This Todd-AO camera is among the newest additions to the ASC’s collection of historically significant items.  Generously donated by multi-Oscar winner and special effects legend Richard Edlund, ASC, it’s in pristine condition and is a fascinating relic of a time when Hollywood’s studios were doing their best to think big.          Dating back to … Continue reading “THE CAMERA THAT ALMOST WRECKED A STUDIO”

         Earlier this year I photographed a short film for Chaos Group, a special effects software company with offices located around the world.  Its purpose was to demonstrate the efficacy of Project Arena, a new fully ray-traced virtual production technology that reduces the time needed to put an image on the LED volume from days … Continue reading “RAY TRACING FOR THE WIN”

         When I think about motion picture cameras, the first models that come to mind are probably the same ones that occur to you – Arriflex, Panavision, Red, Sony, etc.  The usual suspects.  Go back in time a little and you might mention Mitchell, whose ad below makes me feel like a total rookie.  I … Continue reading “HOW DID I MISS THIS ONE?”

         To my knowledge, The Five C’s of Cinematography: Motion Picture Filming Techniques Simplified is the only book ever written that explains the fundamentals of angles, composition and cutting continuity from a camera-centric perspective.  Written by Joseph V. Mascelli, ASC and published in 1965, it presents a comprehensive examination of the basic rules needed to … Continue reading “C – C – C – C – C”

         From the Nothing New Under the Sun Department…          This article, found in the January 1946 issue of American Cinematographer, addresses the design and build of an automatic follow focus device for use with motion picture cameras.  As a creation of its time, the story of this Rube Goldberg-like machine is an interesting one.  … Continue reading “STAY SHARP”

         Some of you may have noticed my absence from social media over the past few months.  Well, it finally dawned on me: What reason do I have to contribute content to dishonest and corrupt enterprises that mostly bring out the worst in people?          There is no reason.          So, going forward, photographs previously … Continue reading “A NEW LEAF”

         This ad from the November 1923 issue of American Cinematographer is notable because it violates the first rule of cinematography, which states: Change is a constant.  Look closer and you’ll see what I mean.          Notice the cutaway view of the upper part of the tripod design, at the hinge where the legs meet … Continue reading “A LASTING LEGACY”