can be enabled in an world impacted by the pandemic crisis. This is the first in a series of virtual Industry Recovery Task Force global town hall events planned for the following months and will feature major voices from the creative, health and political arenas. Industry veteran and IRTF Chair Leon Silverman and HPA Board member Craig German are chairing the event. In focusing on the purpose and form of the July 29 Town Hall, Silverman said, “By bringing together a multi-disciplinary group of experts, the Town Hall will explore the intricacies of building a bridge for the industry to safely return to work. While production has begun in spots around the world, parts of post have never stopped while many have been sidelined. We will address, in a fact-based, expert led discussion, how to stabilize our return and the steps that are required for individuals and companies in our business to safely work and sustain themselves in the process. The Town Hall presents knowledgeable experts whose insights will help guide us and fuel discussion. We decided upon a town hall format not just to present panels, but to encourage dialogue across the global community.” The July 29 Town Hall is a virtual, interactive event, and is free to attend by registering. The event will feature a panel of experts who will share the latest scientific, technical and creative best practices to encourage global community dialogue. HPA President Seth Hallen will introduce the Town Hall. Panelists include: Carolyn Giardina, Tech Editor, Hollywood Reporter, Moderator Michael Cioni, Global SVP of Innovation, Frame.io Doug Kent, President, Westwind Media Steve Rivkin,ACE, President, American Cinema Editors Dr. Daniel Z. Uslan, Co-Chief Infection Prevention Officer for UCLA Health Zev Yaroslavsky, Director, Los Angeles Initiative, UCLA Luskin School of Public Affairs; Past Member, Los Angeles County Board of Supervisors, District 3 (San Fernando Valley and Hollywood) German noted, “The important conversation we’re having is a global one. There are companies and individuals at work, or hoping to return to work, in Mumbai, London, Paris and many spots around the world, as well as NY and LA. We are all directly impacted by these events. By pulling together our HPA community, we aim to encourage a global conversation about the entire process – from pre production through editing, visual effects, archiving – and develop a path that will keep our industry safely and successfully moving forward.” The key objectives of the HPA Industry Recovery Task Force are: To serve as a forum for collaboration, communication, and thought leadership regarding how to resume global production and post production in a sustainable fashion. To understand and influence evolving technical requirements such as the impact of industry remote collaboration, ‘work from home’ and other workflows which have been highlighted by the current crisis. To provide up-to-date information and access to emerging health and safety guidelines that will be issued by various governments, municipalities, unions, guilds, industry organizations and content creators. For further information and registration, visit hpaonline.com. Additional details and speakers will be announced shortly.

LOS ANGELES, (June 18, 2020) – Sohonet, the global experts in connectivity, media services and network security for the media and entertainment industry, announced their partnership with Moxion and its revolutionary platform for HDR Immediates and Cuts. The partnership broadens the range of remote collaboration solutions Sohonet can now offer the production, post and visual effects communities. The partnership will provide the production, post and visual effects communities with a distinct set of tools designed to enable both synchronous and asynchronous remote review to suit every use case. For review discussions that depend on real-time iteration and response, Sohonet ClearView Flex provides teams with a high-quality, secure solution. Moxion Immediates provides an equivalent experience for offline review. “Moxion is a great match for Sohonet, they understand the unique challenges that productions face, and share our vision: to revolutionise the way storytellers create content by making collaboration seamless and more secure,” says Sohonet CEO Chuck Parker. “While real-time review is a key component to the production workflow, often the whole team can’t meet for a live review session. Partnering with Moxion gives our customers space to review content in their own time.” Moxion’s Immediates offers a platform to review footage in HDR minutes after filming on the same devices as ClearView Flex (Apple TV, iPads, laptop). On-set creatives can start on mark-ups immediately and give off-set creatives the same near-real-time HDR access to the content. Additionally, editorial and VFX teams can download the high-resolution proxy to begin adding their magic rather than having to wait for it to arrive hours later after a transcoded dailies workflow. “Offering Sohonet’s real-time tool, Clearview Flex, with our offline review technology makes perfect sense,” says Hugh Calveley, CEO of Moxion. “The ability to harness the power of live review and incorporate it, with the convenience of offline collaboration, will be an extremely valuable toolkit for filmmakers.” “Right now productions are having to navigate a new normal due to COVID-19, with reduced numbers on-set, additional location challenges and more distributed team members. Sohonet and Moxion are perfectly placed to help support them from green-light to wrap,” added Parker.

