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  1. HBO and Starz Lead Nominations (LOS ANGELES, CA) The American Society of Cinematographers (ASC) has selected its television nominees for the organization's 28th Annual Outstanding Achievement Awards. The winners will be announced at a gala on February 1, 2014, here at the Hollywood & Highland Ray Dolby Ballroom. The nominees in each of the three categories are: One-hour Episodic Television Series: Steven Bernstein, ASC for Starz Network's Magic City ("The Sins of the Father") David Franco for HBO's Boardwalk Empire ("Erlkönig") Jonathan Freeman, ASC for HBO's Game of Thrones ("Valar Dohaeris") Pierre Gill, CSC for Showtime's The Borgias ("The Purge") David Greene, CSC for The CW's Beauty and the Beast ("Tough Love") Anette Haellmigk for HBO's Game of Thrones ("Kissed by Fire") Kramer Morgenthau, ASC for Fox's Sleepy Hollow ("Pilot") Ousama Rawi, BSC, CSC for NBC's Dracula ("The Blood is the Life") Half-hour Episodic Series: Peter Levy, ACS, ASC for Showtime's House of Lies ("The Runner Stumbles") Matthew J. Lloyd, CSC for Amazon's Alpha House ("Pilot") Blake McClure for Comedy Central's Drunk History ("Detroit") Television Movie/Miniseries: Jeremy Benning, CSC for National Geographic Channel's Killing Lincoln David Luther for Starz Network's The White Queen ("War at First Hand") Ashley Rowe, BSC for Starz Network's Dancing on the Edge (Episode 1.1) "The new heights that storytelling has reached on television are in part because of the tremendous artistry and outstanding work being done by the shows' cinematographers," says ASC President Richard Crudo. "It was difficult for our members to narrow down the field to these nominees given the high caliber of the submissions." Franco has been previously nominated for Boardwalk Empire (2012), Bury My Heart at Wounded Knee (2008), Intensity (1998), Falling for You (1996) and Million Dollar Babies (1995). Freeman has collected three ASC Awards. His wins were for Boardwalk Empire (2012, 2011) and Homeland Security in (2005). He has also earned additional nominations for Taken (2003), Strange Justice (2000) and Prince Street (1998). Gill and Morgenthau have each previously earned an ASC Outstanding Achievement Award. Gill took home an Award for Hitler: The Rise of Evil (2004), and was nominated for Joan of Arc (2000). Morgenthau earned his first ASC Award last year for Game of Thrones, and has nominations for Boardwalk Empire (2011), Life on Mars (2009) and The Five People You Meet in Heaven (2005). This is Levy's fourth nomination, having been nominated for House of Lies (2013), The Life and Death of Peter Sellers (2005) and 24 (2002). Rowe and Rawi have both previously been nominated for The Roman Spring of Mrs. Stone (2004) and The Tudors (2009), respectively. Benning, Bernstein, Greene, Haellmigk, Lloyd, Luther and McClure are all first-time nominees. HBO and Starz led the pack with three nominations each, followed by Showtime with two noms. Amazon, Comedy Central, Fox, NBC, The CW, and National Geographic Channel are also represented. For information regarding the 28th ASC Awards for Outstanding Achievement in Cinematography visit www.theasc.com or call 323-969-4333. # About The American Society of Cinematographers The American Society of Cinematographers (ASC) is a nonprofit organization dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. For additional information about the ASC, visit www.theasc.com. Join ASC on Facebook at http://www.facebook.com/The.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer. (Oscar and Academy Award are registered trademarks of the Academy of Motion Picture Arts & Sciences.) (Emmy is a registered trademark of the Academy of Television Arts & Sciences.) Media Contacts: ignite strategic communications 818.980.3473 Sally Christgau, sally@ignite.bz Lisa Muldowney, lisa@ignite.bz
