American Cinematographer - April 2018 - 10

This is an issue my mother will love.
When I was a young reader in Massachusetts who
accompanied my mom on her frequent trips to the Salem
Public Library - an institution she's supported so faithfully
that the administration should name a wing, or at least a
reading room, after her - she introduced me to
Madeleine L'Engle's fantasy novel A Wrinkle in Time. Now
ASC member Tobias Schliessler has helped mount an ambitious Disney adaptation starring Storm Reid as young heroine Meg Murry, with star-power support from Oprah
Winfrey, Reese Witherspoon and Mindy Kaling as celestial
guides Mrs. Which, Whatsit and Who, respectively.
Director Ava DuVernay's previous career directly
influenced her decision to collaborate with Schliessler on
the saga's epic journey through space and time. "I was a publicist for Dreamgirls [which
Schliessler shot for director Bill Condon]," she tells Michael Goldman ("Across the Universe,"
page 32). "I watched Tobias on that set, and I thought, 'He's cool, he's calm, he's collected,
he's focused.' And when I saw the film, I thought it was gorgeous."
My mom will be equally delighted to read photo editor Kelly Brinker's comprehensive
piece on the production of General Hospital, the longest-running soap opera still on the air,
which has kept both of them tuning in faithfully for decades. As Kelly notes in her article ("The
Never-Ending Story," page 68), General Hospital has been airing on ABC since April 1, 1963,
and recently broadcast its 14,000th episode in February. I hereby confess that even I got sucked
into portions of the show's rollercoaster drama during the Luke-and-Laura years, when I would
come home from school to find Mom glued to the tube.
Along with the early Mother's Day presents, this jam-packed issue offers coverage of
Wes Anderson's canine stop-motion extravaganza Isle of Dogs, framed with painstaking care
by Tristan Oliver ("Animal Kingdom," page 50); the seductive spy thriller Red Sparrow, shot by
Jo Willems, ASC, SBC for director Francis Lawrence ("Seduce and Destroy," page 84); and the
historical drama 7 Days in Entebbe, which reteamed Lula Carvalho, ASC, ABC with director
José Padilha ("Daring Operation," page 100).
All of this month's features offer sidebar spotlights on specific tools that proved invaluable for achieving each production's visual style. Schliessler cites Arri's Maxima gimbal rig; Oliver
lauds Canon's EOS-1D X DSLR camera; Melanie Mohr, one of three lighting directors working
on General Hospital, praises Litepanels' LED panels; Willems singles out LiteGear's LiteMats
fixtures; and Carvalho details why he used tungsten units to emulate daylight.
Further "enlightenment" can be found in Jay Holben's monthly Shot Craft section
(page 16), which offers a primer on LED fixtures, a lesson on lumens, a field guide to power
consumption, and tips on using an incident light meter.
On a personal note, I'd like to congratulate Jay and AC technical editor Christopher
Probst on their recent inductions into the ASC. I could not have been prouder when the Society's board voted to approve Jay as an associate member and Chris (who earned a 2017 ASC
Award nomination for his cinematography on David Fincher's Mindhunter pilot) as an active
member. "The boys," as I call them, have each distinguished themselves for more than 20
years in their professional careers and as contributors to this magazine. Well done, gentlemen.

Stephen Pizzello
Editor-in-Chief and Publisher
10

Photo by Owen Roizman, ASC.

EDITOR'S NOTE



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

Contents
American Cinematographer - April 2018 - Cover1
American Cinematographer - April 2018 - Cover2
American Cinematographer - April 2018 - 1
American Cinematographer - April 2018 - 2
American Cinematographer - April 2018 - Contents
American Cinematographer - April 2018 - 4
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American Cinematographer - April 2018 - Cover3
American Cinematographer - April 2018 - Cover4
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