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The Three Musketeers IDES OFTeen MARCH Spirit * also featuring: Post House Round Up Kinetic Cinema THE WORKFLOW ISSUE Super IC MAGAZINEG G REAL STEEL ICG Green Lantern8 IC MAGAZINE Treme MAGAZINE Art of the Car Chase product guid 2011 e 2012 MEDIA KIT

ICG magazine The mission of ICG Magazine is to create a greater awareness of the art and craft of cinematography for film and digital productions. The technical and artistic expertise of the members of the International Cinematographers Guild (ICG) is unmatched anywhere else in the world, having garnered Oscars, Emmys, and numerous other prestigious awards for their inspiring talents. For more than eight decades ICG Magazine has anticipated entertainment and media trends, providing our broad readership with the type of cutting edge content that’s made ICG an industry leader. We at ICG pride ourselves on content, art, and advertising that showcases the most up-to-date tools and technologies in areas like feature film production, digital media, cable and network television, commercials, documentaries, music videos, web content and so much more. Who reads ICG? Directors, studio/broadcast executives, producers, gaffers, grips, actors, screenwriters, film students, and of course the members of the International Cinematographers Guild: in short, virtually anyone with a vested interest in where the entertainment industry is going and where it has been. DPs / Cinematographers Documentary Filmmakers Camera / Steadicam Operators Visual Effects Supervisors Camera Assistants Editors Film Loaders Directors Still Photographers Art Directors Publicists Writers Video Controllers Producers Digital Imaging Technicians Broadcast Television Executives Camera Utility New Media Firms Technocrane Operators Motion Picture Studio Executives Animators Product & Manufacturing Companies Motion Control Operators Production Companies Optical Operators Talent Agencies Photojournalists UPMs Sports Photographers Post Production Facilities Scanner Operators Ad Agencies Lighting Designers SAG, AFTRA, & Equity Members Lighting Consultants Television Stations Lighting Directors IATSE Unions in the U.S. & Canada Lighting Technicians Cinema Schools: Student & Faculty Key Grips Production Designers Gaffers Costume Designers Indie Filmmakers Age 22-35 Lifestyle Readers Completely redesigned in 2009 to reflect a more synergistic relationship with its namesake print outlet, icgmagazine.com is fast becoming the entertainment industry’s premiere Web destination. Frequent updates, including Cover Stories, Gear Guide, and Specials, help to showcase the best of ICG Magazine, while sections like Web Exclusives and Web Exposures, offer dynamic, leading edge content that can only be found on icgmagazine.com. The website’s blog-style format allows users to provide continuous feedback on content, imagery, and breaking industry news showcased on the site, while also helping to expand and educate the ICG Magazine web community on the technical, artistic, and educational efforts of Local 600 members. When it comes to offering users the ultimate web experience in the world of cinematography for film and digital production, there is only one destination: icgmagazine.com ICG 2012 EDITORIAL CALENDAR t d n i l F

OCTOBER 2011 OCTOBER 2011 ICG f ICG ICG AUGUST 2011 AUGUST 2011 ICG ICG MAY 2011 MAY 2011 ICG f ICG JULY 2011 JULY 2011 ICG e J f o y s e t r u