  2. Trio will be Presented Awards at Annual ASC Gala (LOS ANGELES, CA) Dean Cundey, ASC; Eduardo Serra, AFC, ASC; and Richard Rawlings, Jr., ASC will be recognized by their peers during the 28th Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards on February 1, 2014, here at the Hollywood & Highland Ray Dolby Ballroom. Cundey will receive the ASC's Lifetime Achievement Award; Serra will be presented with the International Achievement Award; and Rawlings will pick up the org's Career Achievement in Television Award. "Anyone who has been in the presence of these three brilliant and talented individuals should count themselves lucky," notes ASC President Richard Crudo. "Dean, Eduardo and Dick have each had an immeasurable impact on our art form, and we're proud to have the opportunity to honor their outstanding craftsmanship." Cundey first attracted widespread attention when he collaborated with John Carpenter on the production of Halloween (1978). The two filmmakers continued to work together on such memorable films as The Fog, Escape from New York, The Thing, Halloween II and III, and Big Trouble in Little China. For his work on Robert Zemeckis' landmark, live-action film Who Framed Roger Rabbit (1988), Cundey garnered both Oscar® and BAFTA nominations. Zemeckis and Cundey also teamed up on the beloved Back to the Future trilogy, Romancing the Stone, and Death Becomes Her. Cundey earned his first nomination from his peers at the ASC for Steven Spielberg's Hook (1991), and a second one for his gripping imagery of Ron Howard's Apollo 13 (1995). He also earned the Society of Operating Cameraman's President's Award in 1999. Cundey's credits also include such notable films as Jurassic Park, What Women Want, Garfield, The Holiday, The Spy Next Door, Jack and Jill, Crazy Kind of Love, and the upcoming releases Walking with the Enemy and Carry Me Home. "Dean has continually raised the bar with his magnificent imagery, and I'm certain he will continue to do so for many years to come," says ASC Awards Chairman Lowell Peterson. "He has compiled an incomparable body of work that has made a meaningful and indelible impression on the art of filmmaking. This award is a symbol of our respect and admiration for both the man and his work." Serra earned his first Academy Award® nomination for Iain Softley's The Wings of the Dove (1997), which also netted him a BAFTA Award. In 2004, he received Oscar® and BAFTA nominations for Peter Webber's Girl with the Pearl Earring. His work on such films as Jude, Map of the Human Heart, What Dreams May Come and Funny Bones is highly acclaimed. Serra has over 50 feature films to his credit, including A Promise, Harry Potter and the Deathly Hallows Part 1 and Part 2, Blood Diamond, Beyond the Sea, Unbreakable, and The Widow of Saint-Pierre, among others. In 2004, for his services to enhance Portuguese culture, he was presented with the prestigious Order of Prince Henry the Navigator, one of the highest honors given by his native Portugal. Rawlings grew up in Hollywood, under the tutelage of his father, Richard Rawlings, Sr., ASC. He worked alongside his father for years, learning the industry from the ground up. His first TV series as director of photography was in 1978 on the cultural phenomenon Charlie's Angels. He went on to shoot such memorable series as Matt Houston, Stingray, L.A. Law, Boston Public, Gilmore Girls and Desperate Housewives, among others. Rawlings telefilm credits include Halley's Comet, Spring Awakening and Gidget's Summer Reunion. He has earned Emmy® nominations for the series Ohara (1987), Paradise (1988), Reasonable Doubts (1991), and the television movie Big Dreams & Broken Hearts: The Dottie West Story (1995). Rawlings also earned an ASC Outstanding Achievement Award for Paradise in 1989, and another nomination for the series in 1990. In 1993, he received his third ASC Award nomination for the telefilm When No One Would Listen. For information regarding the 28th ASC Outstanding Achievement Awards, visit www.theasc.com or call 323-969-4333. # # # (Photos of the ASC honorees are available upon request.) About The American Society of Cinematographers The American Society of Cinematographers (ASC) is a nonprofit organization dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. For additional information about the ASC, visit www.theasc.com. Join ASC on Facebook at http://www.facebook.com/The.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer. (Oscar and Academy Award are registered trademarks of the Academy of Motion Picture Arts & Sciences.) (Emmy is a registered trademark of the Academy of Television Arts & Sciences.) Media Contacts: ignite strategic communications 818.980.3473 Sally Christgau, sally@ignite.bz Lisa Muldowney, lisa@ignite.bz
  3. Hello! I'm currently in my final year of my Bachelors in Mass Media. I would like to know if there are any Cinematography specific courses anywhere in the world for that matter which are 2 years or maybe even 3 years. I've looked at the NYFA so far because they've been advertising like a boss but I still have my doubts about them. Please do reply , really appreciate it!
