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The International Journal of Motion Imaging

SEE AND HEAR MORE CINEMATOGRAPHY COVERAGE AT WWW.THEASC.COM
Left: Noblewoman Catelyn Stark (Michelle
Fairley) is restrained by a ruthless henchman
(Tim Plester). Right: Cinematographer Robert
McLachlan, ASC, CSC on location in Morocco.
(Photo at left by Helen Sloan, courtesy of HBO; photo at
right courtesy of McLachlan.)

In an exclusive online podcast, Robert McLachlan, ASC, CSC will discuss his approach to the shocking Games of Thrones
episode “The Rains of Castamere,” (a.k.a. the “The Red Wedding”). A major plot twist caught many viewers by surprise and led
to an outpouring of anguish on websites and blogs, as well as breathless coverage by countless media outlets, which declared the
episode a television landmark. McLachlan will also discuss his strategies for the show’s season finale, “Mhysa.”

THIS MONTH’S ONLINE QUESTION: Which television series, past or present, have you most admired for their cinematography?

Jimmy Evilj Green: “American Horror Story, Lucas Smith: “The X-Files really stands out as the Phillip L. Covell: “The Borgias.”
hands down.”
first television show with a truly cinematic look.”
Thomas Jahn: “24. Groundbreaking photograJim Anderson: “Easy answer: AMC’s The Cameron Schmucker: “Alias was great. The use phy by Rodney Charters [ASC, CSC].”
Killing.”
of light and camera moves for storytelling always
made for a very cinematic experience.”
Jeremy M. Borg: “Downton Abbey is beautifulGeorgios Dimitrios Telonis: “Mad Men. Never
ly shot and lit. I cannot recall seeing a few sechas the line between naturalism and stylization Denver Mason: “I love the look of The Walking onds of any other show and thinking, ‘Visually,
been walked so well.”
Dead. It was a great choice to go with Super this is perfect.’ I think I watched the entire first
16mm film. The look compliments the story per- episode on mute, and I still loved the show.”
Aaron Von Hagen: “I have to say Breaking Bad. fectly. And the decision to shoot a lot of scenes
Love, love, love the use of the wide shots with on a long lens, with a short depth of field, really Chad Rullman: “Game of Thrones is usually
the subjects so small in the frame. I also love how makes for a beautiful frame. The Arriflex 416 is a noticed for its wonderful production design, but
the camera becomes part of the movement of a great camera, and they use it to its full potential.” the photography is quite impressive and beautishot when attached to objects, having liquids
ful.”
poured ‘on the lens,’ etc. Also, the color scheme Stephen Murphy: “You can’t talk about conis beautiful. Such pretty pictures for dark subject temporary TV cinematography without mention- Jay Carroll: “Boss. The color grading and commatter.”
ing Miami Vice.”
position are very avant-garde, probably [because]
Gus Van Sant [is] one of the exec producers.
Johnny Derango: “Southland. Never have I Eric Zwizzle: “The West Wing always comes to Breaking Bad is incredible, too.”
been so drawn into a show by both its cine- mind for me.”
matography and storytelling that I actually had to
Zach Voytas: “The Sopranos stuck with me
try and relax when the show was over.”
Clarke Mayer: “I Love Lucy, of course. [The when I was younger, [because] they took a cineshow] pioneered many things, including the matic approach very early on. They didn’t do norJob Reineke: “Hannibal is beautiful.”
three-camera TV sitcom setup, and [it was] the mal coverage [and] the photography was very
first scripted show to be shot in front of a live stu- thought-out and specific.”
E Gustavo Petersen: “I’m a huge fan of Magic dio audience on 35mm.”
City, shot by Gabriel Beristain, ASC, BSC. [It has
Tom Houghton, ASC: “The Outer Limits
a] big look that never overpowers the story.”
Mark Gambol: “Pushing Daisies was way ahead [episodes shot by] Conrad Hall [ASC]. Very influof all the shows I’ve watched. It was a mini movie ential.”
Kevin Colber: “Deadwood had a fantastic look. every week.”
More recently, Luck and Homeland were both
Steve Forbes: “Guys, come on! Have we forimpressive.”
Jason King: “The 1960s TV series Combat! has gotten about Boardwalk Empire?!”
some of the finest film-noir-style lighting ever
Dennis Pornel: “How to Make It in America.” done.”
To read more replies, visit the magazine’s Facebook page: www.facebook.com/AmericanCinematographer


http://WWW.THEASC.COM http://www.facebook.com/AmericanCinematographer

American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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