American Cinematographer - August 2019 - 99

story. We must strive to protect the art
and craft of cinematography from
being overrun by the 'flavor of the
day' widget.
Rachel Morrison, ASC: I am
very optimistic that the future of cinematography will be more inclusive,
and that a more diverse collective of
people behind the lens will help
inform a broader and more inclusive
worldview in the stories we tell.
I am less optimistic that the cinematographer will retain the control
they once had. While beneficial in
certain ways, I fear that the evolution
of technology - from higher-resolution cameras, to the ability to choose
focus in post, to the growing ease and
affordability of VFX compositing - is
also hugely detrimental to the cinematographer's singular vision, and to
the perception once held that DPs
were wizard-artists and guardians of
the image. I sincerely hope that I am
wrong.
Newton Thomas Sigel, ASC:
The future of cinematography, like the
future of cinema, is being rewritten by
the moment. Technology is changing
viewing methodologies. Our biggest
challenge will be maintaining authorship. The digital age invites a cinematographer's work to be altered as
others see the project to completion.
Alexander Gruszynski, ASC: I
think we are entering - or have
entered - a very treacherous time. On
the one hand, new technologies [offer
so many] possibilities for visual storytelling, and that's obviously incredible. But then there's the issue of
control. With digital, instead of creating images, you produce files that can
be interpreted and manipulated any
way you want, and any way you don't
want.
All these possibilities of manipulating images in postproduction are
where we cinematographers have to
be very forceful in retaining control of
the image. This is not an easy task,
because - partly due to politics and
design - there's an idea that we
belong [exclusively] on the set. The

postproduction process is also
lengthy and discombobulated, and
we're not necessarily available, and
it's also not really in our contract to be
a part of postproduction, other than
[participating in] color correction -
which is another gray area, contractually speaking. It's a minefield that we
need to learn to navigate so we can
retain our integrity and the control of
the image, which is now much more

complicated than in the past.
Sher: Cinematographers will
need to start on the picture a lot
earlier than they are currently. That's
how you're going to create a movie
that still has a cinematographer's
imprint, and the truth is, the movie
needs the cinematographer's imprint
- not because we're special beings in
some magical way, but because our
skill sets are unique, just like a



https://kodak.com/motion

American Cinematographer - August 2019

Table of Contents for the Digital Edition of American Cinematographer - August 2019

Contents
American Cinematographer - August 2019 - Cover1a
American Cinematographer - August 2019 - Cover1b
American Cinematographer - August 2019 - Cover2a
American Cinematographer - August 2019 - Cover2b
American Cinematographer - August 2019 - ACM
American Cinematographer - August 2019 - Cover3
American Cinematographer - August 2019 - Cover4
American Cinematographer - August 2019 - 1
American Cinematographer - August 2019 - Contents
American Cinematographer - August 2019 - 3
American Cinematographer - August 2019 - 4
American Cinematographer - August 2019 - 5
American Cinematographer - August 2019 - 6
American Cinematographer - August 2019 - 7
American Cinematographer - August 2019 - 8
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American Cinematographer - August 2019 - 19
American Cinematographer - August 2019 - 20
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American Cinematographer - August 2019 - Cover5
American Cinematographer - August 2019 - Cover6
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