New October Edition of AC Features Focus on Lighting
Coverage includes World War II drama Lee and discussions of unmotivated lighting and the latest in image-based lighting.
Print copies of this new issue will arrive soon, and the digital edition is now live and available to subscribers.
Inside Volume 105, Issue 10:
President’s Desk: Shelly Johnson, ASC discusses how a cinematographer’s lighting can impact the creative dynamic on set.
• Director Ellen Kuras, ASC and cinematographer Paweł Edelman, PSC discuss their collaboration on the period drama Lee, about World War II photographer Lee Miller — and Edelman explains how the filmmakers re-created vintage lighting equipment for key scenes.
• Ava Berkofsky, ASC details their approach to lighting the housebound thriller The Front Room, directed by Max and Sam Eggers.
• Cinematographer Giovanni Ribisi and director JT Mollner share why they embraced 35mm for the indie shocker Strange Darling — and Ribisi details a key, lighting-heavy sequence that called for “emptying the truck.”
• Benjamin Kračun, BSC offers his perspective on shooting Coralie Fargeat’s body-horror feature The Substance, including his approach to lighting the main character’s sleek L.A. apartment.
Filmmakers’ Forum: Cinematographer Charlie Sarroff reflects upon his work on Parker Finn’s Smile 2. The piece features a discussion of their lighting strategies for a large-scale musical performance.
Shot Craft: Motivated lighting is a tried-and-true tenet of cinematography, but unmotivated lighting can feel just as organic to a scene or story.
The Virtual World: A look at advances in image-based lighting, with remarks from cinematographers Quyen Tran, ASC and Brett Pawlak, and ASC associate members Frieder Hochheim and Tim Kang.
Clubhouse News: The latest bulletins from the Society feature new members Sean Porter, Cybel Martin and Manuel Billeter; a recap of three recent ASC Master Class sessions; a live The Ankler podcast at the Clubhouse; a celebration of the 2024 Rising Stars of Cinematography; a New York screening of Songs for Drella, directed by Ed Lachman, ASC; and an ASC-CSC lighting demo at Capilano University.
Wrap Shot: A behind-the-scenes still and a hand-drawn lighting diagram from Sleepy Hollow (1999), shot by Emmanuel Lubezki, ASC, AMC and directed by Tim Burton.
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