  4. (WOODLAND HILLS, CA) - Panavision, the company behind many of the industry's most respected cinema lenses for the last 60 years, has introduced a new line of Primo lenses, the Primo V series, specifically designed to work with today's high-resolution 35mm digital cameras. "Panavision's unmatched optical expertise and high-quality manufacturing capabilities have now been brought to bear on lenses adapted for digital cameras," says Kim Snyder, Panavision's Chief Executive Officer. "We're focused on providing cinematographers with the best tools to tell their stories with vision and creativity. With the industry's ongoing transition to digital capture, we want our customers to know they can continue to trust Panavision to bring innovative, world-class solutions to the marketplace." The Primo V lenses are designed to bring the look and feel of Panavision Primos to digital cinematography, using the lens elements from existing Primo lenses, long an industry standard for top cinematographers. Primo V lenses take advantage of specific design adaptations to work in harmony with digital cameras, maximizing image quality while delivering Primo quality and character. "Cinematographers tell us that the hyper-sharp sensors in today's digital cameras can result in images that are harsh and lack personality," says Panavision's VP of Optical Engineering Dan Sasaki. "That's one reason why there's so much emphasis on glass these days. The Primo V lenses bring the smooth, organic flavor of Primo lenses to the high fidelity digital image. Our philosophy is to take what cinematographers love about the Primos, and update them for the digital world." Digital cameras require additional optical elements including low-pass and IR filters that increase off-axis aberrations. ND filters are sometimes part of the chain. Primo V lenses have been re-engineered to correct for this. Patent pending modifications eliminate the coma, astigmatism, and other aberrations introduced by the additional glass between the lens and the sensor, while preserving the desirable imaging characteristics of the Primo optics. The resulting image appears more balanced center-to-edge. The Primo V lenses are compatible with any digital camera equipped with PL or Panavision 35 mount systems. They cannot be used on film cameras. The internal transports and mechanics of the Primo V lenses will retain the familiar Primo feel. Since the Primo V lenses retain the essential Primo character, imagery from Primo V and standard Primo lenses will intercut well. A set of Primo V primes will include 14.5, 17.5, 21, 27, 35, 40, 50, 75, and 100mm focal lengths. "Filmmakers have embraced Panavision Primo lenses since their introduction 25 years ago," notes Snyder. "Now the classic Primo look has been refined and optimized for use with the latest generation of 35mm sensor digital cameras." # # # About Panavision Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its world-wide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions Media Contacts: ignite strategic communications Sally Christgau (415.238.2254 / sally@ignite.bz) Lisa Muldowney (760.212.4130/ lisa@ignite.bz)
  5. Hello, I right now am a photography student, but I love cinematography. I have heard of many people who start off as photography and then move into cinematography or vice-versa. I was just wondering what you guys think is better. Do you think it is better to get a degree in photography or in cinematography. I have never really done any cinematography stuff but I want to do more in it. I can't decide if it is worth is to transfer majors or not. What do you think? Also if i do end up going with cinematography do you think i would still be able to do photography on the side? I am just lost and looking for a little advice. Please let me know what you think. Thanks!