The American Society of Cinematographers (ASC) Board of Governors has elected a new slate of officers today, elevating Stephen Lighthill to president of the organization. The Board also voted in Vice Presidents Amy Vincent, Bill Bennett, and John Simmons; Treasurer Levie Isaacks; Secretary Gregg Heschong; and Sergeant-at-Arms David Darby. Lighthill takes over the reins from outgoing ASC President Kees van Oostrum, who served the maximum four terms and recently was appointed to lead IMAGO, the international federation of cinematographers. This is Lighthill’s second turn as ASC president, previously serving from 2012-2013. Most recently he held the position of vice president. Lighthill assumes his role at an important time in history, as members continue to advocate for equal rights and diversity, as well as safe production environments amidst the COVID-19 contagion. “This is a challenging moment for filmmaking in general and cinematography in particular,” Lighthill says. “As an organization, we are making plans to put words into action. Through the work of the Future Practices Committee and Vision Committee, I’m ready to lead our Society in responding, and in making our work environments safe, equal and diverse.” Lighthill currently is the Discipline Chair: Cinematography at the American Film Institute Conservatory, where he’s been a strong proponent for gender diversity and supported 100 female cinematography graduates during his tenure. He has also long served as an officer on the National Executive Board of the International Cinematographers Guild (ICG) as well. Lighthill began his career shooting for San Francisco Bay area news programs, as well as national news shows such as 60 Minutes. He segued into documentary cinematography, working on many films including Gimme Shelter and Berkeley in the Sixties, which was nominated for an Academy Award® and won the Audience Award at Sundance. His narrative credits include such television dramas as Vietnam War Story, Earth 2, Nash Bridges among many others. In 2018, Lighthill was honored with the ASC Presidents Award. He is also the recipient of the Society of Operating Cameramen’s (SOC) President’s Award in 2000. The ASC strives to serve its mission of inspiring the next generation of cinematographers and advancing the art of filmmaking through many industry events and initiatives. The Society has over 20 committees leading the organization’s various initiatives, including the recently formed Future Practices Committee to assist and advise on COVID-19 safety on set; the award-winning Motion Imaging Technology Council (MITC) formed in 2003 to understand technology’s ongoing impact on the imaging chain in a way that best serves the creative interests of filmmakers; the efforts of the Vision Committee to encourage and support the advancement of underrepresented cinematographers, their crews and other filmmakers; regional and international ASC Master Classes taught by members; Clubhouse Conversation discussions with members and filmmakers about highly regarded work; and the activities of the Education & Outreach Committee with film schools. ASC was founded in 1919. There are 406 members today who have national roots in some 20 countries. There are also 249 associate members from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com.

