Cinec Edition Visit Fdtimes at Cinec Stand 3-A16

Total Page:16

File Type:pdf, Size:1020Kb

Cinec Edition Visit Fdtimes at Cinec Stand 3-A16 Jon Fauer, ASC www.fdtimes.com Sept 2012 Issues 50-51 Art, Technique and Technology in Motion Picture Production Worldwide cinec edition Visit FDTimes at cinec stand 3-A16 Roger Deakins, ASC on Skyfall Leica Summilux-C Factory Tour Denis Rouden, AFC on Alexa Anamorphic Christian Berger, AAC A Guide to Hawk Anamorphics Taylor Swift Sony F65 Music Video ARRI/ZEISS Anamorphics A Cooke Look Back Vilmos Zsigmond, ASC Sponsors and Educational Partners Titans of the Industry Moguls PRESTON CINEMA SYSTEMS Executive Producers Greyscale Pantone 283 C50 M10 Producers Co-Producers DC PHOTO VIDEO creative digital effects v2.0 Associate Producers Eckerl GmbH ADORAMA RENTAL CO FDTimes September 2012 Issue 50-51 Cinec Edition Contents Art, Technique and Technology Roger Deakins on Skyfall with Alexa Studio ..........................................4-7 Alexa Studio 4:3 Anamorphic on Gibraltar ............................................8-9 Film and Digital Times is the journal and guide to technique and ARRI/ZEISS Master Anamorphic Primes ...........................................10-11 technology, tools and how-tos for Cinematographers, Photogra- Alexa Studio 4:3 and Hawk Anamorphics on Miserere ......................12-13 phers, Directors, Producers, Studio Chieftains, Camera Assistants, Sony F65 on Taylor Swift ................................................................14-16 Camera Operators, Grips, Gaffers, Crews, Rental Houses, and Rembrandt’s Grip ................................................................................17 Manufacturers. Jerusalem 3D IMAX .......................................................................18-22 It’s written, edited, and published by Jon Fauer, ASC, an award- Zsigmond & Goodich on “Kickstart Theft” .............................................23 winning Cinematographer, Director, and author of 14 bestselling Why We Make Hawk Anamoprhics the Way We Do ..........................24-27 books (over 120,000 in print—famous for their user-friendly way Hawk Vintage ‘74 Anamorphic Lenses .................................................28 “Did I Say That?” Danys Bruyère on Anamorphic ...................................29 of explaining things as if you were right there on location with A Cooke Look Back ........................................................................30-35 him). With inside-the-industry “secrets-of the-pros” information, Angénieux at IBC and Cinec 19.5-94 and 28-340 ................................37 Film and Digital Times is delivered to you by subscription or invita- A Canon Conversation ....................................................................38-39 tion, online or on paper. We don’t take ads and are supported by Stop the Presses. Canon EOS C100 .....................................................40 readers and sponsors. New Canon Cinema Lenses .................................................................41 © 2012 Film and Digital Times, Inc. Ron Howard and Canon .......................................................................41 by Jon Fauer, ASC Tiffen Domke Olympic Vests ................................................................42 Christian Skrein on Leica Cine Lenses .............................................43-45 Andreas Kaufmann on Leica ................................................................46 Alfred Schopf at Leica .........................................................................47 How to Build Leica Summilux-C Lenses ...........................................48-53 Transvideo Rainbow HD .......................................................................54 subscribe Transvideo Accessories .......................................................................55 Cinematography Electronics CineTape ..................................................56 Nikon and new AF-S DX Nikkor 18-300 mm f/3.5-5.6G ED VR ..............57 www.fdtimes.com Tiffen at Pinewood ..............................................................................58 Sony NEX-EA50 35mm Camera & PX Mirroring Memory Stick ...............59 ARRI Alexa Updates and LMB-25, HGA-1, USP-2 ..................................60 subscribe online ARRI WCU-4, CLM-4, Alexa M D-Bracket .............................................61 or fill out this form and send by mail or fax ZEISS Compact Zooms ........................................................................62 