American Cinematographer - November 2016 - 86

From left: Antonio Riestra, ASC, ACK, AMC; Dana Gonzales, ASC and John Simmons, ASC with their Emmy Awards.

Society Welcomes Riestra
New active member Antonio Riestra, ASC, ACK, AMC is a native of Mexico
and now resides in Los Angeles and Prague.
His love for cinematography began at a
young age, when he would watch popular
television shows and take still photos with a
Kodak Brownie camera. His first job as a still
photographer was with the National
Indigenous Institute in Mexico, after which
he got his start as a camera assistant with
French director-cinematographer Pierre
Beccu on a documentary about
Guatemalan refugees returning home after
years of living in Mexico. He served as a
loader for Don McAlpine, ASC, ACS on the
feature Clear and Present Danger; was a
focus puller on numerous commercials,
including several shot by Emmanuel
Lubezki, ASC, AMC; and worked as 2ndunit cinematographer on Frida alongside
Rodrigo Prieto, ASC, AMC.
Riestra has continued to work on
several international commercial campaigns
for such companies as Dodge, Beats by Dre,
Fiat, Disney and Kodak. His recent feature
credits include Mama, The Face of Love,
Eloise and Stephanie.

86

November 2016

Gonzales, Simmons Win Emmys
The Television Academy recently
presented the 68th annual Emmy Awards.
Dana Gonzales, ASC won in the
Outstanding Cinematography for a Limited
Series or Movie category for his work on
Fargo, "Waiting for Dutch." In the
Outstanding Cinematography for a MultiCamera Series category, John Simmons,
ASC won for Nicky, Ricky, Dicky & Dawn,
"Go Hollywood." Also nominated were
ASC members George Mooradian and
Steven V. Silver, for Outstanding Cinematography for a Multi-Camera Series; and
John S. Bartley, David Klein and
Crescenzo Notarile, for Outstanding Cinematography for a Single-Camera Series.

University of Nevada, Las Vegas.
Due to an increase in submissions of
outstanding movies shot on film, an honorable-mention category was added this year
to the Kodak Vision Award category. The
first-place Student Cinematography Scholarship Award was presented to Sonja Tsypin
from New York's Bard College, for her cinematography on Powder Room. The Kodak
Vision Award was presented to Jomo Fray
from the New York University Tisch School
of the Arts, for his cinematography on Get
Out Fast. The Kodak Vision Award honorable mention was presented to Thomas
Doran from the National Film and Television
School in the U.K., for his cinematography
on The Sea, the God and the Man.

Bailey Judges Kodak
Scholarships
John Bailey, ASC recently led a
panel of judges chosen to select the recipients of the 2016 Kodak Student Scholarship
Awards and the Kodak Student Cinematography Scholarship Awards. This was Bailey's
fifth consecutive year as a judge. The
announcement of the 25th annual Kodak
Student Scholarship program winners took
place at the 70th annual University Film and
Video Association conference held at the

Primes Exhibits "Discoveries"
Robert Primes, ASC recently
unveiled his photographic exhibit "Discoveries" at the Perfect Exposure Gallery in Los
Angeles. "'Discoveries' is an exhibit of
shapes and rhythms, people and places,
anything that I thought might make a
surprising photograph," Primes said of the
exhibit. "My hope is that these discoveries
will cause the viewer to pause a moment to
contemplate the visual richness of the
world around us."
‚óŹ

American Cinematographer

Photo of Clubhouse by Isidore Mankofsky, ASC; lighting by Donald M. Morgan, ASC.
Gonzales photo by Phil McCarten, courtesy of Invision for the Television Academy and AP Images. Simmons photo courtesy of the cinematographer.

Clubhouse News



American Cinematographer - November 2016

Table of Contents for the Digital Edition of American Cinematographer - November 2016

Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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