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Michael McDonough is wasting no time following up his acclaimed work on the Oscar- nominated Winter’s Bone, which earned him an Independent Spirit nomination for Best Cinematography and won the Dramatic Grand Jury Prize at Sundance in 2010. Since ZUDSSLQJ WKDW ÷OP KH OHQVHG The Mortician, an ultra-low budget 3-D feature all shot with TUNNEL VISION Union members, and completed another Sundance darling, Vera Farmiga’s Higher Ground, WHY THE WORLD’S BEST WATER which debuted in Park City earlier this year. He also worked on a “dream project” with CAMERAMEN STILL SHOOT ON FILM Rodrigo Garcia and Glenn Close in Dublin called Albert Nobbs. 7KH 6FRWWLVK H[SDWÚV ÷UVW LQGXVWU\ JLJ ZDV DV D UG HOHFWULF ZLWK 9LOPRV =VLJPRQG RQ D commercial in 1996. “Vilmos was shooting on early Sony Hi-def, and I could watch everything he did,” he recounts. Clearly, McDonough, who “salivates at the thought of putting some SPIN DOCTORS GLI÷FXOW DZNZDUG QRWUHDGLO\DFFHSWHG LGHDV RXW WKHUHÝ ZDV DQ DSW SXSLO PHEDON PAPAMICHAEL, ASC, GOES DEEP INTO THE POLITICAL HEARTLAND FOR A NEW CAMPAIGN Winter’s Bone ZDV EHDXWLIXO LQ LWV VWDUNQHVV DQG øDW SDOHWWH of Darling Companion QRZ LQ SRVW@ ZDV YHU\ VSHFL÷F ZLWK PH × How’d you achieve that? It started with the script — a stark tale Ü, OLNH D FULVS FOHDQ LPDJHÝ × VR KH ZDVQÚW GLJJLQJ WKH VWRFNLQJ THRILLER DIRECTED BY GEORGE CLOONEY [set] in a cold, de-saturated winter world. Debra [Granik] and I D &HUYLQ  'HQLHU 8OWUD 6KHHU , VKRZHG KLP UDZ XQ÷OWHUHG ORRNHG DW D ORQJ OLVW RI ÷OPV IRU LQVSLUDWLRQ Harlan County U.S.A. 5('p 0; RQ D ELJ FORVHXS /DUU\ VDZ IURP WKH WHVWV WKDW 5$: by DAVID HEURING photos by SAEED ADYANI GREEN DAY JDYH XV D ORW RI FRORU DQG PRRG LGHDV The Piano and The Duelists 5(' ZDV WRR KDUVK DQG ZRXOG KDYH WR EH PHGLDWHG +H SUHWW\ LIGH taught us about natural light through windows punctuating PXFK OHW PH GR ZKDWHYHU , QHHGHG WR DIWHU WKDW :H HQGHG XS by Pauline Rogers If you’re a surfer or ocean lover, these cameramen are as legendary as any Oscar® win- GDUN LQWHULRUV LQ WKH GD\WLPH , ORRNHG DW 5RJHU 'HDNLQVÚ ZRUN XVLQJ 3UR0LVWp DQG 6RIW);p $QG Ø ZKHQ KH ZDVQÚW ORRNLQJ The Ides of March, which was chosen as the opening film at “The workflow is streamlined and there’s not a lot of debate Any gaffer can tell you that while the mandate to “go green” has infused QHU 7KH WKULOOLQJ VHQVDWLRQV WKHVH JX\V LJQLWH LQ ERWK WKH QDUUDWLYH DQG QRQ÷FWLRQ JHQUHV a lot; 1984 for its cool color palette and No Country for Old Men Ø D QHW DW WLPHV 1R KH DFWXDOO\ GLG NQRZ EXW KH OLNHG WKH the prestigious Venice Film Festival, is George Clooney’s fourth about blocking. I think as an actor, George has had experiences IRU LWV QDWXUDOLVWLF \HW GUDPDWLF OLJKWLQJ GDLOLHV DQG JDYH PH WKH IUHHGRP WR ZRUN feature as a director. His debut was Confessions of a Danger- in which he felt coverage and takes were overdone. Doing fewer HYHU\ PDMRU $PHULFDQ LQGXVWU\ WKH ÷OP DQG WHOHYLVLRQ EXVLQHVV KDV EHHQ VORZ send chills up the spine. How do they get in positions most mortal humans would run (or ous Mind [shot by Newton Thomas Sigel, ASC], based on the takes keeps the actors fresh and the days short. Also, George to join the party. That’s not without reason, mind you, given how production swim) away from? And with the presence of mind to focus, light and frame, as Mother The Descendants. “George was very precise in terms of the WKH MRE GRQH future. I was attached to New York, I Love You ZLWK WKH VSHFL÷F are all fantastic tools that we have at our disposal. I shot a whole MICHAEL Oscar and ASC nominations for Robert Elswit, ASC for its stun- shots he wanted,” Papamichael continues. “And this is re- Even if your feet rarely touch sand, you’ve seen their work. Remember Tom Hanks, %XW ZLWK XOWUDIDVW GLJLWDO FDPHUDV DQG HYHQ IDVWHU QHZ ÷OP VWRFNV VXUJLQJ UHPLW RI SXWWLQJ D FUHZ WRJHWKHU DQG FRRUGLQDWLQJ ZLWK WKH IHDWXUH RQ P\ &DQRQ ' 0.,, WZR VXPPHUV DJR DQG , UHDOO\ ning black and white cinematography. Leatherheads (2008) flected in an extremely quick postproduction period. The film in , trying to escape the island in a life raft? Or Dominic Monaghan, from , various production groups about the individual shoots. I also liked the results. It was called Bitter Feast, written