ZEISS Compact Primes ........................................................................63 ZEISS 55mm f/1.4 Still Lens ................................................................64 Film & Digital Times, Inc. A conversation with Dr. Winfried Scherle ..............................................65 500 East 83 Street / 14a Marc Dando on Codex ....................................................................66-69 New York, NY 10028 Chrosziel ............................................................................................70 phone: +1 212-772-8526 Scorpiolens Anamorphic Lenses ..........................................................70 fax: +1 212-772-6133 Fujinon PL Premier Cabrio Zooms ........................................................71 Sony F65 Upgrades from Otto Nemenz ............................................72-73 Litepanels Sola 12 ..............................................................................74 1 Year Subscription, USA 6 issues $49.95 Cartoni JIBO .......................................................................................74 1 Year Subscription, Canada 6 issues $59.95 Shape ................................................................................................75 1 Year Subscription, Worldwide Airmail 6 issues $69.95 Oppenheimer Products Lens Carry Handles, Makros .............................75 1 Year Online Digital (paperless) 6 issues $29.95 3ality Technica and Elements ..............................................................76 NILA SL ..............................................................................................76 Payment Method (please check one): CanaTrans White Space ......................................................................77 VISA Mastercard American Express Mole-Richardson .................................................................................77 Check Enclosed (payable to Film and Digital Times) The Origin of the Species and the Family of FIZ ................................78-79 Dedo DLED4.0 ....................................................................................80 Credit Card # ________________________________________ Filmtools Canon Case ..........................................................................80 3 or 4 digit security code_________________________________ Vocas .................................................................................................81 Expiration Date________________________________________ Manfrotto ...........................................................................................81 Signature ___________________________________________ OConnor on Canon C500 ....................................................................82 Name ______________________________________________ Matthews Intel-A-Jib LITE ....................................................................83 Company ____________________________________________ Convergent Design Gemini 4:4:4 ........................................................83 Title________________________________________________ PhotoCineRent Paris .......................................................................84-87 Address ___________________________________________ City ________________________________________________ Kodak Asset Protection Film ................................................................87 State or Province ______________________________________ Christian Berger and Cine Reflect Lighting System ..........................88-89 Country ____________________________________________ FGV Schmidle .....................................................................................90 Zip or Postal Code______________________________________ Easyfocus ...........................................................................................90 Phone ______________________________________________ Peter Denz..........................................................................................91 Fax________________________________________________ bebob ................................................................................................92 Email_______________________________________________ TCS....................................................................................................92 Band Pro at IBC and Cinec, Vilmos Zsigmond, Tino Liberatore ...............93 4 Sep 2012 • Issue 50-51 Roger Deakins on Skyfall with Alexa Studio Above: Andy