Has the way we think about and appreciate cinematography lost its context?             Until the mid-1990s, the highest standard was universally recognized as originating on 35mm negative, projected optically on a big screen in a venue that required the viewer’s attendance.  Now, outstanding work can be viewed anywhere and anytime across a variety of … Continue reading “CONTEXT”

            In 1989 I had the good fortune to serve as Second Assistant Cameraman on the Warner Bros. feature, Presumed Innocent.  Directed by Alan Pakula and shot by Gordon Willis, ASC, it marked their fifth of six collaborations.  Other efforts included Klute (1971), The Parallax View (1974), All the President’s Men (1976), Comes a Horseman … Continue reading “LIGHTING DIAGRAM #1 – PRESUMED INNOCENT”