DigitalFilm Tree, a leading post-production innovator and software development company has announced that Nancy Jundi has joined their award-winning team as chief operational officer. Jundi brings a wealth of experience to her new role, with over 20 years of experience guiding entertainment and technology companies (both start-up and global reach) through exceptional growth challenges. She has been an outside consultant to DFT since 2014 and will now be based in DFT’s Los Angeles headquarters, where she will join Founder and CEO Ramy Katrib in pioneering revolutionary new offerings for DFT and the industry. “DigitalFilm Tree has always been education and evolution forward,” says Jundi. “Ramy and DFT pioneered the adoption of file-based post and IT workflows as well as the elevation Final Cut Pro for professional film and television editorial. There are few companies that have avoided grave technological pitfalls or pigeonholes the way DFT has across 20 plus years. It’s a great honor and privilege to be with this team as we once again alter the landscape of our business and how storytellers bring their work to life.” Jundi began her career in investment banking and asset protection before segueing into the entertainment industry. Her experience includes leading sales and marketing at Runaway Edit during its acquisition by The Post Group, where she then joined the team as director of marketing and communications to unify the end-to-end post facilities into TPG’s singular brand narrative. She later co-founded ModeHQ (acquired by Pacific Post) before transitioning into technology and SaaS companies. Since 2012, Jundi’s versatility has allowed her to serve as a consultant to companies in industries as varied as financial technology, healthcare, eCommerce, and entertainment, with brands such as LAbite/GrubHub, Traffic Zoom, and GoBoon. Most recently, she served as interim senior management for CareerArc, where her contributions helped them to secure $30 million in growth equity. Jundi is also a respected lecturer and writer—having spoken at Pepperdine, SXSW, and The L.A. Film Festival, as well as contributed to ACE’s CinemaEditor Magazine and Post Magazine—who is committed to furthering professional education and knowledge-sharing with the next generation. Elsewhere, she is an active volunteer with Together We Rise, and the founder of HumanToo, an outreach program serving homeless communities across America. “Nancy is simply one of the smartest and most creative thinkers I know,” says Katrib. “She is the rare interdisciplinary – the creative and technological thinker that can exist in both arenas with clarity and tenacity. We are fortunate to have her insight and talent at this exciting juncture of our company’s growth.”

The American Society of Cinematographers (ASC) has promoted Andrew Fish to serve as senior editor of its flagship magazine, American Cinematographer. Fish is being advanced from his previous position as associate editor, a title he held for five years, and will continue reporting to the magazine’s editor-in-chief and publisher, Stephen Pizzello. With 2020 marking its 100thanniversary, American Cinematographer is the entertainment industry’s oldest continuously published print journal. Its mission is to serve filmmakers by exploring the artistic thought processes of the field’s most innovative and talented directors of photography, and explaining the technical means by which they realize their creative visions, whether on film or digital media. In fulfilling those goals, the magazine seeks to keep readers abreast of advancements in all facets of motion-picture imaging technology — the tools cinematographers use to ply their trade — and to inform them of visually extraordinary productions, including feature films, television shows, commercials, shorts and music videos. Fish was recently nominated for a Folio: Editorial Excellence Award (“Eddie”) for writing. Over the past decade, American Cinematographer has earned five Folio: Editorial Excellence Awards in the category of B-to-B and Media/Entertainment Publishing, with four honorable mentions.

The American Society of Cinematographers (ASC) has named Terry McCarthy as CEO of the organization. In this newly created role, McCarthy is responsible for all business matters relating to the Society, including events, educational efforts, and publishing. With more than 30 years of experience in journalism, McCarthy is a four-time Emmy® winner and recipient of an Edward R. Murrow Award. He also brings extensive non-profit management experience to the ASC, having previously served as president of the American Academy in Berlin, and prior to that as president and CEO of the Los Angeles World Affairs Council. “Terry’s exceptional background in media and global relationship building will help to guide our ongoing outreach and visibility, and expand our publishing and web activities,” says ASC President Kees van Oostrum. “Our mission is to drive cinematography into the future, steering the conversations around modern image making. The Society and its members are uniquely able to play an important role in maintaining the intentions of filmmakers amidst an expansive landscape of new tools and distribution platforms.” McCarthy has traveled throughout the United States, Europe, Asia and Latin America as a reporter, covering political, military and societal issues for TIME magazine, ABC News and CBS News. He speaks six languages — English, German, French, Spanish, Japanese and Chinese. “It’s an exciting time to step into this role,” says McCarthy. “The entire industry is going through a period of creative disruption. Cinematographers, with one foot in the artistic side and one foot in the technology side, are perfectly placed to play a major role in determining how movies, television and even video games will look in the future. The ASC will shape this discussion through our educational efforts both with our masterclasses, technology committees and public talks at the Clubhouse, as well as in the pages of our magazine, American Cinematographer.” On the heels of announcing ASC’s associate membership with IMAGO, van Oostrum highlights ambitious plans for the ASC moving into 2020. “We plan to further expand our international sessions of the popular ASC Master Classes. We will also program and host our biennial International Summit in June.” McCarthy adds that there will be special events throughout the year to celebrate the 100th anniversary of American Cinematographer. “This magazine continues to have iconic status, and by the end of this year we will have every one of its 1,200 issues available in a searchable online database – a real treasure trove of 100 years of cinematography!” The work of several ASC Committees rounds out the Society’s commitment to advancing the art of cinematography, including the Motion Imaging Technology Council, Vision Committee, and Education and Outreach group. The ASC comprises over 400 members around the world, with over 200 associate members working in allied sectors of the industry. For more information, visit www.theasc.com.

