Billy Dickson, ASC Wears Many Hats on Believe

    Writer, director, executive producer and cinematographer Billy Dickson, ASC sets up while shooting main warehouse location.

    When Parallax View last checked in with Billy Dickson, ASC, he was putting the finishing touches on IQ-Supremacy, aka Palmer Supremacy, a web series-turned-feature film that Billy served as writer, producer, director, editor, colorist and visual effects artist, and which served a proof of concept for a new approach to shooting almost entirely against greenscreen.

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    Jon Joffin, ASC Blends Old and New Technologies


    Jon Joffin has always been open to new technologies. He was among the earliest to shoot on the Sony F900 and the ARRI D20, the latter of which he used in 2008 on four episodes of The Andromeda Strain, earning an Emmy nomination in the process. “Log was not even a thing back them,” he says

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    Fiore and Prieto Choose Film

    Cinematographer Mauro Fiore on the set of Metro-Goldwyn-Mayer Pictures and Columbia Pictures' THE MAGNIFICENT SEVEN.

    The declining use of film negative, after years of losing ground in feature film production, seems to have leveled off. And using the venerable format is still a viable creative option, especially on bigger productions. Mauro Fiore, ASC worked with film negative in the anamorphic format on his recent western remake The Magnificent Seven. Director Antoine Fuqua

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    The Artistic Journey of Vittorio Storaro, ASC, AIC

    Storaro in an image from his book Storaro-Covili – The Sign of a Destiny.

    The master cinematographer discusses his lifelong passion for color, in part inspired by the great painters he so admires.   Vittorio Storaro, ASC, AIC describes his career as a journey through art. He often recalls a turning point he experienced in a small Italian church where he saw Caravaggio’s painting “The Calling of St. Matthew”

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    John Schwartzman, ASC Discusses Large-Format Optics

    Director of Photography John Schwartzman on the set of Columbia Pictures' "The Amazing Spider-Man," starring Andrew Garfield and Emma Stone.

      I had the chance to speak with John Schwartzman recently, and our conversation turned to technology, as it often does. Soon after finishing work on The Founder, about the fast-food pioneer Ray Kroc, John had an opportunity to visit Panavision to see the new Millennium DXL digital camera, which combines an 8K imager manufactured

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    Michael Chapman, ASC Recalls a Perfect Shot

    Zero Mostel and Woody Allen in The Front (1976), featuring cinematography by Michael Chapman, ASC.

    This coming November, Michael Chapman, ASC will receive Lifetime Achievement honors at the CamerImage International Festival of the Art of Cinematography in Poland. This annual event often allows me the honor of gathering quotes and reminiscences about the Lifetime laureate from colleagues and admirers in the cinematography community. Christopher Chomyn, ASC is one such admirer of

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    Aaron Schneider, ASC Looks Back on a Turning Point

    Aaron Schneider, ASC

    I hadn’t spoken with Aaron Schneider, ASC since about 2010, when we collaborated on a Cinegear panel about the anamorphic format and Get Low, his feature directorial debut. When we caught up a few weeks ago, I asked him to think back on that fork in his road — the transition from award-winning cinematographer to

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