American Cinematographer - April 2020 - 78
Film Class
I feel that a cinematographer
should know and appreciate the history
of their chosen art form.
- M. David Mullen, ASC
ppp Mindel observes the students at work. pp Students gather to check a monitor with Sandgren.
p For Salomon's tutorial, Master Class staffer Raphael van Oostrum shoots Steadicam footage of
Brittany Belt at the ASC Arri Education Center.
78
April 2020
American Cinematographer - 100 Years
film. I made the lighting setup all
about flashing lights that were incredibly bright. When they weren't flashing, the scene was completely dark. I
wanted to allow the class to physically make these 'mistakes' of exposure so they could see the results the
next day in the DI suite at the lab.
These students don't [generally] get the chance to experiment,
and I wanted to give them a chance to
realize that through experimentation
you increase your creativity. If you're
not trying stuff out because you're a
professional filmmaker and you can't
experiment on someone else's dime,
then you can't really get out of the
repetitious cycle that you're in when
you're just playing the exposure
safely.
Mikael Salomon, ASC: Rather
than getting into a lot of theory, I just
wanted to do a practical shot. I tried to
develop a shot of medium difficulty.
We concentrated most of the day on
doing that shot, and how we could do
it in different ways so we could
compare the pros and cons of using
Steadicam versus the dolly. We did it
with some artificial lighting inside
and outside [with some] pretty severe
focus pulling and stop pulling at the
same time.
Why is it important to you to
pass this information on to future
generations of cinematographers?
Mindel: As storytellers, it's very
important that we have as many tools
as possible that we can use to tell the
story. I think the pervasiveness of digital acquisition has taken away a lot of
the technical knowhow of filmmaking. And it's important to me to teach
the next generation how to use this
equipment so that it's not forgotten. If
we don't forget how to use it, and we
keep nurturing it, it gives us a broad
brush that we can use to tell stories.
American Cinematographer - April 2020
Table of Contents for the Digital Edition of American Cinematographer - April 2020
Contents
American Cinematographer - April 2020 - 1
American Cinematographer - April 2020 - Cover1
American Cinematographer - April 2020 - Cover2
American Cinematographer - April 2020 - 1
American Cinematographer - April 2020 - Contents
American Cinematographer - April 2020 - 3
American Cinematographer - April 2020 - 4
American Cinematographer - April 2020 - 5
American Cinematographer - April 2020 - 6
American Cinematographer - April 2020 - 7
American Cinematographer - April 2020 - 8
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American Cinematographer - April 2020 - 32
American Cinematographer - April 2020 - 32a
American Cinematographer - April 2020 - 32b
American Cinematographer - April 2020 - 32c
American Cinematographer - April 2020 - 32d
American Cinematographer - April 2020 - 32e
American Cinematographer - April 2020 - 32f
American Cinematographer - April 2020 - 32g
American Cinematographer - April 2020 - 32h
American Cinematographer - April 2020 - 32i
American Cinematographer - April 2020 - 32j
American Cinematographer - April 2020 - 32k
American Cinematographer - April 2020 - 32l
American Cinematographer - April 2020 - 33
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American Cinematographer - April 2020 - Cover3
American Cinematographer - April 2020 - Cover4
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