The American Society of Cinematographers (ASC) will bestow its Board of Governors Award to Oscar® and Emmy® Award nominee Werner Herzog. The tribute will be made at the 34th Annual ASC Awards for Outstanding Achievement on Jan. 25 at Hollywood & Highland’s Ray Dolby Ballroom. The ASC Board of Governors Award is given to industry stalwarts whose body of work has made significant and indelible contributions to cinema. It is the only ASC Award not given to a cinematographer and is reserved for filmmakers who have been champions for directors of photography and the visual art form. “Werner Herzog is truly a unique storyteller, and we are honored to recognize him for his prolific contributions to cinema,” said ASC President Kees van Oostrum. Herzog has produced, written, and directed more than 70 feature and documentary films, earning multiple awards and nominations over the past seven decades. He received an Oscar nomination for Best Documentary Feature for his work on Encounters at the End of the World (2009), and Little Dieter Needs to Fly (1997) was Emmy nominated for Outstanding Non-Fiction Special (1997). His extensive list of accolades hail from film festivals (Venice, Sundance, Cannes, Berlinale, etc.) and industry organizations, including the DGA, International Documentary Association, Film Independent, and the National Academy of Television Arts & Sciences. A native of Germany, Herzog is known for leading the influential post-war West German cinema movement with Rainer Werner Fassbinder and Volker Schlöndorff. The filmmaker’s career has focused equally on feature films and documentaries, accruing an indelible body of work, such as: Aguirre, the Wrath of God; Auch Zwerge haben klein angefangen (Even Dwarfs Started Small); Fata Morgana; Glocken aus der Tiefe (Bells from the Deep); Grizzly Man; Cave of Forgotten Dreams; Heart of Glass; Nosferatu Phantom of the Night; Fitzcarraldo; Lessons of Darkness; Invincible; The Mystery of Kaspar Hauser and Stroszek; Into the Abyss; Family Romance; and Meeting Gorbachev, among many others. His U.S.-produced films include: Bad Lieutenant - Port of Call New Orleans; My Son, My Son, What Have Ye Done; and Queen of the Desert. Herzog’s films are characterized by a surreal and subtly exotic quality, and he is hailed as one of the most innovative contemporary directors. His volatile love-hate relationship with the brilliant but emotionally unstable actor Klaus Kinski resulted in some of the best work from both men, and both are known for the films on which they collaborated. Herzog celebrated their partnership with the well-received documentary film My Best Fiend. In addition, Herzog occasionally takes acting jobs himself, with notable roles as the stern father in the experimental drama Julien Donkey-Boy, the criminal mastermind in the big-budget action movie Jack Reacher, and most recently as The Client in the Disney+ hit The Mandalorian. Previous recipients of the ASC Board of Governors Award include Jeff Bridges, Angelina Jolie, Denzel Washington, Ridley Scott, Barbra Streisand, Harrison Ford, Julia Roberts, Christopher Nolan, Morgan Freeman, Francis Ford Coppola, Sally Field, Ron Howard, Martin Scorsese and Steven Spielberg, among many others. For information regarding the 34th ASC Awards for Outstanding Achievement in Cinematography, visit www.theasc.com or call 323-969-4333.