American Cinematographer - February 2013 - 10

President’s Desk

Photo by Douglas Kirkland.

As you read this, know that you are probably one of many who will
become People Without A History. Why? Because almost everything you
write and every photo you save — things that have traditionally informed
historians about previous generations — exist only in the digital domain,
on hard drives or SSD devices. The half-life of a mechanical hard drive is
about five years. That means the magnetic particles on the surface of the
drive lose 50 percent of their strength in five years, and that makes your
magnetically stored data vulnerable to corruption.
There is also the question of digital media’s obsolescence. What technology will your grandchildren use to access your letters and photos? In
50 years, a LaCie drive will probably be an unfamiliar object.
If you back up your hard drive with another, and maybe another, and
leave them all at your home, you have broken Rule 2 of archiving:
Geographically separate your master copies. What’s Rule 1? Your master
should last 100 years and be readable with the naked eye. Okay, they are
not rules, but they are among archivists’ 10 commandments, I guarantee
you. So, unless we all start saving our pictures and correspondence on
good old paper, we will pass nothing of our own history to our grandchildren, or possibly even to our children.
And what of our collective cultural heritage? As motion-picture labs
close, moving images are more and more likely to be “preserved” on
formats that cannot rival the universality of motion-picture film. There is
no universally agreed-upon or proven archival storage method for digital
media.
Hollywood studios have announced they will soon stop making 35mm release prints for new movies, and that they
intend to stop striking new prints of existing films. This is terrible news for revival houses, small film festivals, movie theaters
that cannot afford to buy or maintain digital projectors, and museums or archives that occasionally want to screen a movie
with a film projector, as it was originally intended to be shown. It is amazing to us that Hollywood has no plan to facilitate
the screening of films in their original formats.
It is also amazing that in the industry’s transition to digital exhibition, little thought has been given to the sizable
educational market. At some colleges and universities, cinematography students mainly screen film prints, seldom Blu-rays
or DVDs. Cinematography students need to build a comprehensive mental library that includes the wondrous artifacts of
grain, gate weave, motion blur, and the other imaging glories of film.
Well, this is awards season, and the magazine you are reading recently won four Folio Awards for Editorial Excellence, or “Eddies.” In the category of Business to Business: Media/Entertainment/Publishing, the magazine’s June ’12 and
Dec. ’11 editions won the Gold and Silver Eddies, respectively, for Best Full Issue. And AC associate editor Jon Witmer won
the Gold Eddie for Best Single Article for his piece on The Avengers (June ’12), while contributing writer Benjamin Bergery
won the Silver Eddie for Best Single Article for his piece on The Tree of Life (Aug. ’11). Congratulations to our publisher,
Martha Winterhalter, and executive editor, Stephen Pizzello, as well as their colleagues! Onward … with paper!

Stephen Lighthill
ASC President

10

February 2013

American Cinematographer



American Cinematographer - February 2013

Table of Contents for the Digital Edition of American Cinematographer - February 2013

American Cinematographer - February 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
Production Slate: House of Cards • Caesar Must Die
The World’s Most Wanted Man
War on Crime
Crumbling Pillars
Vision and Verve
Postcards from Poland
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - American Cinematographer - February 2013
American Cinematographer - February 2013 - Cover2
American Cinematographer - February 2013 - 1
American Cinematographer - February 2013 - 2
American Cinematographer - February 2013 - Contents
American Cinematographer - February 2013 - 4
American Cinematographer - February 2013 - 5
American Cinematographer - February 2013 - 6
American Cinematographer - February 2013 - 7
American Cinematographer - February 2013 - Editor’s Note
American Cinematographer - February 2013 - 9
American Cinematographer - February 2013 - President’s Desk
American Cinematographer - February 2013 - 11
American Cinematographer - February 2013 - Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
American Cinematographer - February 2013 - 13
American Cinematographer - February 2013 - 14
American Cinematographer - February 2013 - 15
American Cinematographer - February 2013 - 16
American Cinematographer - February 2013 - 17
American Cinematographer - February 2013 - Production Slate: House of Cards • Caesar Must Die
American Cinematographer - February 2013 - 19
American Cinematographer - February 2013 - 20
American Cinematographer - February 2013 - 21
American Cinematographer - February 2013 - 22
American Cinematographer - February 2013 - 23
American Cinematographer - February 2013 - 24
American Cinematographer - February 2013 - 25
American Cinematographer - February 2013 - 26
American Cinematographer - February 2013 - 27
American Cinematographer - February 2013 - 28
American Cinematographer - February 2013 - 29
American Cinematographer - February 2013 - 30
American Cinematographer - February 2013 - 31
American Cinematographer - February 2013 - The World’s Most Wanted Man
American Cinematographer - February 2013 - 33
American Cinematographer - February 2013 - 34
American Cinematographer - February 2013 - 35
American Cinematographer - February 2013 - 36
American Cinematographer - February 2013 - 37
American Cinematographer - February 2013 - 38
American Cinematographer - February 2013 - 39
American Cinematographer - February 2013 - 40
American Cinematographer - February 2013 - 41
American Cinematographer - February 2013 - War on Crime
American Cinematographer - February 2013 - 43
American Cinematographer - February 2013 - 44
American Cinematographer - February 2013 - 45
American Cinematographer - February 2013 - 46
American Cinematographer - February 2013 - 47
American Cinematographer - February 2013 - 48
American Cinematographer - February 2013 - 49
American Cinematographer - February 2013 - 50
American Cinematographer - February 2013 - 51
American Cinematographer - February 2013 - 52
American Cinematographer - February 2013 - 53
American Cinematographer - February 2013 - Crumbling Pillars
American Cinematographer - February 2013 - 55
American Cinematographer - February 2013 - 56
American Cinematographer - February 2013 - 57
American Cinematographer - February 2013 - 58
American Cinematographer - February 2013 - 59
American Cinematographer - February 2013 - 60
American Cinematographer - February 2013 - 61
American Cinematographer - February 2013 - Vision and Verve
American Cinematographer - February 2013 - 63
American Cinematographer - February 2013 - 64
American Cinematographer - February 2013 - 65
American Cinematographer - February 2013 - 66
American Cinematographer - February 2013 - 67
American Cinematographer - February 2013 - 68
American Cinematographer - February 2013 - 69
American Cinematographer - February 2013 - 70
American Cinematographer - February 2013 - 71
American Cinematographer - February 2013 - Postcards from Poland
American Cinematographer - February 2013 - 73
American Cinematographer - February 2013 - 74
American Cinematographer - February 2013 - 75
American Cinematographer - February 2013 - New Products & Services
American Cinematographer - February 2013 - 77
American Cinematographer - February 2013 - 78
American Cinematographer - February 2013 - 79
American Cinematographer - February 2013 - 80
American Cinematographer - February 2013 - 81
American Cinematographer - February 2013 - International Marketplace
American Cinematographer - February 2013 - Classified Ads
American Cinematographer - February 2013 - Ad Index
American Cinematographer - February 2013 - 85
American Cinematographer - February 2013 - Clubhouse News
American Cinematographer - February 2013 - 87
American Cinematographer - February 2013 - ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - Cover3
American Cinematographer - February 2013 - Cover4
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