American Cinematographer - March 2013 - 10

Television cinematographers no longer feel obligated to qualify the scope of their work as “small screen.” With the availability of high-definition home screens and production values
at an all-time high, today’s top TV projects are now commonly
hailed for their compelling visual style.
To prove the point, we’re showcasing three such
productions in this issue, starting with the HBO telefilm Phil
Spector. Juan Ruiz-Anchia, ASC renewed his ongoing collaboration with writer/director David Mamet to dramatize the
first trial of the notoriously reclusive music producer, who was
later convicted of second-degree murder for shooting actress
Lana Clarkson in his California mansion. “Phil Spector was the
first time David and I worked together on a television project, and it was our first digital
collaboration as well,” Ruiz-Anchia tells writer Michael Goldman (“Trials by Fire,” page 28).
“It was a different challenge for us, and I think it marked an evolution in our understanding
of the craft.”
Michael Weaver, ASC has already been celebrated for his work on the half-hour Showtime dramedy Californication, winning a 2009 Emmy Award (for the episode “In Utero”) and
a 2011 ASC Award (for the episode “Suicide Solution”). His approach reflects the nature of
the show’s aptly named protagonist, writer Hank Moody: “I think of Californication as a
comedy, but the visuals are always cued by the dramatic aspects of David Duchovny’s character,” Weaver tells Jay Holben (page 31). “Every episode really has its own look and style
based on what he is experiencing.”
On Chicago Fire, cinematographer Lisa Wiegand takes her cues from the blazes
battled by the show’s courageous firefighters. In her quest for authenticity, she has studied
various ways to make fire scenes read well onscreen. “Propylene is really beautiful when you
burn it or make a fireball,” Wiegand tells Patricia Thomson (page 33). “It’s got a lot of texture
and creates black smoke within the fireball itself, but it’s dirty. Propane is cleaner and burns
easier, so it’s safer, but when you expose it, [the highlights] tend to burn out a lot quicker
because it doesn’t have those black elements.”
Our coverage of this year’s ASC Award honorees continues this month with Douglas
Bankston’s entertaining and informative profile of Rodney Charters, ASC, CSC (“Strong
Foundations,” page 40), who was feted last month with the Society’s Career Achievement in
Television Award for his work on such shows as 24, Dallas and Nash Bridges. “I’m flabbergasted that people feel I have that kind of body of work,” he says. “I’ve been lucky to get
some interesting projects.”
Curtis Clark, ASC was saluted with the Presidents Award, which recognizes an individual who advances the art of cinematography. As chairman of the Society’s Technology
Committee, Clark has led the industry to significant technical advances, including the ASC
Color Decision List and the Academy Color Encoding System, both of which earned Emmy
Engineering Awards last year. AC has often turned to Curtis for technical guidance and counsel, and we’re proud to spotlight his achievements (“Tech Savvy,” page 50).

Stephen Pizzello
Executive Editor

10

Photo by Owen Roizman, ASC.

Editor’s Note



American Cinematographer - March 2013

Table of Contents for the Digital Edition of American Cinematographer - March 2013

American Cinematographer - March 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Die Antwoord’s “I Fink U Freeky”
Production Slate: Lore
Trials by Fire
Strong Foundations
Tech Savvy
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Charles Austin, ASC • Alfred Taylor, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Russell Carpenter
American Cinematographer - March 2013 - American Cinematographer - March 2013
American Cinematographer - March 2013 - Cover2
American Cinematographer - March 2013 - 1
American Cinematographer - March 2013 - 2
American Cinematographer - March 2013 - Contents
American Cinematographer - March 2013 - 4
American Cinematographer - March 2013 - 5
American Cinematographer - March 2013 - 6
American Cinematographer - March 2013 - 7
American Cinematographer - March 2013 - 8
American Cinematographer - March 2013 - 9
American Cinematographer - March 2013 - Editor’s Note
American Cinematographer - March 2013 - 11
American Cinematographer - March 2013 - President’s Desk
American Cinematographer - March 2013 - 13
American Cinematographer - March 2013 - Short Takes: Die Antwoord’s “I Fink U Freeky”
American Cinematographer - March 2013 - 15
American Cinematographer - March 2013 - 16
American Cinematographer - March 2013 - 17
American Cinematographer - March 2013 - 18
American Cinematographer - March 2013 - 19
American Cinematographer - March 2013 - Production Slate: Lore
American Cinematographer - March 2013 - 21
American Cinematographer - March 2013 - 22
American Cinematographer - March 2013 - 23
American Cinematographer - March 2013 - 24
American Cinematographer - March 2013 - 25
American Cinematographer - March 2013 - 26
American Cinematographer - March 2013 - 27
American Cinematographer - March 2013 - Trials by Fire
American Cinematographer - March 2013 - 29
American Cinematographer - March 2013 - 30
American Cinematographer - March 2013 - 31
American Cinematographer - March 2013 - 32
American Cinematographer - March 2013 - 33
American Cinematographer - March 2013 - 34
American Cinematographer - March 2013 - 35
American Cinematographer - March 2013 - 36
American Cinematographer - March 2013 - 37
American Cinematographer - March 2013 - 38
American Cinematographer - March 2013 - 39
American Cinematographer - March 2013 - Strong Foundations
American Cinematographer - March 2013 - 41
American Cinematographer - March 2013 - 42
American Cinematographer - March 2013 - 43
American Cinematographer - March 2013 - 44
American Cinematographer - March 2013 - 45
American Cinematographer - March 2013 - 46
American Cinematographer - March 2013 - 47
American Cinematographer - March 2013 - 48
American Cinematographer - March 2013 - 49
American Cinematographer - March 2013 - Tech Savvy
American Cinematographer - March 2013 - 51
American Cinematographer - March 2013 - 52
American Cinematographer - March 2013 - 53
American Cinematographer - March 2013 - 54
American Cinematographer - March 2013 - 55
American Cinematographer - March 2013 - New Products & Services
American Cinematographer - March 2013 - 57
American Cinematographer - March 2013 - 58
American Cinematographer - March 2013 - 59
American Cinematographer - March 2013 - 60
American Cinematographer - March 2013 - 61
American Cinematographer - March 2013 - 62
American Cinematographer - March 2013 - 63
American Cinematographer - March 2013 - 64
American Cinematographer - March 2013 - Classified Ads
American Cinematographer - March 2013 - Ad Index
American Cinematographer - March 2013 - 67
American Cinematographer - March 2013 - 68
American Cinematographer - March 2013 - In Memoriam: Charles Austin, ASC • Alfred Taylor, ASC
American Cinematographer - March 2013 - 70
American Cinematographer - March 2013 - 71
American Cinematographer - March 2013 - ASC Membership Roster
American Cinematographer - March 2013 - 73
American Cinematographer - March 2013 - Clubhouse News
American Cinematographer - March 2013 - 75
American Cinematographer - March 2013 - ASC Close-Up: Russell Carpenter
American Cinematographer - March 2013 - Cover3
American Cinematographer - March 2013 - Cover4
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