  6. Award-Winning DPs to Teach Inaugural Session in October LOS ANGELES - The American Society of Cinematographers (ASC) announced today that it will be hosting a new series of Master Classes that will teach all aspects of the art and craft of cinematography. Each Master Class will be held over a five-day period and will convene four times a year. The first will run October 21 through October 25, 2013 and will be limited to 20 students. Registration is on a first-come, first served basis. The syllabus - along with tuition and registration information - may be viewed on the ASC Web site. "The ASC Master Class offers an unprecedented opportunity to get direct, hands-on instruction from the best cinematographers in the world," notes ASC President Richard Crudo. "Classes will be based at our historic Clubhouse in Hollywood, and will be augmented by field trips to nearby state-of-the-art facilities. No one else can give such access to the range of knowledge and experience that resides under our roof. It represents a truly comprehensive, one-of-a-kind experience." The ASC Master Class Program Advisor is Oscar®-nominee Stephen Burum, ASC. Different cinematographers will lead the classes each quarter. Among the participating faculty for the inaugural session will be the world's foremost shooter of car spots and other commercials, Bill Bennett. Additional instructors will include ASC greats Dion Beebe, Russell Carpenter, Dean Cundey, Caleb Deschanel, Richard Edlund, Robert Elswit, Matthew Libatique, Dean Semler, Dante Spinotti and John Toll. Each of whom has been Oscar® nominated on at least one occasion, while Beebe, Carpenter, Elswit, Edlund (three), Semler and Toll (two) are Oscar® winners. In addition, Deschanel, Semler and Spinotti are also ASC Lifetime Achievement Award recipients, and Edlund has received the ASC Presidents Award. (All participants subject to availability) At the conclusion of the week participants will receive a certificate of completion at a celebratory dinner with ASC members. ASC was founded in 1919. There are 350 active members today who have national roots in some 20 countries. There are also 150 associate members from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com, or join ASC on Facebook at http://www.facebook.com/the.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer. # # # Media Contacts: ignite strategic communications Lisa Muldowney - 760.212.4130 / lisa@ignite.bz Sally Christgau - 415.238.2254/ sally@ignite.bz
  7. Hello, everyone! So I'm a fifth-year college student, but I only realized my "calling" as a cinematographer this past December. I'm a little surprised and upset that it took this long to realize that this is what I need to do with my life, but...that's the way life goes, I guess. I've spoken with some of my teachers in the theater department, and many of them insist that I don't need a film degree to be a cinematographer. However, I can't help but feel as though I'll be at a disadvantage. I'm not getting the training I need to do what I love and want to do. I'm not making the connections I need to be making to be successful. I'm willing to work my tail off, and I want to learn, but breaking into the business, only to learn when I get there, seems a little odd to me. If there's any advice anyone can give me as to what I should consider (short of transferring again and more or less scrapping the education I've gotten so far, because I can't afford to do that), I'd appreciate it greatly!
  8. After a summer of not doing much but making lattes for Hollywood folks and making a short film that I ended up not finishing, I feel behind as a student filmmaker. Are there any simple but effective practices that a person with a camera can get in the habit of to improve their skills? Skills such as: framing, camera movement, lighting, and composition. An example I heard of was to film ten second clips displaying dramatic light changes ie: striking a match in a dark room. I hope many can chime in on this!
  9. **Camera Test I shot this all with Natural light. I had the camera for the weekend and so I was alone in this shoot and with my limited time I wasn't able to really control the natural light like I would want to. Nevertheless it was a good shoot, I wanted to push the camera to the very dark and bright places. **Concept Idea I want to make a kind of poetic visual and lyrical film. Think, Terrence Malick. This is a proof of concept. Please leave comments with Ideas, thoughts, questions. I shot this handheld without a rig. Some shots are pretty shaky, I'm sorry. Thank you for your time. Color Corrected, no CG RED-Scarlet Zeiss 50mm (All night time shots, house INT) Tokina 11-16mm Canon 70-200mm
  10. Films I have been director of photography, im slowly getting better so honestly tell me what you think. [video=vimeo;68975273] [video=vimeo;45164728]https://vimeo.com/45164728
  11. Hi all, I tried to browse the forums and search for an extensive cinematography curriculum which I could use as basis for patching any 'holes' in my knowledge of cinematography. Unfortunately I couldn't really find one and I was wondering if we could compile together such a thing? Its great that these days getting hold of a decent camera and shooting is a possibility for most people, but to get the best results, you need to know a bit more than just where the record button is located. There is a huge demand for cinematography courses and even though it would be utterly impossible to replicate that experience (time given, great tutors, certificate, connections you make, kit, studio, props, crew, productions, etc. to name just a few benefits), it would be great to have a good, solid curriculum, compiled by people who know what you should know and filled with articles, videos & book/film recommendations. This would help many, especially those who have some knowledge of cinematography already, but might have 'holes' in their knowledge as they might have never attended a decent course or the information they received is outdated. What do you guys think? If anyone knows of such a 'curriculum' already online, please share, I'd be keen to know! Just to point out, I personally am interested in Cinematography, especially, not about 'filmmaking' in general. A good place to start from I guess would be to look at the 'Responsibilities of a Cinematographer' at the BSC website and then convert those to a curriculum: http://www.bscine.com/information/training/the-responsibilities-of-the-cinematographer/ If there is interest, I/we/someone could even set up a wiki to keep things organised. Please chime in. Cheers, PJ
  12. Andrij Parekh is one talented guy, and he's young too. There's hope. Not as big of a Ryan Gosling fan as my 21 year old sister, but this is still good, regardless.
