American Cinematographer - September 2010 - 10

President’s Desk
Cinema is truly an international medium. In every country of the world, there are movies and documentaries that define who we are and what we believe in, and they become a time capsule of our culture. There is a fascinating piece of film making the rounds on the Internet, a view from a streetcar on Market Street in San Francisco in 1905, one year before the earthquake forever changed the landscape. (A version of this can be found at http://www.youtube.com/watch?v=NINOxRxze9k.) As you watch this single-camera traveling view of everyday life, it’s easy to become drawn to individual people on the street, curious about their stories — the man walking with his young son through the maze of streetcars, the car filled with five portly men passing a much more upscale car with a lone driver, the man with the butcher’s apron dashing across the street in front of the camera, the boys dangerously holding onto the back of a car while running behind it. You get a real sense of what life felt like at that time. I get this same sense of fascination when I watch the early New York-based films of Michael and Roberta Findlay. Though they are unabashedly exploitation films, with titles like Kiss of Her Flesh and Body of A Female, they are also glimpses of a New York City that does not exist in that form any more. If future generations want to know what the mean streets of The Deuce felt like, Andy Milligan’s Fleshpot on 42nd Street may end up providing the answer. I recently returned from a fantastic trip to India that was sponsored by the Indian Society of Cinematographers and Cinematographers’ Combine. I was treated to glimpses of India’s current filmmaking output, amazingly sophisticated movies that reflect not only India’s culture, but also the influence of filming styles from other parts of the world. I was also privileged to visit a couple of prominent schools dedicated to filmmaking, Whistling Woods in Mumbai and the Film and Television Institute in Pune. I was treated to a showing of advanced students’ films, and the level of creativity they exhibited, from cinematography to sound design, story construction to editing, was truly impressive. The highlight of my visit was being named an honorary member of the ISC. The sobering part of the trip was my visit to the Film Preservation Vault, also in Pune. Its staff is committed to preserving as many of the films and advertising materials from Indian cinema as possible. I was shown a 1913 production, recently preserved, that demonstrated storytelling and filmic techniques that equaled the work of D.W. Griffith and Louis Feuillade. Through the vault’s considerable care and effort, 6,000 films dating from 1899 to the present have been preserved. India produces about 1,000 movies a year. If you do the math, it’s staggering to think about what has possibly been lost. I recently appointed John Bailey, ASC chairman of the ASC Film and Digital Preservation Subcommittee of the Technology Committee. John will add his considerable expertise and passion to the excellent efforts that ASC associate members Grover Crisp and Garrett Smith have already undertaken in this field, and he will utilize his knowledge of the industry and key players to focus attention where it needs to be. Preserving and archiving our work is not just a matter of saving what is old; it is also determining the right methodology for handling everything new, before formats become obsolete. (Remember Hi-8?) When I was 13, my optometrist said I would be blind by age 30 (don’t worry, it didn’t happen), and I responded by watching every movie I could get to because I wanted to have all those images in my memory when my sight went away. The Parkway Theater in Chicago ran three double features a week of anything they could buy for $50, so I saw eclectic programs such as Charlton Heston in Will Penny along with the Phyllis Diller film Did You Hear The One About The Traveling Saleslady? All these films formed my knowledge of what cinema was. I can’t see every movie ever made, no matter how much I’d like to. But I’d be disappointed if future generations were unable to see that 1905 San Francisco film or those Indian student films. It’s up to us to make sure that doesn’t happen.

Michael Goi, ASC President

10

September 2010

American Cinematographer

Photo by Owen Roizman, ASC.


http://www.youtube.com/watch?v=NINOxRxze9k

American Cinematographer - September 2010

Table of Contents for the Digital Edition of American Cinematographer - September 2010