Harris (Camera Assistant) and Roger Deakins, ASC, BSC practicals. I suggested he look at the tests I had done and some (Cinematographer) on location in Glencoe, Scotland for MGM Pictures/ of what I had shot on In Time. He was quite impressed, and we Columbia Pictures/EON Productions’ Skyfall. Photo: François Duhamel decided that would be the way to go. Opposite, top: Roger Deakins, ASC, BSC on location in the underground What were your impressions of the Alexa Studio camera? MI6 shooting range on Skyfall. Photo: François Duhamel (Leica M9) We had two prototypes of the Studio on the movie, literally the Opposite, bottom: Judi Dench (center) and Director Sam Mendes (right) first ones out
Recommended publications
  • AGOSTINIANI 2010 Cinema Sotto Le Stelle
    AGOSTINIANI 2010 Cinema sotto le stelle QUADERNI DELLA CINETECA 37 La manifestazione “Agostiniani: cinema sotto le stelle” è organizzata dalla Cineteca del Comune di Rimini in collaborazione con Notorius Rimini Cineclub AGOSTINIANI 2010: CINEMA SOTTO LE STELLE Responsabile della Cineteca Gianfranco Miro Gori Programmazione Alessandra Fontemaggi, Marco Leonetti, Paolo Pagliarani Segreteria Paolo Pagliarani, Stefano Tonini Redazione quaderno Paolo Pagliarani Impaginazione e grafica Andrea Achilli Amministrazione Cesare Novara, Andrea Cesari, Anna Morri Allestimenti Maurizio Fantini, Nevio Semprini Responsabile dello spazio Paolo Pagliarani Responsabile di cassa Ernesta Ricciotti Hanno collaborato Raffaele e Gigi Felici, Stefano Tonini, Anna Semprini, Ilaria Spada, Luca Benassi, Nicola Guerra Cartoon Club Programmazione a cura di Paolo Pagliarani e Sabrina Zanetti Ufficio Stampa Emilio Salvatori Cineteca del Comune di Rimini Via Gambalunga, 27 – 47921 Rimini Tel. 0541 704302 Fax 0541 704306 www.comune.rimini.it e-mail [email protected] Notorius Rimini Cineclub c/o UNASP ACLI via Circonvallazione Occidentale, 58 Tel. 0541 784193 Fax 0541 780534 www.cinematiberio.it/notorius e-mail [email protected] INDICE Lunedì 5 Luglio La prima cosa bella p. 5 Martedì 6 Luglio A Single Man p. 6 Mercoledì 7 Luglio La regina dei castelli di carta p. 7 Giovedì 8 Luglio Tra le nuvole p. 8 Venerdì 9 Luglio Basta che funzioni p. 9 Sabato 10 Luglio Donne senza uomini p. 10 Domenica 11 Luglio Copia conforme p. 11 Lunedì 12 Luglio Bright Star p. 12 Mercoledì 14 Luglio Il concerto p. 13 Giovedì 15 Luglio Departures p. 14 Venerdì 16 Luglio La nostra vita p. 15 Sabato 17 Luglio Il piccolo Nicolas e i suoi genitori p.
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • In Cinematography
    Sean O’Connor DSG 610 Prof. Hogencamp June 10, 2018 What is Cinematography? In Cinematography: Theory and Practice, Brown defines cinematography simply as the film director and director of photography (DP) collaborating on “the same basic task: storytelling with the camera”1. However, based on further readings in his book and others, as well as the documentary film Visions of Light, cinematography seems much more complicated than that short and simple statement. The medium seems essentially a balancing act, between the artistic and creative aspects of visual storytelling as well as the logistical elements of completing a day’s worth of shooting, getting the light just right, and coordinating several crewmembers operating cameras, lights, and other equipment. Therefore, the duties of a cinematographer range from the creative to the technical, and they are all essential. In terms of creative and artistic choices, Mercado attests that every item contained in the frame, from actors to props, matters: “Anything and everything that is included in the composition of a shot will be interpreted by an audience as being there for a specific purpose that is directly related and necessary to understand the story they are watching.”2 There is no place for arbitrary choices for the cinematographer: every aspect of the framing, lighting, and motion of a shot must have purpose, which that cinematographer must decide creatively based on the story and characters of the film. Because of this, cinematography contributes heavily to story by visually enforcing or affirming the emotions, conflict, and even structure of the story. “There has to be,” continues Mercado, “a direct connection between what takes place in the story and the use of a particular composition.”3 Regarding the notion of visual structure accompanying story structure, Block writes, “Progressions are fundamental to story or musical structure, and they’re fundamental to visual structure.