and directed saw Clooney re-teaming with Sigel to set a story in the earliest is very much in George’s head, and he doesn’t divert much from LQWR WKH PDUNHW OLJKWLQJ YHQGRUV KDYH EHJXQ WR LQWURGXFH DQG SHUIHFW HQHUJ\ Cast Away Lost VKRW WZR RI WKH VKRUWV P\VHOI DQG DOO WKH LQWHUVWLWLDO PDWHULDO E\ -RH 0DJJLR , VDLG Ü,I \RXÚOO OHW PH VKRRW RQ &DQRQ ' , FDQ days of professional football in America. that conception. I’d say we averaged two to three takes per sipping LED/LCD units. They’ve also responded to user demand for smaller, locked in a chamber as torrents of water rush in? Both shots came courtesy of Hawaii- TING , ZDV DPD]HG KRZ PDQ\ SHRSOH GLGQÚW ZDQW WR H[SHULPHQW DQG GR WKLV ÷OPÝ +H GLG DQG LW WXUQHG RXW JUHDW HYHQ ZLWK  Based on a stage play by Beau Willimon from his experi- shot – fewer if George was acting alone.” PRUH SRUWDEOH GLPPHU ERDUGV WR FRQWURO WKH DPRXQW RI OLJKW DQG UHVXOWLQJ ence following the 2004 Democratic primary campaign of Ver- EDVHG ZDWHUPDQ DQG /RFDO  PHPEHU 'RQ .LQJ /LNHZLVH IRU VXU÷QJ IRRWDJH IURP WU\ VRPHWKLQJ QHZ RQ DQ PLQXWH VKRUW 'LJLWDO LV WKH IXWXUH RU  ,62 VHWWLQJV RQ WKH FDPHUD :H ZHUH VKRRWLQJ LQ WKH McDONOUGH INDEPENDENT IMPRINT mont governor Howard Dean, The Ides of March centers on a FDUERQ IRRWSULQW XVHG WKURXJKRXW WKH GD\ RQ VHW DQG LWÚV ULJKW RQ WRS RI XV ,W ZLOO JHW EHWWHU DQG VXUSDVV RXU ZRRGV DIWHU VXQVHW ZKHUH WKH FDPHUD FRXOG VHH PRUH WKDQ RXU HBO’s John From Cincinnati or Forgetting Sarah Marshall, shot by Oahu-based Guild mem- PHOTO BY FRANK MASI young, idealistic staffer (Ryan Gosling), who learns a brutal les- Set during an Ohio governor’s campaign in late winter, All of which means this year’s Lighting group has some wide-ranging H[SHFWDWLRQV DQG GHVLUHV ZKHQ ZH PDNH LW VR Ø DQG ZHÚOO PDNH RZQ H\HV ,ÚP DERXW WR FXW WRJHWKHU 3DQDYLVHG ) 3DQDYLVHG son in dirty politics. It was co-written by Clooney, Grant Heslov The Ides of March was made almost entirely on practical loca- HQWULHV IURP $55,ÚVp QHZ SURJUDPPDEOH VWXGLR OLJKWV WR YHQHUDEOH 0ROH ber Dave Homcy, and water scenes from X2, Hawaii Five-O, and The Ultimate Wave Tahiti LW WKDW ZD\ E\ XVLQJ LW DQG GHYHORSLQJ LW )RU PH WKH ELJJHVW 6RQ\ ) DQG 0F'DYLVHG=DFXWRLVHG &DQRQ  DQG ' RQ and Willimon, with stylistic overtones that recall the best of tions in Ohio and Michigan. Along with Clooney (playing Gos- FKDOOHQJH LV VLPSO\ KRZ WR FUHDWH DOO WKH YDULHW\ RI WH[WXUH WKDW 6WHSKHQ )UHDUVÚ ODWHVW ÷OP Lay the Favorite DQG ,ÚP VR H[FLWHG 1970s era political thrillers. Phedon Papamichael, ASC, whom ling’s boss and ultimate foil), the film features Paul Giamatti, 5LFKDUGVRQÚV ÷UVW VWHS LQWR WKH /(' PDUNHW 7KHUHÚV D QHZ VWXGLR /(' HQWU\ all lensed by Guild shooter Mike Prickett, a cinematographer for the Vans Triple Crown of ZH DUH XVHG WR LQ ÷OP , QHYHU VKRRW FOHDQ RQ GLJLWDO WKHUHÚV WR OD\ GRZQ DOO WKHVH SRVVLELOLWLHV LQ IURQW RI 6WHSKHQ ,WÚV MXVW Clooney met on the Hawaii set of Alexander Payne’s The De- Philip Seymour Hoffman, Marisa Tomei, and Evan Rachel Wood. from Lowel, and a highly promising prototype from Litepanels®. 6XU÷QJ DQG WKH '3SURGXFHU IRU DQ XSFRPLQJ GRFXPHQWDU\ RQ WKH ZRUOGÚV PRVW GDQJHU- DOZD\V VRPHWKLQJ Ø D ÷OWHU QHW HWF Ø PHGLDWLQJ WKH LPDJH OLNH ZKHQ , ZDV D SULQWPDNHU LQ DUW VFKRRO >LQ *ODVJRZ@ Sideways, describes. J. Kemper, ASC, and The Godfather, Part II, photographed by H[WUDÝ '3V DQG JDIIHUV ZDQW WR FUHDWH SOHDVLQJORRNLQJ OLJKW RQ WDOHQW 'R \RX KDYH DQ H[DPSOH \RX FDQ VKDUH" Larry Kasdan [director 0DQ\ RI WKHVH VHOHFWLRQV KDYH MXVW EHHQ UHOHDVHG WKRXJK D IHZ DUH VWLOO even cooler is knowing that when these superheroes are trapped in the impact zone star- LQ SURWRW\SH DQG VKRXOG EH DYDLODEOH EHIRUH \HDUÚV HQG RU E\ HDUO\  $OO LQJ GRZQ D IRRW EHDVW RI D ZDYH WKH\ DOO ZDQW ÷OP LQ WKHLU FDPHUDV TXDOLI\ DV D ÜJUHHQHUÝ ZD\ WR DSSURDFK ÷OPPDNLQJ ZLWKRXW FRPSURPLVLQJ D lumen of quality.

