Gregg Toland, ASC — An Enduring Legacy


    Chronicling the brief life and career of one of cinema’s finest artists. By George E. Turner The first thought that struck anyone who met Gregg Toland was that he appeared frail, even ill. He had a sallow complexion, was underweight and walked with a stoop that made him appear older than he was. He seemed to

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    Flashback: Alien (1979) Part II — Directing


    The Filming of Alien The director of Alien talks about the hundreds of problems involved in taking an essentially fantastic idea and making it real on-screen. By Ridley Scott  When, as a director, you are offered a project like Alien — or any science-fiction film, really — it is an offer to start with and

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    Flashback: Alien (1979) Part I — Cinematography

    Alien and Its Photographic Challenges Lighting a gigantic spaceship with low-ceilinged, four-walled sets and many special effects — plus the vast terrain of an alien planet, called for methods that were out-of-the-ordinary, to say the least. By Derek Vanlint, CSC — Director of Photography My involvement as director of photography of Alien came about as the

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    ASC Holds Inspiring “Day” In NYC


    Society members Ellen Kuras, Reed Morano and Cynthia Pusheck joined other female film professionals in Manhattan to discuss the challenges and opportunities they have encountered while building their careers. By Rachael K. Bosley • Photos by Alex Lopez Women from across the industry came together to discuss their varied careers with an audience of young

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    Beyond The Frame: 2001: A Space Odyssey (1968)


    At MGM-British Studios in Borehamwood, director Stanley Kubrick (behind the “Panavized” 65mm Mitchell camera) and his production team set up a shot on actor Keir Dullea while filming the surreal finale to 2001: A Space Odyssey (1968). Cinematographer Geoffrey Unsworth, BSC (in black jacket, above) used an unusual tool to help him balance his lighting and

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    Flashback: Hud (1963)


    The Photography of Hud By Herb A. Lightman James Wong Howe, ASC reveals some highlights of photographing this monochrome production in VistaVision — most of it on location in remote Texas cattle country. All of the exteriors and many of the interior scenes for Hud were shot on location in the Texas Panhandle. Even before

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    Ellen Kuras, ASC on Story, Intentions & Intuition

    Ellen Kuras, ASC conducting her master class session at the Tribeca Film Fest. Photo by Lauretta Prevost.

    The award-winning cinematographer shared her big-picture thoughts on meaning making at the Tribeca Film Festival. By Lauretta Prevost
 Ellen Kuras, ASC has been photographing motion pictures as a cinematographer since 1989, and, among other honors, earned the Sundance Film Festival’s Award for Excellence in Dramatic Cinematography three times — for Swoon, Angela and Personal Velocity: Three Portraits.

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    Street Magic: Directing Sleight


    Director J.D. Dillard discusses his collaboration with cinematographer Ed Wu on this indie effort. By Jim Hemphill A superhero origin story combines with coming-of-age drama and an anthropological study of life in Los Angeles in Sleight, a 2016 Sundance Film Festival sensation that has now arrived in theaters courtesy of Blumhouse and WWE Studios. The

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