    [Show full text]
  • A TRIBUTE to OSWALD MORRIS OBE, DFC, AFC, BSC Introduced by Special Guests Duncan Kenworthy OBE, Chrissie Morris and Roger Deakins CBE, ASC, BSC
    BAFTA HERITAGE SCREENING Monday 23 June 2O14, BAFTA, 195 Piccadilly, London W1J 9LN THE HILL: A TRIBUTE TO OSWALD MORRIS OBE, DFC, AFC, BSC Introduced by special guests Duncan Kenworthy OBE, Chrissie Morris and Roger Deakins CBE, ASC, BSC SEAN CONNERY AND HARRY ANDREW IN THE HILL THE (1965) Release yeaR: 1965 Transport Command, where as a Flight Lt. he flew Sir Anthony Runtime: 123 mins Eden to Yalta, Clement Attlee to Potsdam, and the chief of the DiRectoR: Sidney Lumet imperial general staff, Lord Alanbrooke, on a world tour. cinematogRaphy: Oswald Morris After demobilization, Ossie joined Independent Producers at With special thanks to Warner Bros and the BFI Pinewood Studios in January 1946 and was engaged as camera operator on three notable productions; Green For Danger, Launder and Gilliat’s comedy-thriller concerning a series of orn in November 1915 Oswald Morris was a murders at a wartime emergency hospital; Captain Boycott, a 1947 dedicated film fan in his teenage years, working as historical drama, again produced by Launder and Gilliat and a cinema projectionist in his school holidays, before Oliver Twist, David Lean’s stunning adaptation of the classic novel entering the industry in 1932 as a runner and clapper by Charles Dickens photographed by Guy Green. Bboy at Wembley Studios, a month short of his 17th birthday. In 1949, Ossie gained his first screen credit as Director of The studio churned out quota quickies making a movie a week Photography on Golden Salamander, starring Trevor Howard as at a cost of one pound per foot of film.
    [Show full text]
  • Tom Kerwick Key Grip
    Tom Kerwick Key Grip ----------------------------------------------------------------------------------------- 122 Stethem Dr. Centereach, NY 11720 516-662-7655 E-mail: [email protected] Qualifications: 30 years experience as grip on motion pictures, Episodic TV, and commercials. Member of Local 52 IATSE Work History: Criminal Justice (2012) Key Grip Director: Steven Zaillian Director of Photography: Robert Elswit Gotham (2012) Key Grip Director: Francis Lawrence Director of Photography: Jo Willems The Avengers (2011) Key Grip NY Director: Joss Whedon Director of Photography: Seamus McGarvey Lola Versus (2011) Key Grip Director: Daryl Wein Director of Photography: Jakob Ihre Being Flynn (2011) Key Grip Director: Paul Weitz Director of Photography: Declan Quinn We need To talk about Kevin (2010) Key Grip Director: Lynne Ramsay Director of Photography: Seamus McGarvey The Beautiful Life - TV Series(2009) Key Grip Directors: various Director of Photography: Craig DiBona Twelve (2009) Key Grip Director: Joel Schummacher Director of Photography: Steve Fierberg Everyday (2009) Key Grip Director: Richard Levine Director of Photography: Nancy Schreiber Private Lives of Pippa Lee (2008) Key Grip Director: Rebecca Miller Director of Photography: Declan Quinn Rock On (2008) Key Grip NY Director: Todd Graff Director of Photography: Eric Steelberg For One More Day (2007) Key Grip Director: Lloyd Kramer Director of Photography: Tami Reiker Babylon Fields- TV (2007) Key Grip Director: Michael Cuesta Director of Photography: Romeo Tirone The Bronx is
    [Show full text]
  • ASC 100Th Reel 30-Second
    E.T.: The Extra- John Seale, ASC, ACS Terrestrial (1982) Allen Daviau, ASC Enter the Dragon (1973) The Gold Rush (1925) Gil Hubbs, ASC Roland Totheroh, ASC The Godfather (1972) Citizen Kane (1941) Gordon Willis, ASC Gregg Toland, ASC ASC 100th Reel 30-Second The Tree of Life (2011) Apocalypse Now (1979) Clip Playlist Emmanuel Lubezki, ASC, Vittorio Storaro, ASC, AIC AMC The Dark Knight (2008) Link to Video here. Taxi Driver (1976) Wally Pfister, ASC Michael Chapman, ASC Close Encounters of the Kill Bill Vol. 1 (2003) Third Kind (1977) The Matrix (1999) Robert Richardson, ASC Vilmos Zsigmond, ASC, Bill Pope, ASC HSC King Kong (1933) Jurassic Park (1993) Edward Linden; J.O. Blade Runner 2049 Dead Cundey, ASC Taylor, ASC; Vernon L. (2017) Walker, ASC Roger Deakins, ASC, BSC Braveheart (1995) John Toll, ASC Star Trek (1966) Gone With the Wind "Where No Man Has (1939) The French Connection Gone Before" Ernest Haller, ASC (1971) Ernest Haller, ASC Owen Roizman, ASC Sunrise (1927) Footloose (2011) Charles Rosher, ASC Game of Thrones (2017) Amy Vincent, ASC Karl Struss, ASC “Dragonstone” Gregory Middleton, ASC Sunset Boulevard (1950) Titanic (1998) John F. Seitz, ASC Russell Carpenter, ASC The Sound of Music (1965) Psycho (1960) The Graduate (1967) Ted D. McCord, ASC John L. Russell, ASC Robert Surtees, ASC The Wizard of Oz (1939) For more background Singin’ in the Rain (1952) Harold Rosson, ASC on the American Harold Rosson, ASC Society of Rocky (1976) Cinematographers, The Color Purple (1985) James Crabe, ASC go to theasc.com. Allen Daviau, ASC Frankenstein (1931) Empire of the Sun (1987) Arthur Edeson, ASC Allen Daviau, ASC Platoon (1986) Black Panther (2018) Robert Richardson, ASC Rachel Morrison, ASC Mad Max: Fury Road (2015) .
    [Show full text]
  • Friendly Fire, It's Only Natural to Pranica Praise Its Director the Most
    Note: This show periodically replaces their ad breaks with new promotional clips. Because of this, both the transcription for the clips and the timestamps after them may be inaccurate at the time of viewing this transcript. 00:00:00 Music Music Tense string music. 00:00:01 Adam Host When we watch a great film on Friendly Fire, it's only natural to Pranica praise its director the most. It's easy to do, and every critic does it, from the film reviewers in the newspaper to the Academy of Motion Picture Arts and Sciences. But you and I, and those same directors, all know that it takes a video village to bring a film from the page to the screen to the stage accepting an award. Personally, I think it's the editors that get the shortest shrift in these cases. But the person who's often just as responsible as a director for how a film looks and feels is the cinematographer. Which is what makes the partnership between they and the director so crucial in filmmaking. If a director is lucky, they form a bond with one for most of their oeuvre. Paul Thomas Anderson and Robert Elswit. Spielberg and Janusz Kamiński. Christopher Nolan and Wally Pfister. And sometimes you'll get some cinematography polyamory. Oliver Stone, Quentin Tarantino, and Martin Scorsese share Robert Richardson. Of course a counterpoint to this film paper is that Kathryn Bigelow has worked with many different cinematographers over the years. Roger Deakins, on camera for Sam Mendes's 1917, is widely considered to be one of the greatest and most influential cinematographers in the history of film.
    [Show full text]
  • Master Professional Portrait Lighting with These 20 Essential Studio Setups
    LIGHTING GUIDE Master professional portrait lighting with these 20 essential studio setups REMBRANDT WITH A PORTALITE SOFTBOX REMBRANDT THROUGH AN UMBRELLA REMBRANDT WITH A HONEYCOMB GRID REMBRANDT WITH A SILVER UMBRELLA KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, Stand, one Portalite Softbox one Clip-lock Stand, one 16cm Reflector, one Clip-lock Stand, one 18cm Reflector one Clip-lock Stand, one 16cm Reflector, Position the light high and to the side to one Shoot-through Umbrella with Honeycomb one Silver Umbrella create a triangle on the model’s cheek. The Position the light high and to the side as with Position the light in the same manner as the Position the light in the same manner as the shadow of the nose should point towards the the ‘Rembrandt with a Portalite Softbox’ previous ‘Rembrandt’ techniques; the light previous ‘Rembrandt’ techniques. The light edge of the lips. The Portalite creates a soft setup. The light is slightly less contrasty, through the honeycomb grid is stronger and bouncing from the silver umbrella is more directional effect. because the light is less directional more dramatic. The grid makes it very easy direct and wraps around the features of the and there is always some reflection to direct the light on to the model and away face yet still creates the shadow from the from the studio surroundings. from the background, which becomes dark. nose towards the mouth. REMBRANDT SHORT REMBRANDT BROAD SPLIT SPLIT WITH FILL KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox, one Use the principles of ‘Rembrandt’ lighting Use the principles of ‘Rembrandt’ lighting Position a light to one side of the model in small reflector to create the triangle of light on the face.