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DEPARTMENTS: Gear Guide: New products & technologies • Flash Frame: On-The-Job stories told by working members • Exposure: Conversation with directors, producers, designers and other creative partners of Local 600 cinematographers Depth Of Field: Profiles of members, vendors, and industry players, giving back via educational and charitable efforts • Replay: How’d they do that? One-of-a-kind shots broken down by the world’s best camera teams • Deep Focus: Cinematographers share their uncensored thoughts on work and life • Unscripted: Local 600 members and on-set colleagues interview each other about workflow processes • On Location: Profiles of Union-friendly locations all over the entertainment map Key Light: Major industry events, seminars and premieres take front-stage • Circled Take: Cinematographers recount the shots and scenes from the movies that shaped and influenced their careers FEATURES: Movies & TV: In-depth cover stories and articles on feature films, cable and network television shows crewed by Local 600 members SPECIALS: Mini-features on industry trends and unique member workflows tied to issue’s theme PRODUCTION CREDITS: Crew Lists for Upcoming Productions JANUARY FEBRUARY MARCH APRIL MAY JUNE INDIE FILMMAKING THE AWARDS ISSUE 3D/VFX NEW TECHNOLOGY TRENDS SHOT ON FILM/LIGHTING KINETIC CINEMA DSLR TRENCH TALES OSCAR PREVIEW 3D 2-GO PREVIS REVIZ BIG BUDGET VFX ON FILM COMIC BOOK MOVIES SHOOTING INDIE HORROR AWARDS ROUND-UP: VIRTUAL STAGES HIGH FRAME RATE CAPTURE LIGHTING FOR THE STARS GOPRO HEROES 600 VOICES: S X SW/SE ASC/SCI-TECH/HPA/VES GREEN SCREEN SUNDANCE WRAP LIGHTING IMPOSSIBLE (SCENES) 600 VOICES: PUERTO RICO/HAWAII FAMILY AFFAIR: UNIT PUB/STILLS 600 VOICES: NORTHEAST 600 VOICES: WEST COAST TAKING STOCK: A HISTORICAL CINE GEAR PREVIEW 600 VOICES: MIDWEST NAB PREVIEW LOOK AT FILM EMULSIONS CES • PALM SPRINGS FF • SLAMDANCE FF • SUNDANCE FF NAB LAS VEGAS • CINEMACON • CINE GEAR EXPO • PRODUCED BY CON- ICG MONTHLY SCREENING BERLIN INTL FF • EDITORS RETREAT NAB LAS VEGAS • CREATEASPHERE LA • NEWPORT BEACH FF • TRIBECA FF • CINE GEAR EXPO • PRODUCED BY CON- FERENCE • LOS ANGELES FF SPACE RESERVATION: 11-21-11 • MIAMI INTL FF • SXSW • ICG LIGHTING WORKSHOP • SAN FRANCISCO INTL FF • FERENCE • SEATTLE FF • CANNES FF • • COMIC CON MATERIALS DUE: 11-29-11 ICG MONTHLY SCREENING ICG MONTHLY SCREENING ICG MONTHLY SCREENING ICG MONTHLY SCREENING SPACE RESERVATION: 04-20-12 SPACE RESERVATION: 12-13-11 SPACE RESERVATION: 01-20-12 SPACE RESERVATION: 02-22-12 SPACE RESERVATION: 03-20-12 MATERIALS DUE: 04-27-12 MATERIALS DUE: 12-16-11 MATERIALS DUE: 01-26-12 MATERIALS DUE: 02-27-12 MATERIALS DUE: 03-27-12

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