American Cinematographer - September 2010
Contents
Editor’s Note
President’s Desk
Short Takes: Alexa “World Cup” demo
Production Slate: Eat Pray Love • The Milk of Sorrow
Mob Money (Boardwalk Empire)
War Horses (The Expendables)
A Beatle’s Upbringing (Nowhere Boy)
Romans on the Run (Centurion)
Where Cinematography Lives (ASC Clubhouse Renovation)
Post Focus: Lottery Ticket
Filmmakers’ Forum: David McFarland on Black Tulip
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Dejan Georgevich
American Cinematographer - September 2010 - American Cinematographer - September 2010
American Cinematographer - September 2010 - Cover2
American Cinematographer - September 2010 - 1
American Cinematographer - September 2010 - 2
American Cinematographer - September 2010 - Contents
American Cinematographer - September 2010 - 4
American Cinematographer - September 2010 - 5
American Cinematographer - September 2010 - 6
American Cinematographer - September 2010 - 7
American Cinematographer - September 2010 - Editor’s Note
American Cinematographer - September 2010 - 9
American Cinematographer - September 2010 - President’s Desk
American Cinematographer - September 2010 - 11
American Cinematographer - September 2010 - Short Takes: Alexa “World Cup” demo
American Cinematographer - September 2010 - 13
American Cinematographer - September 2010 - 14
American Cinematographer - September 2010 - 15
American Cinematographer - September 2010 - 16
American Cinematographer - September 2010 - 17
American Cinematographer - September 2010 - Production Slate: Eat Pray Love • The Milk of Sorrow
American Cinematographer - September 2010 - 19
American Cinematographer - September 2010 - 20
American Cinematographer - September 2010 - 21
American Cinematographer - September 2010 - 22
American Cinematographer - September 2010 - 23
American Cinematographer - September 2010 - 24
American Cinematographer - September 2010 - 25
American Cinematographer - September 2010 - 26
American Cinematographer - September 2010 - 27
American Cinematographer - September 2010 - 28
American Cinematographer - September 2010 - 29
American Cinematographer - September 2010 - 30
American Cinematographer - September 2010 - 31
American Cinematographer - September 2010 - 32
American Cinematographer - September 2010 - 33
American Cinematographer - September 2010 - Mob Money (Boardwalk Empire)
American Cinematographer - September 2010 - 35
American Cinematographer - September 2010 - 36
American Cinematographer - September 2010 - 37
American Cinematographer - September 2010 - 38
American Cinematographer - September 2010 - 39
American Cinematographer - September 2010 - 40
American Cinematographer - September 2010 - 41
American Cinematographer - September 2010 - 42
American Cinematographer - September 2010 - 43
American Cinematographer - September 2010 - 44
American Cinematographer - September 2010 - 45
American Cinematographer - September 2010 - 46
American Cinematographer - September 2010 - 47
American Cinematographer - September 2010 - 48
American Cinematographer - September 2010 - 49
American Cinematographer - September 2010 - War Horses (The Expendables)
American Cinematographer - September 2010 - 51
American Cinematographer - September 2010 - 52
American Cinematographer - September 2010 - 53
American Cinematographer - September 2010 - 54
American Cinematographer - September 2010 - 55
American Cinematographer - September 2010 - 56
American Cinematographer - September 2010 - 57
American Cinematographer - September 2010 - 58
American Cinematographer - September 2010 - 59
American Cinematographer - September 2010 - 60
American Cinematographer - September 2010 - 61
American Cinematographer - September 2010 - 62
American Cinematographer - September 2010 - 63
American Cinematographer - September 2010 - A Beatle’s Upbringing (Nowhere Boy)
American Cinematographer - September 2010 - 65
American Cinematographer - September 2010 - 66
American Cinematographer - September 2010 - 67
American Cinematographer - September 2010 - 68
American Cinematographer - September 2010 - 69
American Cinematographer - September 2010 - 70
American Cinematographer - September 2010 - 71
American Cinematographer - September 2010 - 72
American Cinematographer - September 2010 - 73
American Cinematographer - September 2010 - Romans on the Run (Centurion)
American Cinematographer - September 2010 - 75
American Cinematographer - September 2010 - 76
American Cinematographer - September 2010 - 77
American Cinematographer - September 2010 - 78
American Cinematographer - September 2010 - 79
American Cinematographer - September 2010 - 80
American Cinematographer - September 2010 - 81
American Cinematographer - September 2010 - Where Cinematography Lives (ASC Clubhouse Renovation)
American Cinematographer - September 2010 - 83
American Cinematographer - September 2010 - 84
American Cinematographer - September 2010 - 85
American Cinematographer - September 2010 - Post Focus: Lottery Ticket
American Cinematographer - September 2010 - 87
American Cinematographer - September 2010 - 88
American Cinematographer - September 2010 - 89
American Cinematographer - September 2010 - Filmmakers’ Forum: David McFarland on Black Tulip
American Cinematographer - September 2010 - 91
American Cinematographer - September 2010 - 92
American Cinematographer - September 2010 - 93
American Cinematographer - September 2010 - New Products & Services
American Cinematographer - September 2010 - 95
American Cinematographer - September 2010 - 96
American Cinematographer - September 2010 - 97
American Cinematographer - September 2010 - 98
American Cinematographer - September 2010 - 99
American Cinematographer - September 2010 - 100
American Cinematographer - September 2010 - 101
American Cinematographer - September 2010 - 102
American Cinematographer - September 2010 - 103
American Cinematographer - September 2010 - International Marketplace
American Cinematographer - September 2010 - Classified Ads/Ad Index
American Cinematographer - September 2010 - 106
American Cinematographer - September 2010 - 107
American Cinematographer - September 2010 - ASC Membership Roster
American Cinematographer - September 2010 - 109
American Cinematographer - September 2010 - Clubhouse News
American Cinematographer - September 2010 - 111
American Cinematographer - September 2010 - ASC Close-Up: Dejan Georgevich
American Cinematographer - September 2010 - Cover3
American Cinematographer - September 2010 - Cover4
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