September 2024 Issue of American Cinematographer
The September 2024 issue presents a special focus on international production, including coverage of Furiosa: A Mad Max Saga, Kneecap, The Mother of All Lies, Welcome to Wrexham and My Old Ass, as well as a commemoration of the Steadicam’s 50th anniversary and a discussion of lens distortion.
· ASC President Shelly Johnson reflects on his experiences shooting around the world.
· Simon Duggan, ASC, ACS breaks down his approach to George Miller’s action spectacle Furiosa: A Mad Max Saga — and gaffer Shaun Conway, camera operator Mark Goellnicht and 2nd-unit action director Guy Norris shed light on their contributions to the Australia-based production.
· Steadicam inventor and ASC associate member Garrett Brown discusses the birth and evolution of the camera stabilizer — and the international community surrounding the technology — which is marking its 50th anniversary. Steadicam operators P. Scott Sakamoto and Kate Eccarius add their perspectives on using the groundbreaking system.
· Ryan Kernaghan, ISC details his work on the Irish hip-hop comedy Kneecap, directed by Rich Peppiatt.
· Tunisian cinematographer Hatem Nechi, TSC discusses his approach to the unconventional Moroccan documentary The Mother of All Lies, directed by Asmae El Moudir.
· Cinematographer Kristen Correll shares her strategy for shooting Megan Park’s indie feature My Old Ass in Muskoka, Ontario, Canada.
· Cinematographers Craig Hastings, Leighton Cox and Verdy Oliver, and showrunner-director Bryan Rowland, discuss the Emmy-winning documentary series Welcome to Wrexham, about a Welsh town and its beloved football club.
· Shot Craft: A look at understanding lens distortion.
· Clubhouse News: The latest bulletins from the Society feature new members Eric Moynier and Du Jie; a sold-out ASC Master Class focused on film; an Education & Outreach panel for College of Southern Nevada students and AMPAS Academy Gold participants; Manaki Brothers International Cinematographers’ Film Festival Lifetime Achievement honoree Bruno Delbonnel, ASC, AFC; and an ASC Master Class for Taiwanese cinematographers.
· Wrap Shot: Mad Max: Fury Road, shot by John Seale, ASC, ACS and directed by George Miller.
·
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September 2024 Issue of American Cinematographer
September 2024 Issue of American Cinematographer
The September 2024 issue presents a special focus on international production, including coverage of Furiosa: A Mad Max Saga, Kneecap, The Mother of All Lies, Welcome to Wrexham and My Old Ass, as well as a commemoration of the Steadicam’s 50th anniversary and a discussion of lens distortion.
· ASC President Shelly Johnson reflects on his experiences shooting around the world.
· Simon Duggan, ASC, ACS breaks down his approach to George Miller’s action spectacle Furiosa: A Mad Max Saga — and gaffer Shaun Conway, camera operator Mark Goellnicht and 2nd-unit action director Guy Norris shed light on their contributions to the Australia-based production.
· Steadicam inventor and ASC associate member Garrett Brown discusses the birth and evolution of the camera stabilizer — and the international community surrounding the technology — which is marking its 50th anniversary. Steadicam operators P. Scott Sakamoto and Kate Eccarius add their perspectives on using the groundbreaking system.
· Ryan Kernaghan, ISC details his work on the Irish hip-hop comedy Kneecap, directed by Rich Peppiatt.
· Tunisian cinematographer Hatem Nechi, TSC discusses his approach to the unconventional Moroccan documentary The Mother of All Lies, directed by Asmae El Moudir.
· Cinematographer Kristen Correll shares her strategy for shooting Megan Park’s indie feature My Old Ass in Muskoka, Ontario, Canada.
· Cinematographers Craig Hastings, Leighton Cox and Verdy Oliver, and showrunner-director Bryan Rowland, discuss the Emmy-winning documentary series Welcome to Wrexham, about a Welsh town and its beloved football club.
· Shot Craft: A look at understanding lens distortion.
· Clubhouse News: The latest bulletins from the Society feature new members Eric Moynier and Du Jie; a sold-out ASC Master Class focused on film; an Education & Outreach panel for College of Southern Nevada students and AMPAS Academy Gold participants; Manaki Brothers International Cinematographers’ Film Festival Lifetime Achievement honoree Bruno Delbonnel, ASC, AFC; and an ASC Master Class for Taiwanese cinematographers.
· Wrap Shot: Mad Max: Fury Road, shot by John Seale, ASC, ACS and directed by George Miller.
·
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Description
The September 2024 issue presents a special focus on international production, including coverage of Furiosa: A Mad Max Saga, Kneecap, The Mother of All Lies, Welcome to Wrexham and My Old Ass, as well as a commemoration of the Steadicam’s 50th anniversary and a discussion of lens distortion.
· ASC President Shelly Johnson reflects on his experiences shooting around the world.
· Simon Duggan, ASC, ACS breaks down his approach to George Miller’s action spectacle Furiosa: A Mad Max Saga — and gaffer Shaun Conway, camera operator Mark Goellnicht and 2nd-unit action director Guy Norris shed light on their contributions to the Australia-based production.
· Steadicam inventor and ASC associate member Garrett Brown discusses the birth and evolution of the camera stabilizer — and the international community surrounding the technology — which is marking its 50th anniversary. Steadicam operators P. Scott Sakamoto and Kate Eccarius add their perspectives on using the groundbreaking system.
· Ryan Kernaghan, ISC details his work on the Irish hip-hop comedy Kneecap, directed by Rich Peppiatt.
· Tunisian cinematographer Hatem Nechi, TSC discusses his approach to the unconventional Moroccan documentary The Mother of All Lies, directed by Asmae El Moudir.
· Cinematographer Kristen Correll shares her strategy for shooting Megan Park’s indie feature My Old Ass in Muskoka, Ontario, Canada.
· Cinematographers Craig Hastings, Leighton Cox and Verdy Oliver, and showrunner-director Bryan Rowland, discuss the Emmy-winning documentary series Welcome to Wrexham, about a Welsh town and its beloved football club.
· Shot Craft: A look at understanding lens distortion.
· Clubhouse News: The latest bulletins from the Society feature new members Eric Moynier and Du Jie; a sold-out ASC Master Class focused on film; an Education & Outreach panel for College of Southern Nevada students and AMPAS Academy Gold participants; Manaki Brothers International Cinematographers’ Film Festival Lifetime Achievement honoree Bruno Delbonnel, ASC, AFC; and an ASC Master Class for Taiwanese cinematographers.
· Wrap Shot: Mad Max: Fury Road, shot by John Seale, ASC, ACS and directed by George Miller.
·
