ARTICLES
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• Cold Case File (April 2007)
Article by David E. Williams, Unit photography by Merrick Morton, SMPSP.
Harris Savides, ASC and director David Fincher plumb the depths of human obsession with Zodiac using the Viper camera.
Posted by permission from American Cinematographer Magazine

• A Great Escape (January 2007)
Article by Benjamin B, Unit photography by Andrew Cooper, SMPSP.
Apocalypto, shot by Dean Semler, ASC, ACS, uses spectacular locations and digital cameras to tell an epic tale set during the decline of the Mayan civilization.
Posted by permission from American Cinematographer Magazine

• Tomorrow's Technology (December 2006)
Article by Douglas Bankston.
The four-year anniversary of the ASC Technology Committee is a mere month away, and though four years might seem like a blip within the grand history of motion pictures, the effect the committee is having on the industry is seismic.
Posted by permission from American Cinematographer Magazine

• World War I Flying Aces (October 2006)
Article by Robert S. Birchard, Flyboys photos by Jay Maidment Courtesy of Electric Holdings (Flyboys) Inc. and MGM.
Genesis camera reaches new heights with Flyboys.
Posted by permission from American Cinematographer Magazine

• Morbid Inspirations (September 2006)
Article by Valentina Caniglia, Frame grabs courtesy of Valentina Caniglia.
Cinematographer Valentina Caniglia creatively skirts low-budget bounds for the HD horror film Nightmare.
Posted by permission from American Cinematographer Magazine

• HD vs Film - The Great Debate (July 2006)
Article by Steve Lantz, Director of Photography.
HDcompare editor and cinematographer, Steve Lantz, describes the industry transformation from film to HD production and exhibition.

• Hero Shots - Superman Returns (July 2006)
Article by Simon Gray, Unit Photography by David James, SMPSP.
Newton Thomas Sigel, ASC and director Bryan Singer reunite on Superman Returns, the first major feature shot with Panavision’s digital Genesis camera.
Posted by permission from American Cinematographer Magazine

• Deep Trouble (August 2005)
Article by Stephanie Argy. Unit photography by Cos Aelenei. Additional photos by Ross Emery, ACS and Paul Heinerth. Photos courtesy of Screen Gems, Ross Emery and Karst Productions.
Director of photography Ross Emery, ACS and underwater cinematographer Wes Skiles mix 35mm film and high-definition video for the thriller The Cave.
Posted by permission from American Cinematographer Magazine

• Paradise Lost (August 2005)
Article by Jon Silberg. Unit photography by Merrick Morton, SMPSP and Doug Hyun. Photos courtesy of DreamWorks Pictures.
Mauro Fiore, ASC aims his lens at The Island, an action-driven sci-fi adventure.
Posted by permission from American Cinematographer Magazine

• The Color-Space Conundrum: Part 2 Digital Workflow (April 2005)
Article by Douglas Bankston.
In the second of two articles on color space and image control, technical experts assess some of the problems of — and potential solutions for — the hybrid film/digital workflow.
Posted by permission from American Cinematographer Magazine

• The Color-Space Conundrum: Part 1 Seeking Standards (January 2005)
Article by Douglas Bankston. Seabiscuit photo courtesy of Universal Pictures.
In part one of a two-part series, AC, explores the historical relevance of color space and its impact on the cinematographer’s work.
Posted by permission from American Cinematographer Magazine

• Hell on Wheels