The February 2023 issue goes behind the scenes on the features Babylon, Thirteen Lives, The Whale, 18½ and The Banshees of Inisherin, and also explores camera tracking in the virtual-production process and the multi-faceted role of the dolly grip on set.

 

• In his monthly column, ASC President Stephen Lighthill shares a few favorite films about filmmaking.

 

• Linus Sandgren, ASC, FSF discusses why he and director Damien Chazelle chose an aggressive visual approach — including “a curious camera” — for Babylon, set in the early days of the American film industry. In a sidebar, Atlas Lens Co.’s president and lead designer, Forrest Schultz, details how he customized anamorphic lenses for the project.  

 

• Cinematographer Sayombhu Mukdeeprom and director Ron Howard go deep on their approach to Thirteen Lives, which depicts the 2018 rescue of a young soccer team and their coach from Thailand’s Tham Luang cave.

 

• Matthew Libatique, ASC, LPS strives for simplicity to tell the story of a lonely, chronically ill college professor in The Whale, directed by longtime collaborator Darren Aronofsky. In a sidebar, Aronofsky shares the creative philosophy behind their choices.

 

• Cinematographer Elle Schneider teams with director Dan Mirvish on the Watergate-era caper 18½, a low-budget indie shot in 15 days.

 

• Global Village: Ben Davis, BSC emphasizes the beauty of a storm-swept landscape for The Banshees of Inisherin, directed by Martin McDonagh.

 

• Shot Craft: A look at the dolly grip, a role that is almost a department unto itself, with insights from expert Ralph Scherer.  

 

• The Virtual World: A consideration of camera-tracking methods employed in virtual production — their advantages, disadvantages and potential future applications.

 

• Clubhouse News: The latest bulletins from the Society feature new ASC members Jonathan Sela and Marcell Rév; the 2022 ASC MITC Technology Showcase; and Band Pro One World Open House honorees Checco Varese, ASC and Otto Nemenz, an ASC associate member.

 

• Wrap Shot: Singin’ in the Rain, shot by Harold Rosson, ASC.