The September 2017 issue of American Cinematographer magazine has arrived, featuring a special focus on international production. Subscribers can login now to get their digital edition, which contains exclusive content.
David Stump, ASC served as visual-effects supervisor for this popular series developed for the screen by Bryan Fuller and Michael Green, and based on the bestselling novel by Neil Gaiman. Following Shadow (Ricky Whittle) and Wednesday (Ian McShane) as they travel across the U.S. to reunite a group of old gods, the series mixes myth, fantasy, and the highs and lows of the American dream. Emmy-nominated for his work on the series, Stump pens an account of the show’s effects work, and shares insights from series cinematographers Darran Tiernan, ISC; Jo Willems, ASC, SBC and Aaron Morton, NZCS.
One of the two AC subscriber-exclusive digital edition articles this month is an extended photo gallery offering a further look at the production.
The Hitman’s Bodyguard
Jules O’Loughlin, ASC, ACS was behind the camera for the odd-couple hijinks of this action-adventure story. The fireworks begin when top bodyguard Michael Bryce (Ryan Reynolds) is assigned to protect notorious hitman Darius Kincaid (Samuel L. Jackson) and deliver him safely to testify before the International Court of Justice. O’Loughlin, director Patrick Hughes and their cohorts worked on locations in London, Bulgaria and Amsterdam, and staged a major action sequence in the latter city, where the production closed canals and streets in addition to shooting in the famed Rijksmuseum.
Cathal Watters took the reins as cinematographer for the upcoming season’s 15-week shooting schedule, picking up where director of photography Laurie Rose had left off in the previous season. The series follows gangster Tommy Shelby (Cillian Murphy) as he fights for power in Birmingham, England, circa 1919. Rose discusses his work on Season 3, and Watters will offer a look ahead at what audiences can expect from Season 4.
I’m Dying Up Here
Peter Flinckenberg, FSF invited AC to spend a day on the set this Showtime series, which explores the struggles and heartache within the world of 1970s standup comedy, and centers on the fictional Goldie’s nightclub, where comedians vie for laughs and battle for fame. Flinckenberg details the techniques employed to create the show’s period look, and offer his perspective on the production’s choices of cameras, lenses and lighting.
This month's second AC subscriber-exclusive digital edition article is a collection of lighting diagrams from the series.
Arri’s 100th Anniversary
In honor of Arri’s centennial, AC offers a look back at the company’s 100 years of progress and innovation, with a look ahead to what lies on the horizon. A number of esteemed cinematographers share their own experiences of working with Arri’s cameras, lenses and lights.
ASC President Kees van Oostrum shares his personal experience growing up with Arri in this month's President's Desk.
The September issue’s departments also offer illuminating insights:
• Shot Craft presents tales of cinematographic derring-do in far-flung locations, offers a true look at false color, and more.
• Short Takes examines cinematographer Stephen Murphy’s meticulous re-creation of a distinctly period vibe for the Lucy Rose music video “No Good At All.”
• ASC Close-Up spotlights Society member Steven Shaw, whose credits include the telefilms The Stepford Children, The Ryan White Story and Visions of Murder; the series I’ll Fly Away, Legend and Savannah; and the miniseries A Woman of Independent Means and Pandora’s Clock.