American Cinematographer - February 2012 - 86

Clubhouse News
and began working as a director of photography. His first jobs came on commercials, and he was soon shooting independent features. In 2000, he served as second-unit cinematographer on Lara Croft: Tomb Raider, which he followed with a similar credit on Terminator 3: Rise of the Machines. Seresin now divides his time between the U.S. and the U.K. His recent credits include the telefilm Free Agents and the features Transformers: Revenge of the Fallen and Unstoppable. New active member David Stockton, ASC grew up in New York City’s Greenwich Village. He attended New York University, and in 2004 he made a splash with the short film Underground, for which he won the Best Director of Photography Award at the Beverly Hills Film Festival. He then moved into television work, shooting episodes of the series Medical Investigation, CSI: Crime Scene Investigation , Eleventh Hour and The Forgotten. He won an ASC Award for the Eleventh Hour episode “Resurrection,” and he received another ASC nomination for the Nikita pilot. Stockton has also shot commercials for such clients as L’Oreal, DeBeers Diamonds, Oil of Olay, Discover Card, Armani, Toyota, Sony and Maybelline. His recent credits include the series Chase, the pilot for Alcatraz and the feature Home Run Showdown.
Top: Ben Seresin, ASC. Bottom: David Stockton, ASC.

Seresin, Stockton Join Society New active member Ben Seresin, ASC was born and raised in New Zealand, where he developed an early interest in acting before setting his sights on cinematography. When he was 17, he got his first job on a film, working as an electrician on The Race for the Yankee Zephyr . Soon thereafter he relocated to Australia, where he transitioned to the camera department; by the time he was 19, he had progressed to first assistant cameraman. In 1992, Seresin moved to the U.K.
86 February 2012

Lee, Manios, Patel, Rose, Schulman Named Associates New associate member Chuck Lee graduated from the University of Wisconsin and worked for the National Park Service before changing tacks, moving to Los Angeles and entering the film and television industry. He worked as a camera operator before joining Fujinon in 1986, and today he serves as technology manager and western-region manager for the company, which has since rebranded as Fujifilm Optical Devices. During his tenure with the company, he has been involved in the development of Fujifilm’s Cine E Series and
American Cinematographer

Premier Series lenses. While growing up, associate member Steven Manios Jr. spent his summers training under his father, ASC associate Steven Manios Sr., who owned Century Precision Optics. The younger Manios joined the company as a lens technician in 1981 and later advanced to service manager before working in the sales department. In 1991, Manios founded SteMan, Inc., which has helped introduce products from such companies as Cartoni, Angenieux and Transvideo to the U.S. market. Born in Tanzania, associate member Dhanendra Patel was raised and educated in England. He began working for the BBC as a studio engineer, and after a decade with the network he crossed the pond to join Ikegami USA as a camera specialist. Patel then joined Sony Electronics, where he has served in various capacities. He has worked on numerous television and feature productions, and he has been an integral part of Sony’s migration from standard definition to high definition, assisting other companies and individuals with operational and technical training. Patel currently serves as Sony Electronics’ senior product manager for digital cinematography. Associate member Frederic Rose has been Technicolor’s chief executive officer since 2008. He graduated from the Georgetown University School of Foreign Service and the Georgetown University Law Center, and he holds dual French and U.S. citizenship. Prior to joining Technicolor, he was president of Alcatel-Lucent’s Europe, Asia and Africa region. Associate member Wayne M. Schulman fell in love with the movies when his grandmother took him to seeTom Thumb (1958). He dabbled in photography while attending Syracuse University and Colorado State University, but it wasn’t until he went to work for The Tiffen Co. at age 44 that he entered the industry on a professional level. In 2003, he moved on to

Photo of Clubhouse by Isidore Mankofsky, ASC; lighting by Donald M. Morgan, ASC.



