American Cinematographer - June 2009 - 8

Editor’s Note s a longtime fan of the Star Trek franchise, I reacted to news of the 2009 “reboot” with cautious optimism. I spent many happy childhood hours glued to earlySeventies reruns of the original TV series, and I’ve also enjoyed some — but not all — of the subsequent series and theatrical features. This time around, I became vaguely concerned when director J.J. Abrams conceded in interviews that he’s always been more of a “Star Wars guy.” However, he also noted this preference made him more willing to take a few bold risks with the familiar mythology. A visit to the set last year with associate editor and fellow Trek fiend Jon Witmer indicated Starfleet was in good hands; an early preview of key sequences further reassured me; and an exhilarating April screening on the Paramount lot proved that Abrams, cinematographer Dan Mindel, ASC and the rest of their collaborators had hit the bull’s eye with their phasers. In my humble but studied opinion, this Trek film is the best yet and offers even the uninitiated a fantastic summer-blockbuster ride. As I write this column, Witmer is also feeling “transported” after seeing the finished picture. His article about the production (“A Bold, New Enterprise,” page 28), which offers in-depth analyses from Abrams, Mindel, production designer Scott Chambliss and visual-effects supervisor/2nd-unit director Roger Guyett, is essential reading for anyone who craves behind-the-scenes details. Here’s hoping the latest iteration of the Trek universe lives long and prospers. Sci-fi enthusiasts can also look forward to Terminator Salvation, which teamed cinematographer Shane Hurlbut, ASC with director McG. While a brief flurry of media attention was devoted to some of the creative interplay that occurred on-set, Witmer’s thorough exploration of the project (“Back to the Future,” page 40) provides a substantial account of Hurlbut’s work — and his crucial contributions to the film’s thrilling images. John Schwartman, ASC is the new hero of my 3-year-old son, Nicholas, because he got to man the camera on Night at the Museum: Battle of the Smithsonian, the sequel to a movie that has delighted Nicholas more times than I can count. The further adventures of Larry Daley (Ben Stiller) promise more fun for all ages, and Pat Thomson’s piece (“Making History Fun,” page 54) explains how Schwartzman achieved the tale’s whimsical illusions. This issue also offers several topical articles that address key tools and techniques of the cinematographer’s trade. Stephanie Argy and Richard Edlund, ASC penned an overview of the recent Camera-Assessment Series, which examined seven digital cameras (“Testing Digital Cameras,” page 64), and also prepared a primer on previsualization (“Assessing Previs,” page 70) that focuses on the goals of a joint committee formed by the ASC, the Art Directors Guild and the Visual Effects Society. Valuable insights can also be found in a Q&A that Jon Silberg and I conducted with John Bailey, ASC and colorist Stefan Sonnenfeld about the benefits and perils cinematographers experience in the digital-intermediate suite (Post Focus, page 78). Bailey’s widely read Filmmakers’ Forum on this hotbutton topic (AC June ’08) caused such a stir that we encouraged him to revisit the subject. A Stephen Pizzello Executive Editor 8 Photo by Douglas Kirkland.
American Cinematographer - June 2009

Table of Contents for the Digital Edition of American Cinematographer - June 2009
