American Cinematographer - May 2020 - 55
Flashbacks to the '60s
about production of the feature The
Green Berets. If the war wasn't surreal
enough, the magazine also published a
piece titled "Creating the 'Psychedelic'
Visual Effects for The Trip" (AC March
'68), which details "the skilled application of intricate 'light show' and optical
technology" to simulate "the far-out
hallucinations induced by LSD."
The magazine's open-minded
approach during the 1960s is possibly
best summarized by two paragraphs
from that January 1961 article on "The
Experimental Film," which endorse a
spirit of adventurous creativity that can
still serve to inspire today's cinematographers:
"The use of the motion-picture
camera as a creative instrument is something else again, for this is a skill that
cannot be learned through books and
lectures. There are only two ways to
really learn anything about it: first, by
viewing and analyzing outstanding
films of all types - and, secondly, by
plunging in and actually making films.
Because the experimental film places
virtually no restrictions upon the
creativity of the serious student of
cinema, it can function as a valuable,
even necessary, training ground for the
aspiring cinematographer. Nor is it the
novice alone who can benefit from
observing and working with this type
of film. Many an established cameraman, bogged down in a rut of triedand-true conventional technique, can
infuse new life into his work by allowing his camera to take off on an occasional flight of experimental fancy -
on his own time, of course.
"The important point is that one
is frankly and openly trying out techniques. The very word 'experiment'
implies a searching in which failure is,
if anything, more likely than success.
For this reason, the experimentalist
should not be chagrined or even
surprised if many of the effects he
attempts do not quite come off. On the
contrary, in working with film it is
often possible to learn more from a failure or near-miss than from an out-andout success."
u
ASC members were behind
some of the decade's most
interesting and innovative
films. Top to bottom: Conrad
Hall, ASC frames a scene for
The Professionals (AC '67);
Burnett Guffey, ASC, broke
new ground with Bonnie and
Clyde (AC April '67); director
Francis Ford Coppola paired
with Andrew Laszlo, ASC on
his "far out" mid-'60s
feature You're a Big Boy
Now (AC June '67).
www.ascmag.com
May 2020
55
http://www.ascmag.com
American Cinematographer - May 2020
Table of Contents for the Digital Edition of American Cinematographer - May 2020
Contents
American Cinematographer - May 2020 - Intro
American Cinematographer - May 2020 - Cover1
American Cinematographer - May 2020 - Cover2
American Cinematographer - May 2020 - 1
American Cinematographer - May 2020 - Contents
American Cinematographer - May 2020 - 3
American Cinematographer - May 2020 - 4
American Cinematographer - May 2020 - 5
American Cinematographer - May 2020 - 6
American Cinematographer - May 2020 - 7
American Cinematographer - May 2020 - 8
American Cinematographer - May 2020 - 9
American Cinematographer - May 2020 - 10
American Cinematographer - May 2020 - 11
American Cinematographer - May 2020 - 12
American Cinematographer - May 2020 - 13
American Cinematographer - May 2020 - 14
American Cinematographer - May 2020 - 15
American Cinematographer - May 2020 - 16
American Cinematographer - May 2020 - 17
American Cinematographer - May 2020 - 18
American Cinematographer - May 2020 - 19
American Cinematographer - May 2020 - 20
American Cinematographer - May 2020 - 21
American Cinematographer - May 2020 - 22
American Cinematographer - May 2020 - 23
American Cinematographer - May 2020 - 24
American Cinematographer - May 2020 - 25
American Cinematographer - May 2020 - 26
American Cinematographer - May 2020 - 27
American Cinematographer - May 2020 - 28
American Cinematographer - May 2020 - 29
American Cinematographer - May 2020 - 30
American Cinematographer - May 2020 - 31
American Cinematographer - May 2020 - 32
American Cinematographer - May 2020 - 33
American Cinematographer - May 2020 - 34
American Cinematographer - May 2020 - 35
American Cinematographer - May 2020 - 36
American Cinematographer - May 2020 - 37
American Cinematographer - May 2020 - 38
American Cinematographer - May 2020 - 39
American Cinematographer - May 2020 - 40
American Cinematographer - May 2020 - 41
American Cinematographer - May 2020 - 42
American Cinematographer - May 2020 - 43
American Cinematographer - May 2020 - 44
American Cinematographer - May 2020 - 45
American Cinematographer - May 2020 - 46
American Cinematographer - May 2020 - 47
American Cinematographer - May 2020 - 48
American Cinematographer - May 2020 - 49
American Cinematographer - May 2020 - 50
American Cinematographer - May 2020 - 51
American Cinematographer - May 2020 - 52
American Cinematographer - May 2020 - 53
American Cinematographer - May 2020 - 54
American Cinematographer - May 2020 - 55
American Cinematographer - May 2020 - 56
American Cinematographer - May 2020 - 57
American Cinematographer - May 2020 - 58
American Cinematographer - May 2020 - 59
American Cinematographer - May 2020 - 60
American Cinematographer - May 2020 - 61
American Cinematographer - May 2020 - 62
American Cinematographer - May 2020 - 63
American Cinematographer - May 2020 - 64
American Cinematographer - May 2020 - Cover3
American Cinematographer - May 2020 - Cover4
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