American Cinematographer - February 2018 - 72

◗

A Career of Commitment
Right: Lighthill's
first job, operating
for CBS affiliate
KPIX San Francisco
in 1964. Below:
Lighthill with
Charles Kuralt,
shooting "On The
Road" segments in
1968. Bottom
right: Lighthill
with Christo,
shooting the
documentary
Running Fence in
1976.

by many of his fellow cinematographers.
Lighthill recalls, "At one of the first
ASC events I attended as an ASC
member, I introduced myself to John
Bailey [ASC], and he said with a wry
smile, 'I know who you are. We've been
watching your progress!'"
The music scene in San Francisco
afforded Lighthill many opportunities
to hone his handheld skills. "It was a
72

February 2018

time of tremendous musical experimentation in San Francisco, and in those
days, making a concert film was seen as
part of putting on a show," he says. "We
were kind of inventing the genre then.
'Multi-camera' meant two or three
cameras, not the 'spray and pray' of
today. Early on I shot footage of the
Grateful Dead at the first Human Be-In
in Golden Gate Park, and I became
American Cinematographer

known as a music specialist. It took me
awhile to become aware of it, though. I
worked for [future ASC member] Hiro
Narita, and once when he was handing
out our assignments, he said to me,
'You're going to be onstage. You're way
better than anyone at handheld shooting.' That surprised me!"
Lighthill credits that facility in
part to growing up surrounded by



Table of Contents for the Digital Edition of American Cinematographer - February 2018

Contents
American Cinematographer - February 2018 - Sponsor
American Cinematographer - February 2018 - Cover1
American Cinematographer - February 2018 - Cover2
American Cinematographer - February 2018 - 1
American Cinematographer - February 2018 - 2
American Cinematographer - February 2018 - Contents
American Cinematographer - February 2018 - 4
American Cinematographer - February 2018 - 5
American Cinematographer - February 2018 - 6
American Cinematographer - February 2018 - 7
American Cinematographer - February 2018 - 8
American Cinematographer - February 2018 - 9
American Cinematographer - February 2018 - 10
American Cinematographer - February 2018 - 11
American Cinematographer - February 2018 - 12
American Cinematographer - February 2018 - 13
American Cinematographer - February 2018 - 14
American Cinematographer - February 2018 - 15
American Cinematographer - February 2018 - 16
American Cinematographer - February 2018 - 17
American Cinematographer - February 2018 - 18
American Cinematographer - February 2018 - 19
American Cinematographer - February 2018 - 20
American Cinematographer - February 2018 - 21
American Cinematographer - February 2018 - 22
American Cinematographer - February 2018 - 23
American Cinematographer - February 2018 - 24
American Cinematographer - February 2018 - 25
American Cinematographer - February 2018 - 26
American Cinematographer - February 2018 - 27
American Cinematographer - February 2018 - 28
American Cinematographer - February 2018 - 29
American Cinematographer - February 2018 - 30
American Cinematographer - February 2018 - 31
American Cinematographer - February 2018 - 32
American Cinematographer - February 2018 - 32a
American Cinematographer - February 2018 - 32b
American Cinematographer - February 2018 - 33
American Cinematographer - February 2018 - 34
American Cinematographer - February 2018 - 35
American Cinematographer - February 2018 - 36
American Cinematographer - February 2018 - 37
American Cinematographer - February 2018 - 38
American Cinematographer - February 2018 - 39
American Cinematographer - February 2018 - 40
American Cinematographer - February 2018 - 41
American Cinematographer - February 2018 - 42
American Cinematographer - February 2018 - 43
American Cinematographer - February 2018 - 44
American Cinematographer - February 2018 - 45
American Cinematographer - February 2018 - 46
American Cinematographer - February 2018 - 47
American Cinematographer - February 2018 - 48
American Cinematographer - February 2018 - 49
American Cinematographer - February 2018 - 50
American Cinematographer - February 2018 - 50a
American Cinematographer - February 2018 - 50b
American Cinematographer - February 2018 - 51
American Cinematographer - February 2018 - 52
American Cinematographer - February 2018 - 53
American Cinematographer - February 2018 - 54
American Cinematographer - February 2018 - 55
American Cinematographer - February 2018 - 56
American Cinematographer - February 2018 - 57
American Cinematographer - February 2018 - 58
American Cinematographer - February 2018 - 59
American Cinematographer - February 2018 - 60
American Cinematographer - February 2018 - 61
American Cinematographer - February 2018 - 62
American Cinematographer - February 2018 - 63
American Cinematographer - February 2018 - 64
American Cinematographer - February 2018 - 65
American Cinematographer - February 2018 - 66
American Cinematographer - February 2018 - 67
American Cinematographer - February 2018 - 68
American Cinematographer - February 2018 - 69
American Cinematographer - February 2018 - 70
American Cinematographer - February 2018 - 71
American Cinematographer - February 2018 - 72
American Cinematographer - February 2018 - 73
American Cinematographer - February 2018 - 74
American Cinematographer - February 2018 - 75
American Cinematographer - February 2018 - 76
American Cinematographer - February 2018 - 77
American Cinematographer - February 2018 - 78
American Cinematographer - February 2018 - 79
American Cinematographer - February 2018 - 80
American Cinematographer - February 2018 - 81
American Cinematographer - February 2018 - 82
American Cinematographer - February 2018 - 83
American Cinematographer - February 2018 - 84
American Cinematographer - February 2018 - 85
American Cinematographer - February 2018 - 86
American Cinematographer - February 2018 - 87
American Cinematographer - February 2018 - 88
American Cinematographer - February 2018 - Cover3
American Cinematographer - February 2018 - Cover4
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