American Cinematographer - February 2012

Table of Contents for the Digital Edition of American Cinematographer - February 2012

American Cinematographer - February 2012
Contents
Editor’s Note
President’s Desk
Short Takes: NASA time-lapse footage of Earth
Production Slate: Extremely Loud and Incredibly CloseAct of Valor
Saving the Whales
High Stakes
A Very Bad Cop
Cinema, Italian Style
Filmmakers’ Forum: Hiro Narita, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - American Cinematographer - February 2012
American Cinematographer - February 2012 - Cover2
American Cinematographer - February 2012 - 1
American Cinematographer - February 2012 - 2
American Cinematographer - February 2012 - Contents
American Cinematographer - February 2012 - 4
American Cinematographer - February 2012 - 5
American Cinematographer - February 2012 - 6
American Cinematographer - February 2012 - 7
American Cinematographer - February 2012 - Editor’s Note
American Cinematographer - February 2012 - 9
American Cinematographer - February 2012 - President’s Desk
American Cinematographer - February 2012 - 11
American Cinematographer - February 2012 - Short Takes: NASA time-lapse footage of Earth
American Cinematographer - February 2012 - 13
American Cinematographer - February 2012 - 14
American Cinematographer - February 2012 - 15
American Cinematographer - February 2012 - 16
American Cinematographer - February 2012 - 17
American Cinematographer - February 2012 - Production Slate: Extremely Loud and Incredibly CloseAct of Valor
American Cinematographer - February 2012 - 19
American Cinematographer - February 2012 - 20
American Cinematographer - February 2012 - 21
American Cinematographer - February 2012 - 22
American Cinematographer - February 2012 - 23
American Cinematographer - February 2012 - 24
American Cinematographer - February 2012 - 25
American Cinematographer - February 2012 - 26
American Cinematographer - February 2012 - 27
American Cinematographer - February 2012 - 28
American Cinematographer - February 2012 - 29
American Cinematographer - February 2012 - Saving the Whales
American Cinematographer - February 2012 - 31
American Cinematographer - February 2012 - 32
American Cinematographer - February 2012 - 33
American Cinematographer - February 2012 - 34
American Cinematographer - February 2012 - 35
American Cinematographer - February 2012 - 36
American Cinematographer - February 2012 - 37
American Cinematographer - February 2012 - 38
American Cinematographer - February 2012 - 39
American Cinematographer - February 2012 - 40
American Cinematographer - February 2012 - 41
American Cinematographer - February 2012 - High Stakes
American Cinematographer - February 2012 - 43
American Cinematographer - February 2012 - 44
American Cinematographer - February 2012 - 45
American Cinematographer - February 2012 - 46
American Cinematographer - February 2012 - 47
American Cinematographer - February 2012 - 48
American Cinematographer - February 2012 - 49
American Cinematographer - February 2012 - 50
American Cinematographer - February 2012 - 51
American Cinematographer - February 2012 - 52
American Cinematographer - February 2012 - 53
American Cinematographer - February 2012 - A Very Bad Cop
American Cinematographer - February 2012 - 55
American Cinematographer - February 2012 - 56
American Cinematographer - February 2012 - 57
American Cinematographer - February 2012 - 58
American Cinematographer - February 2012 - 59
American Cinematographer - February 2012 - 60
American Cinematographer - February 2012 - 61
American Cinematographer - February 2012 - Cinema, Italian Style
American Cinematographer - February 2012 - 63
American Cinematographer - February 2012 - 64
American Cinematographer - February 2012 - 65
American Cinematographer - February 2012 - 66
American Cinematographer - February 2012 - 67
American Cinematographer - February 2012 - 68
American Cinematographer - February 2012 - 69
American Cinematographer - February 2012 - 70
American Cinematographer - February 2012 - 71
American Cinematographer - February 2012 - Filmmakers’ Forum: Hiro Narita, ASC
American Cinematographer - February 2012 - 73
American Cinematographer - February 2012 - 74
American Cinematographer - February 2012 - 75
American Cinematographer - February 2012 - New Products & Services
American Cinematographer - February 2012 - 77
American Cinematographer - February 2012 - 78
American Cinematographer - February 2012 - 79
American Cinematographer - February 2012 - 80
American Cinematographer - February 2012 - 81
American Cinematographer - February 2012 - International Marketplace
American Cinematographer - February 2012 - Classified Ads
American Cinematographer - February 2012 - Ad Index
American Cinematographer - February 2012 - 85
American Cinematographer - February 2012 - Clubhouse News
American Cinematographer - February 2012 - 87
American Cinematographer - February 2012 - ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - Cover3
American Cinematographer - February 2012 - Cover4
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