American Cinematographer - March 2011 - 8

Editor’s Note
With digital technologies enjoying firm footholds in production and post, “workflow” has become a problematic buzzword for cinematographers. New image-capture systems do not always jibe seamlessly with established post pipelines, and the industry still lacks a reliable standard for the exchange of digital files. N aturally, this has created major frustrations for those whose goal is achieving the highest image quality. The Image Interchange Framework Committee, a group formed by the Academy Science and Technology Council, has spent the past six years working to solve this problem. Their mandate was to design a system that would preserve the information captured in a raw image all the way through post, make it possible for different departments and facilities to easily exchange files and information, and provide a color-managed workflow for productions mixing digital media and film. The result of their labor is a set of components called the Image Interchange Framework, and the Fox television show Justified, shot by Francis Kenny, ASC, is putting it to use. According to Kenny, all concerned are extremely pleased with the system. In Stephanie Argy’s article (Production Slate, page 16), Ray Feeney, co-chair of the Academy SciTech Council, offers encouraging words for those concerned about quality control for motion imaging: “Several studios and numerous projects are testing various aspects of the proposed framework, and so far, the results have exceeded expectations.Justified is the first show using the IIF to be released for broadcast, and they are absolutely ecstatic with the results.” AC will continue to keep our readers apprised as this important new system is refined. This month’s focus on television production, penned by Michael Goldman, Jay Holben and Iain Stasukevich, offers articles about three eye-catching series. Robert McLachlan, ASC, CSC discusses using Arri’s new Alexa on Fox’s Human Target; Peter Wunstorf, ASC details his approach to AMC’s latest original series,The Killing; and Tom Yatsko and CSC members David Moxness and Greg Middleton discuss their collaboration on Fox’s Fringe (“Weekly Wonders,” page 38). Jean Oppenheimer’s profile of Michael D. O’Shea, ASC (“Lessons Well Learned,” page 50) details a commitment to teamwork and excellence that led the Society to salute O’Shea with its Career Achievement in Television Award last month. Another industry icon, associate member Douglas Kirkland, was honored last month with the ASC Presidents Award for decades of excellence as one of Hollywood’s top stills photographers. Jon Silberg’s piece on Kirkland’s stellar career (“Photographing Movie History,” page 58) reveals an artist whose love of cinema is reflected in every frame. In the feature-film arena, The Adjustment Bureau, shot by John Toll, ASC, is an ideal date-night option for cinéastes and their significant others.An intriguing blend of romance, suspense and science fiction, the movie concerns a promising N ew York politician (Matt Damon) who falls for a dancer (Emily Blunt), only to find their romance thwarted at every turn by a mysterious group of men. Senior editor Rachael Bosley’s article (“Master Plans,” page 26) pulls back the curtain to reveal the filmmakers’ methods.

Stephen Pizzello Executive Editor
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Photo by Owen Roizman, ASC.

American Cinematographer - March 2011

Table of Contents for the Digital Edition of American Cinematographer - March 2011