American Cinematographer - August 2009 - 18

Production Slate Transatlantic Allies and a Sci-Fi Serial Members of a joint ASC/BSC panel discussion held during the Cine Gear Expo gather around the cakes celebrating the societies’ 90th and 60th anniversaries, respectively. From left: George Spiro Dibie, ASC; Daryn Okada, ASC; Dick Pope, BSC; Phil Meheux, BSC; ASC President Michael Goi; Nancy Schreiber, ASC; BSC President Sue Gibson; Nic Morris, BSC; Allen Daviau, ASC; Guillermo Navarro, ASC; Owen Roizman, ASC; John Daly, BSC; and Joe Dunton, BSC. ASC, BSC Celebrate Milestones by Jon D. Witmer It’s been 90 years since a group of 15 cameramen transformed the Cinema Camera Club and the Static Club of America into the American Society of Cinematographers, and 60 years since 55 British cameramen followed their lead and established the British Society of Cinematographers. The two milestones were recently celebrated by members of both societies during the Cine Gear Expo in Hollywood. The anniversary panel was moderated by George Spiro Dibie, ASC, and comprised ASC and BSC presidents Michael Goi and Sue Gibson, respectively; ASC members Richard Crudo, Allen Daviau, Guillermo Navarro, Daryn Okada, Owen Roizman and Nancy Schreiber; and BSC members John Daly, Joe Dunton, Phil Meheux, Nic Morris and Dick Pope. The discussion captured the sense that today’s cinematographers are part of a tradition born with the cinema, and one that will continue for as long as audiences watch moving images. As Goi observed, the role of the cinematographer is essentially “no different now than it was in the 1900s, when cinema was starting; in 1927, when sound came into it; when two-strip and then threestrip Technicolor came in; and when widescreen formats came in. There has always been evolution and change in the industry; that’s a given. We’ve always found ways to tell the stories we want to tell in the way we want to tell them in an evolving atmosphere. “At the ASC and the BSC, we embrace that,” Goi continued. “We analyze [a new development] for what it is, and we research it and see where it might go. Our job is to keep track of it and inform producers about these tech- nologies and their capabilities.” After agreeing, Pope added, “The job remains the same as it was in silent-movie days: it’s telling the story in images. That’s the be-all and end-all of it. Whatever the technology is, that’s the job: realizing the dream of the director, realizing his vision … and putting 100 percent of your experience and skill into it.” During the 90-minute panel, the audience asked the cinematographers questions covering an array of topics, including digital intermediates, 3-D movies, the future of 16mm film, collaborating with visual-effects supervisors, and the societies’ responsibilities to future filmmakers. Addressing the latter topic, Goi said, “It’s something we all take very seriously. It’s a responsibility to give back to the community, to encourage and educate the next generation of cinematographers, and to preserve and honor our history … which is really the history of world cinema.” 18 August 2009 Photos by Alex Lopez.

American Cinematographer - August 2009

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