    [Show full text]
  • Va# IMAGO 2012 REPORT A
    IMAGO 2012 REPORT – BYGDOSZCZ, POLAND I arrived in Bygdoszcz, Poland on a very overcast rainy day on Thursday, November 23, and it remained that way until the day I left, a week later. Primarily I was there to attend the Extraordinary Meeting of IMAGO, but took the opportunity to attend the 20th Anniversary of Camerimage… a true visual feast!! Before I begin, it’s important to remember that the ACS became a part of IMAGO because of the lobbying and the work done by former President, Ted Rayment ACS. It was his “foot in the door” that has made it possible for me to continue and to build on the relationship we have with IMAGO and the member countries, of which there are 47 European countries and 15 Non-European countries. This IMAGO meeting was a non-voting one, and only recommendations from the delegates could be put to the IMAGO Board for further determination, in order to vote on them at the IAGA (AGM) in February. The IMAGO Agenda was a very full one, and we didn’t manage to get through everything that needed to be discussed. I do believe that these meetings need to be scheduled subject to the agenda, and consideration should be given to having a 2-day meeting when required. As former National Secretary, Velinda Wardell ACS was attending Camerimage, I asked her to attend the IMAGO meeting as a second ACS representative. Mark Swadel, who lives and works in the UK, represented the NZCS. There were also around 33 other delegates representing the other Societies, including our very own Peter Hannan ACS BSC who was, on this occasion representing the BSC.
    [Show full text]
  • Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
    Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • British Society of Cinematographers
    Best Cinematography in a Theatrical Feature Film 2020 Erik Messerschmidt ASC Mank (2020) Sean Bobbitt BSC Judas and the Black Messiah (2021) Joshua James Richards Nomadland (2020) Alwin Kuchler BSC The Mauritanian (2021) Dariusz Wolski ASC News of the World (2020) 2019 Roger Deakins CBE ASC BSC 1917 (2019) Rodrigo Prieto ASC AMC The Irishman (2019) Lawrence Sher ASC Joker (2019) Jarin Blaschke The Lighthouse (2019) Robert Richardson ASC Once Upon a Time … in Hollywood (2019) 2018 Alfonso Cuarón Roma (2018) Linus Sandgren ASC FSF First Man (2018) Lukasz Zal PSC Cold War(2018) Robbie Ryan BSC ISC The Favourite (2018) Seamus McGarvey ASC BSC Bad Times at the El Royale (2018) 2017 Roger Deakins CBE ASC BSC Blade Runner 2049 (2017) Ben Davis BSC Three Billboards outside of Ebbing, Missouri (2017) Bruno Delbonnel ASC AFC Darkest Hour (2017) Dan Laustsen DFF The Shape of Water (2017) 2016 Seamus McGarvey ASC BSC Nocturnal Animals (2016) Bradford Young ASC Arrival (2016) Linus Sandgren FSF La La Land (2016) Greig Frasier ASC ACS Lion (2016) James Laxton Moonlight (2016) 2015 Ed Lachman ASC Carol (2015) Roger Deakins CBE ASC BSC Sicario (2015) Emmanuel Lubezki ASC AMC The Revenant (2015) Janusz Kaminski Bridge of Spies (2015) John Seale ASC ACS Mad Max : Fury Road (2015) 2014 Dick Pope BSC Mr. Turner (2014) Rob Hardy BSC Ex Machina (2014) Emmanuel Lubezki AMC ASC Birdman or (The Unexpected Virtue of Ignorance) (2014) Robert Yeoman ASC The Grand Budapest Hotel (2014) Lukasz Zal PSC & Ida (2013) Ryszard Lenczewski PSC 2013 Phedon Papamichael ASC
    [Show full text]