American Cinematographer - May 2019 - 58
Robert Legato, ASC
on the set
of Hugo.
concerned, essentially, with the same
things.
Beck: Some conventions have
evolved over the 100-plus years of
moviemaking, and they continue to
evolve, but people have expectations
about how a scene should look.
Cinematic variables like framing,
lighting, motion, and depth of field
are all judged, even if subconsciously.
Putting together a synthetic shot
means taking on the obligation of
controlling all those factors and
making them meet not only the
general aesthetic of cinema, but the
aesthetic of the movie that the shot is
dropping into.
Yuricich: It remains photography even if it is a digital methodology. You better have perspective,
framing, and the shot had better look
correct when capturing any VFX
elements.
Krepela: Cinematography is
the language of cinema. People have
come to understand the rapid succession of images in a very distinct, intuitive way. Whether such images are
produced on set or in the computer is
not as important as the need for them
to be rooted in the principles of cinematography.
Muren: We've had a tremendous boom in effects, and huge
worldwide audiences want to see
more. It's hard to teach enough
people fast enough how to do it. And
one more thing - I wish there were
more young effects supervisors who
understood what our work is really
about: communicating an emotion.
But that's a different story.
Foerster: In my opinion, the
magic wand for the future is clearand-open communication and collab-
&OR