  13. Check this out. I want this cam so so bad. Maybe when I'm famous/ if. *ahem* http://www.crafttruck.com/tech-bites/arriflex-alexa/
  14. Hi all, First post here, thought I'd introduce myself. Having worked at a video production company in the UK for the past 5 years I've finally gone freelance as I'm looking to get more into shorts and gaining dp, 1ac, 2ac etc. experience. I know I'm at the very beginning but being 32 I'm not a spring chicken anymore. My first project is a self-initiated music video for an prog artist Crayola Lectern, shot on Epic and I was wondering if anyone had any constructive criticism on the piece? It's not fiction per se, being a music video, but I was aiming for a look which would work cinematically. All the rest of the technical info is on the Vimeo page but here's the video: https://vimeo.com/65640344 I know this has been answered in various posts by various people but I would like to get more experience on a set, either 1ac, 2ac (or dp, but unlikely get a break), what is the best way to go about this? Agencies? Just networking? Creating your own content (shorts etc.)? I know my stuff fairly well but I assume no-one will hire camera crew without real set experience or work credits. Thanks all in advance, PJ Palomaki +44 (0)7876 251565 www.pjpalomaki.com
  15. Hi there! I´m a spanish DOP with american citizenship and I´m planning on moving to L.A. on january 2014. I found this forum and I would appreciate some feedback on my work. Mostly I´ve worked on Hd cameras (Redone MX, Scarlet, EPIC, Alexa, Canon 300, Sony 900, Canon 5D and 7D,...) and I have some experience on 35mm and 16mm as a DP and camera assistant. I´ve done commercials, music videos, shortfilms, corporate videos and I´ve worked as a DOP in 2 long feature documentaries. Here´s my new reel for anyone who would like to check it out: Also I´ve directed some commercials and music videos, and last year I filmed a 24 minutes horror/sci-fi shortfilm called "Horizonte", you can check the trailer down here: Actually I´m looking to make some contacts over there and start building my way around, so any advice is quite welcome. Thanks in advance!
  16. Anyone that has applied to the cinematography course this year (starting Jan/Feb 2014)? Heard a few people have got replies saying they have not got in, but I havn't heard anything? Wondered if others had?
  17. Hi. I am going to shoot a short film on Canon 1D C camera. I love Marvel´s cine style set up on the Canon 5D mark III. Is it possible to use the same Marvel´s cine style for the 1D C camera? Or do you recommend another cine style for that camera? I just want to use the best cine style possible so I can do the best color correction in the end. We´re going for the "Amelie" look:-). Best, Henrik A. Meyer www.henrikameyer.com
