Watching Woodstock: The Director’s Cut (2000; Michael Wadleigh/various cinematographers) on TCM the other night, a couple of things came to mind.  The first was a thought I’ve held since I was twelve years old, while the massive festival was actually taking place: Regardless of how great the music had to have been, what kind of … Continue reading “WEIRD, BUT INTERESTING…”

            In blog post #64 (The Flaw’s the Thing, March 9, 2021), I deconstructed a shot from Arthur Penn’s Bonnie and Clyde (1967; Burnett Guffey, ASC) in which a moving cloud formation radically changes the lighting conditions during a shot of the main characters as they run across a cornfield.             Here’s another example of … Continue reading “CLOUDS, FROM BOTH SIDES NOW”

I had a different post prepared for today, but three nights ago I was informed of the passing of legendary – and I don’t use that term loosely – first assistant cameraman, Douglas C. Hart.  It wouldn’t be right if I didn’t offer some respect to my old mentor, friend and colleague, hence the following. … Continue reading “DOUG HART, RIP…”

I took this photograph a few years back on one of those magical days at the ASC Clubhouse.  It’s impossible to describe the gratitude I feel at having gotten to know so many of my heroes; what you see are two of many – and perhaps, my favorites.             Victor Kemper, ASC and Owen Roizman, … Continue reading “TWO GIANTS”

Anyone who follows this blog will know that when it comes to camera equipment, I’m a dedicated Panavision user.  This’s not to disparage other suppliers; it’s just that the relationship with them goes back to my earliest days as an assistant cameraman and they’ve never once failed to deliver the best gear and service.  It … Continue reading “DeHAVEN CAMERA – GO THERE!”

Prior to the arrival of reflex viewing systems, cinematographers and camera operators were forced to frame and execute their shots with an offset viewfinder.  While this device might seem cumbersome today, in its time it was considered quite sophisticated.  Mounted to the left side of the camera, its metal housing contained low-grade optics that provided … Continue reading “THE OFFSET VIEWFINDER”

Last month I wrote about the coming tidal wave of artificial intelligence-related changes that are speeding our way.  I’m no doomsayer and always strive to see the bright side.  I’m also sure there will be positive aspects of this revolution for cinematographers.  But it would be naive to imagine those aspects manifesting in a world … Continue reading “FOREWARNED IS FOREARMED”

In addition to being an outstanding cinematographer, Steve Gainer, ASC is the curator of the organization’s marvelous collection of vintage camera gear and related materials.  The wealth of knowledge and historical perspective he brings to any discussion rivals that of the best scholars on the planet.  His latest discovery is the beautifully preserved Arri 2C … Continue reading “A NEW ARRIVAL”

I happen to be quite busy at the moment, so rather than miss a post, I’m allowing myself the honor of having ASC Past President and four-time Academy Award winner Charles G. Clarke assume the reigns for the day.  His thoughts about who we are and the role we play in the filmmaking process are … Continue reading “AND NOW, PINCH HITTING FOR…”

About twenty-two minutes into Scarecrow (1973; Jerry Schatzberg\Vilmos Zsigmond, ASC), there’s a scene at a lunch counter between stars Al Pacino and Gene Hackman.  It lasts for seven minutes and fifty seconds and features only two brief cuts, the first of which occurs nearly six minutes in.  The shot is framed in 2:39 aspect ratio … Continue reading “THE BEAUTY OF A REALLY LONG, STATIC TAKE”