Read American Cinematographer Magazine. December 2011

American Cinematographer Magazine. December 2011

American Society of Cinematographers

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Description:Editor's NoteThis month's issue covers a truly diverse slate of projects, starting with Clint Eastwood's biographical drama J. Edgar, an ambitious attempt to crack open the psychological vault of iconic FBI director J. Edgar Hoover.With some aspects of Hoover's biography still open to debate - particularly his private life, which stoked rumors of a romantic relationship with FBI Associate Director Clyde Tolson - Eastwood and cinematographer Tom Stern, ASC, AFC chose to render his world as a shadowy realm of closely guarded secrets. Describing the visual strategy to AC contributor Michael Goldman, who visited the set ("Stepping into the Shadows," page 36), Stern offers, " We wanted to create a credible noir-esque environment inside a federal bureaucracy."A bold approach was also brought to Hugo by Marin Scorsese and Robert Richardson, ASC, who were making their first forays into digital image capture and 3D. The movie's narrative is drawn from the children's book The Invention of Hugo Cabret, and its look is partly inspired by the work of French film pioneer Georges Méilès, who appears as a character in the story. As Richardson tells London correspondent Mark Hope-Jones ("Through a Child's Eyes," page 54, "Marty selected a large number of images from the books which spoke to what he had in mind, and he asked all of us - [production designer] Dante Ferretti, [set decorator] Francesca Lo Schiavo, [costume designer] Sandy Powell, [visual effects supervisor] Rob Leggato and me - to be faithful to what [author] Brian [Selznick] had captured. This guided us toward a world that was created rather than bound to reality."Fans of the silent-film era can further luxuriate in the lush imager of The Artist, which concerns a silent-film star who scorns the arrival of "talking pictures.” Shot by Guillame Schiffman, AFC, the French film is presented as a black-and-white silent picture, in 1.33:1, with music and title cards substituting for dialogue. AC correspondent Benjamin B met with Schiffman and direct Michel Hazanavicius in Paris, where the duo described their spirited collaborative style ("Silent Splendor," Page 68). "We like to provoke each other," Schiffman says, "and provocation creates the little sparks that are exactly what the film needs. We're a good pair;. Michel is precise about everything; no detail escapes him. Some people would say he's a control freak, but I would say he's a real director."Meanwhile, on The Muppets, ASC member Don Burgess found himself tasked with bringing beloved characters back to the big screen for the first time since 1999. Burgess tells New York correspondent Iain Stasukevich ("It's Time To Raise The Curtain," page 78) that his first step was to consult AC's 1979 coverage of The Muppet Movie, particularly the comprehensive piece penned by Isidore Mankofsky, ASC, who shot that picture.. Burgess was initially concerned that digital capture might demystify the Muppets, but he happily reports, "They held up great. We were able to enhance the quality of their design without detracting from the personalities."[Muppets creator Jim] Henson was truly a genius," the cinematographer adds. "He came up with fully dimensional characters that you totally buy into. You root for them. They make you laugh. It's really amazing how well it works."Stephen PizzelloExecutive EditorWe have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with American Cinematographer Magazine. December 2011. To get started finding American Cinematographer Magazine. December 2011, you are right to find our website which has a comprehensive collection of manuals listed.
Our library is the biggest of these that have literally hundreds of thousands of different products represented.

Pages: 120

Format: PDF, EPUB & Kindle Edition

Publisher: —

Release: 2011

ISBN

Description: Editor's NoteThis month's issue covers a truly diverse slate of projects, starting with Clint Eastwood's biographical drama J. Edgar, an ambitious attempt to crack open the psychological vault of iconic FBI director J. Edgar Hoover.With some aspects of Hoover's biography still open to debate - particularly his private life, which stoked rumors of a romantic relationship with FBI Associate Director Clyde Tolson - Eastwood and cinematographer Tom Stern, ASC, AFC chose to render his world as a shadowy realm of closely guarded secrets. Describing the visual strategy to AC contributor Michael Goldman, who visited the set ("Stepping into the Shadows," page 36), Stern offers, " We wanted to create a credible noir-esque environment inside a federal bureaucracy."A bold approach was also brought to Hugo by Marin Scorsese and Robert Richardson, ASC, who were making their first forays into digital image capture and 3D. The movie's narrative is drawn from the children's book The Invention of Hugo Cabret, and its look is partly inspired by the work of French film pioneer Georges Méilès, who appears as a character in the story. As Richardson tells London correspondent Mark Hope-Jones ("Through a Child's Eyes," page 54, "Marty selected a large number of images from the books which spoke to what he had in mind, and he asked all of us - [production designer] Dante Ferretti, [set decorator] Francesca Lo Schiavo, [costume designer] Sandy Powell, [visual effects supervisor] Rob Leggato and me - to be faithful to what [author] Brian [Selznick] had captured. This guided us toward a world that was created rather than bound to reality."Fans of the silent-film era can further luxuriate in the lush imager of The Artist, which concerns a silent-film star who scorns the arrival of "talking pictures.” Shot by Guillame Schiffman, AFC, the French film is presented as a black-and-white silent picture, in 1.33:1, with music and title cards substituting for dialogue. AC correspondent Benjamin B met with Schiffman and direct Michel Hazanavicius in Paris, where the duo described their spirited collaborative style ("Silent Splendor," Page 68). "We like to provoke each other," Schiffman says, "and provocation creates the little sparks that are exactly what the film needs. We're a good pair;. Michel is precise about everything; no detail escapes him. Some people would say he's a control freak, but I would say he's a real director."Meanwhile, on The Muppets, ASC member Don Burgess found himself tasked with bringing beloved characters back to the big screen for the first time since 1999. Burgess tells New York correspondent Iain Stasukevich ("It's Time To Raise The Curtain," page 78) that his first step was to consult AC's 1979 coverage of The Muppet Movie, particularly the comprehensive piece penned by Isidore Mankofsky, ASC, who shot that picture.. Burgess was initially concerned that digital capture might demystify the Muppets, but he happily reports, "They held up great. We were able to enhance the quality of their design without detracting from the personalities."[Muppets creator Jim] Henson was truly a genius," the cinematographer adds. "He came up with fully dimensional characters that you totally buy into. You root for them. They make you laugh. It's really amazing how well it works."Stephen PizzelloExecutive EditorWe have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with American Cinematographer Magazine. December 2011. To get started finding American Cinematographer Magazine. December 2011, you are right to find our website which has a comprehensive collection of manuals listed.
Our library is the biggest of these that have literally hundreds of thousands of different products represented.

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American Cinematographer Magazine. December 2011

American Cinematographer Magazine. December 2011

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