  18. Part two of a chat with one of my favourite DPs. The guy behind "Erin Brokovich", "The Limey", and more.
  19. Hi everyone, greetings! just shot an experimental short, a motivational short film on Running on S16mm. you can have a look at the link below. thanks n regards Prashantt cinematographer Mumbai
  20. Hi everybody, I've just graduated from the National Film School in Dublin and I'm working on a new website and showreel. All I have at the moment is this facebook page: https://www.facebook.com/StephenCWalshCameraLighting Please check it out, like and share if you can, to help me promote my work over here! Also feel free to comment/critique, I value all insight. Thank you all, Stephen
  21. Hi everybody, I've just graduated from the National Film School in Dublin and I'm working on a new website and showreel. All I have at the moment is this facebook page: https://www.facebook.com/StephenCWalshCameraLighting Please check it out, like and share if you can, to help me promote my work over here! Also feel free to comment/critique, I value all insight. Thank you all, Stephen
  22. Richard Crudo Named President (LOS ANGELES, CA) The Board of Governors of the American Society of Cinematographers (ASC) has held its annual election to appoint its new slate of officers. Richard Crudo will serve as president, along with Vice Presidents Owen Roizman, Kees Van Oostrum and Lowell Peterson; Treasurer Victor J. Kemper; Secretary Fred Goodich; and Sergeant-at-Arms Isidore Mankofsky. The members of the Board, elected in May by the organization's active membership, include: Curtis Clark, Dean Cundey, George Spiro Dibie, Richard Edlund, Fred Elmes, Francis Kenny, Matthew Leonetti, Stephen Lighthill, Michael O'Shea, Rodney Taylor and Haskell Wexler. Alternate Board members consist of Kenneth Zunder, Steven Fierberg, Karl Walter Lindenlaub, and Sol Negrin. "I am honored to have another opportunity to serve this great organization," says Crudo, who previously served three terms as ASC president from 2003 through 2005. "Our 94-year history makes us the longest standing group in the motion picture industry. As always, we will be aggressively promoting our art and craft, as well as the related interests of cinematographers everywhere." The ASC carries out its mission of inspiring the next generation of filmmakers through many industry events and initiatives, such as its Student Heritage Awards, Breakfast Club seminars, panel discussions by their Education and Outreach committee, the burgeoning Friends of the ASC membership level, and the org's ongoing collaborations with other industry associations vital to the image-making process. "I want to thank Stephen Lighthill for his hard work and dedication during the past term," Crudo adds. "We operate in an astonishingly fast-moving world, and I look forward to working with him and the other Board members as we expand our efforts on all fronts, from pre-visualization through post-production and image delivery." Crudo is also a member of the Academy of Motion Picture Arts and Sciences, serving as an Academy Governor and Chairman of the Cinematographers Branch. In addition, he has chaired and co-chaired the ASC Awards for several years throughout the past decade. Born and raised in Brooklyn, New York, Crudo began his film career as an assistant cameraman. As a director of photography, he has shot a wide range of feature, television and commercial productions. Among his feature credits are Federal Hill, American Buffalo, American Pie, Music From Another Room, Outside Providence, Down To Earth, Out Cold, Grind, Brooklyn Rules, and My Sexiest Year. He has also directed several independent films, and currently shares cinematography duties with Francis Kenny, ASC on the popular FX Channel series Justified. ASC was founded in 1919. There are 330-plus active members today who have national roots in some 20 countries. There are also 150 associate members from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com, or join ASC on Facebook at http://www.facebook.com/the.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer. # # # (Photos available on request) Media Contacts: ignite strategic communications Sally Christgau / Lisa Muldowney sally@ignite.bz / lisa@ignite.bz 818.980.3473
  23. Im from Argentina and i would like some feedback of my work. Thanks! https://vimeo.com/51286298
  24. What do you think of the ff workshops and instructors? Basica Cinematography Mark Raker http://www.mainemedia.edu/workshops/filmmaking/basic-cinematography Director's Craft Alan Myerson http://www.mainemedia.edu/workshops/filmmaking/directors-craft Ditigital Cinematography Matt Siegel http://www.mainemedia.edu/workshops/filmmaking/digital-cinematography Cinematographers eye Daniel Marracino http://www.mainemedia.edu/workshops/filmmaking/cinematographers-eye
  25. A 13 year old made this video. It's absolutely astonishing. If you don't find this humbling and inspiring then you must be insane.
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