American Cinematographer - May 2012 - 95

In Memoriam
Emmy Award-winning cinematographer Richard “Ric” Waite, ASC died on Feb. 18 at the age of 78. Waite was born on July 10, 1933, in Sheboygan, Wis. He earned a bachelor’s degree in architecture at the University of Colorado in 1952. He spent the next four years serving in the U.S. Air Force, after which he landed in N ew York and opened a photography studio, shooting fashion and advertising illustrations for an array of magazines and clients, including G.Q., Vogue, Jaguar and Hanes. In the late 1960s, with the encouragement of his wife, Judy, Waite decided to transition from shooting stills to cinematography. “In all my ignorant bliss, I took my portfolio of still photos — I had no reel at that point — and went to Los Angeles,” Waite wrote on his blog in Jan. ’09, recalling his first foray into the motion-picture business. He described his first months on the West Coast as comprising “a bit of lying, a hint of cajoling, a little bit of stalling and a lot of watching, learning and keeping my mouth shut, but a smile on my face — always! And I began to learn how to be a cinematographer.” Waite’s first job as director of photography was on a training film for the U.S. Navy, and before long he was earning credits on such TV series as Police Story, Emergency! and City of Angels. He earned Emmy nominations for the telefilms Tail Gunner Joe and The Life and Assassination of the Kingfish , and he took home the award in 1977 for Captains and the Kings. In 1996, he earned another Emmy nomination for the telefilm Andersonville. Waite credited Walter Hill’s feature The Long Riders (1980) with providing him with his biggest break. It led to a very busy decade for Waite, who went on to shoot

Ric Waite, ASC 1933-2012
The Border, directed by Tony Richardson; Volunteers, directed by N icholas Meyer; Cobra, directed by George Cosmatos; and Red Dawn, directed by John Milius. Additionally, Waite and Hill reteamed on 48 Hrs. and Brewster’s Millions. Waite acknowledged on his blog that he was “less than thrilled” when he was offered Herbert Ross’ Footloose (1984), another film that helped to define the ’80s. However, he came to cherish the experience for affording him “an opportunity to work with Ross, arguably one of the best directors around and one of only two who knew how to photograph the ‘dance,’ which I desperately wanted to learn.” Waite and Ross collaborated again on the comedy The Great Outdoors. Following the recommendation of Society members Harry Wolf, Ted Voightlander and Howard Schwartz, Waite became an active member of the ASC on Aug. 6, 1984. His credits included the features Adventures in Babysitting , Marked for Death, Out for Justice , Rapid Fire and On Deadly Ground; the series Nowhere Man; and the telefilm Hope, directed by longtime friend Goldie Hawn. In 2002, Waite moved to Colorado and began teaching cinematography and lighting at the Colorado Film School. His other interests included playing piano, sailing and flying. Waite is survived by his wife, Judy; a son, Richard; and a daughter, Burgundy. — Jon D. Witmer ●

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http://www.theasc.com

American Cinematographer - May 2012

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

American Cinematographer - May 2012
Contents
Editor’s Note
President’s Desk
Short Takes: M.I.A.’s “Bad Girls”
Production Slate: Person of Interest • The Raven
Harsh Realms
Wild Passion
Tales of Ordinary Madness
Top of Their Class
Center Stage for Cinematographers
Post Focus: Technicolor Restores Wings
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
Clubhouse News
ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - American Cinematographer - May 2012
American Cinematographer - May 2012 - Cover2
American Cinematographer - May 2012 - 1
American Cinematographer - May 2012 - 2
American Cinematographer - May 2012 - 3
American Cinematographer - May 2012 - Contents
American Cinematographer - May 2012 - 5
American Cinematographer - May 2012 - 6
American Cinematographer - May 2012 - 7
American Cinematographer - May 2012 - Editor’s Note
American Cinematographer - May 2012 - 9
American Cinematographer - May 2012 - President’s Desk
American Cinematographer - May 2012 - 11
American Cinematographer - May 2012 - Short Takes: M.I.A.’s “Bad Girls”
American Cinematographer - May 2012 - 13
American Cinematographer - May 2012 - 14
American Cinematographer - May 2012 - 15
American Cinematographer - May 2012 - 16
American Cinematographer - May 2012 - 17
American Cinematographer - May 2012 - Production Slate: Person of Interest • The Raven
American Cinematographer - May 2012 - 19
American Cinematographer - May 2012 - 20
American Cinematographer - May 2012 - 21
American Cinematographer - May 2012 - 22
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American Cinematographer - May 2012 - 29
American Cinematographer - May 2012 - 30
American Cinematographer - May 2012 - 31
American Cinematographer - May 2012 - Harsh Realms
American Cinematographer - May 2012 - 33
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American Cinematographer - May 2012 - 40
American Cinematographer - May 2012 - 41
American Cinematographer - May 2012 - Wild Passion
American Cinematographer - May 2012 - 43
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American Cinematographer - May 2012 - 48
American Cinematographer - May 2012 - 49
American Cinematographer - May 2012 - 50
American Cinematographer - May 2012 - 51
American Cinematographer - May 2012 - Tales of Ordinary Madness
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American Cinematographer - May 2012 - 55
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American Cinematographer - May 2012 - 57
American Cinematographer - May 2012 - 58
American Cinematographer - May 2012 - 59
American Cinematographer - May 2012 - 60
American Cinematographer - May 2012 - 61
American Cinematographer - May 2012 - Top of Their Class
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American Cinematographer - May 2012 - 64
American Cinematographer - May 2012 - 65
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American Cinematographer - May 2012 - 67
American Cinematographer - May 2012 - 68
American Cinematographer - May 2012 - Center Stage for Cinematographers
American Cinematographer - May 2012 - 70
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American Cinematographer - May 2012 - 79
American Cinematographer - May 2012 - 80
American Cinematographer - May 2012 - 81
American Cinematographer - May 2012 - Post Focus: Technicolor Restores Wings
American Cinematographer - May 2012 - 83
American Cinematographer - May 2012 - 84
American Cinematographer - May 2012 - 85
American Cinematographer - May 2012 - 86
American Cinematographer - May 2012 - 87
American Cinematographer - May 2012 - New Products & Services
American Cinematographer - May 2012 - 89
American Cinematographer - May 2012 - 90
American Cinematographer - May 2012 - 91
American Cinematographer - May 2012 - International Marketplace
American Cinematographer - May 2012 - Classified Ads
American Cinematographer - May 2012 - Ad Index
American Cinematographer - May 2012 - In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
American Cinematographer - May 2012 - 96
American Cinematographer - May 2012 - 97
American Cinematographer - May 2012 - Clubhouse News
American Cinematographer - May 2012 - 99
American Cinematographer - May 2012 - ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - Cover3
American Cinematographer - May 2012 - Cover4
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