American Cinematographer - August 2013 - Cover4

ONFILM
ONFILM
M I C H A E L S LOV I S , A S C

believe playing safe.
“I don’t believe in playing it safe. And on
Breaking Bad, we were encouraged to
Breaking Bad, we were all encouraged to
take chances. was constantly stretching
take chances. I was constantly stretching
my
The
the limits of ﬁlm with my lighting. The
storytelling business
storytelling business is a representational
representational
art form,
reproductive art form.
art form, not a reproductive art form.
Throughout
history
Throughout the history of ﬁlmmaking,
cinematographers have
there to
cinematographers have been there to
represent
visually represent the emotional moments
stories
of the stories that we’re telling. We’re
we’re telling. We’re
expected to
expected to use poetic license, to create.
license, to create.
Nobody’s
Nobody’s house is as dark during the
day Walter White’s
day as Walter White’s at the end of
Breaking Bad.
was
Breaking Bad. But that was the right look
to support
to support the story at that moment.
story
That’s where
DP’s
sensibility
That’s where the DP’s skills and sensibility
come The
stocks today are
come in. The ﬁlm stocks today are
tremendous
they’ve ever
tremendous — the best they’ve ever
transferring technology
been — and the transferring technology
incredible.
now, they’re
is incredible. Right now, they’re bumping
every frame Breaking
to
every frame of Breaking Bad up to 4K, and
told
I’m told that it looks just amazing.”
looks
amazing.”
Slovis, ASC photographed
Michael Slovis, ASC photographed the
ﬁve
Breaking Bad,
ﬁnal ﬁve seasons of Breaking Bad, earning
three Emmy®
way.
three Emmy® nominations along the way.
previous credits
His previous credits include CSI: Crime
Scene Investigation, for
won
Scene Investigation, for which he won an
Emmy®, well
Rock,
Emmy®, as well as episodes of 30 Rock,
Rubicon
Fringe.
directed four
Rubicon and Fringe. He also directed four
Breaking Bad,
episodes of Breaking Bad, and episodes
i
Law Order:
Victims
of Law & Order: Special Victims Unit and
Chicago Fire.
Chicago Fire.
For an extended Q&A with Michael Slovis,
For extended
o
Slovis,
www. odak.com/go/o
w.k
/go onﬁlm.
visit www.kodak.com/go/onﬁlm.
To order Kodak
To order Kodak motion picture ﬁlm,
picture
call (800) 621-ﬁlm.
621-ﬁlm.
© Eastman Kodak Company, 2013.
Kodak Company, 2013.
Photography: © 2013 Douglas Kirkland
Photography: 2013

http://www.kodak.com/go/onfilm http://www.kodak.com/go/onfilm

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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