American Cinematographer - July 2011 - 8

Editor’s Note
Any magazine that cares about its readers conducts the occasional subscriber survey, and the results of our latest one indicate that we’re on solid footing. The questionnaire yielded 84 pages of information and insights, including 33 pages of comments that ranged from unequivocal approval (“The best magazine for working cinematographers and for people interested in the craft”) to dubious business advice (“Lower the amount of ads present in each issue”). There was even a unique plea from one savvy fan: “Can I come bartend in your Clubhouse?” The data prove that AC is an excellent industry resource. A few of the numbers stand out: • Almost 9 out of 10 subscribers (87%) took action in the past 12 months as a result of seeing an ad in the magazine, with 64% visiting an advertiser’s website, 56% discussing an ad with others, and 33% saving an ad for reference. • 93% of our subscribers influence decision-making at one or more stages of production, including 84% who impact equipment choices and 78% who influence the buying of services; 85% who help choose rental houses and 81% who weigh in on shooting locations; and 74% who influence the purchasing of software and/or hardware during prep, 69% who impact those decisions during production, and 63% who have a say about post. • A robust 88% of you keep all issues for future reference. Some figures confirm recent filmmaking trends: 91% of subscribers use or own a digital camera. Others buck the prevailing winds in publishing: 84% read the print edition most of the time, while 16% read the digital edition. Lighting still tops your list of interests. Coverage of U.S. studio features finished a close second, followed by articles on foreign productions and digital cinematography. New Products & Services remains our most popular monthly department. One common request was for “more technical and/or behind-the-scenes photos.” On this front, I can assure you that our staff of three (3) editors examines everyavailable photo on every production we cover, with the key word being “available.” Union rules preclude us from sending our own photographers to sets, so we rely upon images provided by studios and other production entities. These photos often require personal approvals by actors, directors, producers, publicists and marketing executives who often have specific concerns (and, occasionally, rather oblique agendas) that are not at all related to cinematography. Many of you requested more coverage of foreign and/or independent movies, but if you take a look at any year-end index in our December issues, you will find our track record on both fronts is solid. In 2010 alone, we covered 30 productions shot outside the U.S., and 26 productions that would qualify as independents. In fact, the issue you’re holding right now typifies our approach; it includes features on a Chinese film, City of Life and Death , and a very experimental indie, Bellflower, alongside articles about the summer “tent-pole” pictures Super 8 and Green Lantern. It’s worth noting, however, that ASC cinematographers, who receive editorial priority in our pages, are predominantly hired to shoot U.S. studio projects. Your survey responses also reflected a perpetual debate over whether the magazine should focus more on technical specifics (the “how”) or philosophical/creative musings (the “why”). I can assure you that we keep both lines of inquiry in mind when we assign any article. Whether an article slants in one direction or the other usually reflects the preference of that cinematographer, but we often seek out secondary sources if we feel they will bolster an article in either respect. Rest assured, your suggestions are always welcomed, and we’ll do our best to honor them.

Stephen Pizzello Executive Editor

Photo by Owen Roizman, ASC.

http://www.theasc.com

American Cinematographer - July 2011

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