Photo courtesy of Gene Kozicki and Richard Yuricich, ASC. oration between the art department, VFX and cinematography. The biggest shortcoming I see is the missed opportunities to be creative, innovative and efficient due to a lack of clear communication. Weingartner: I do suspect that one side effect of the change from photographic to digital effects work is that the younger generation of VFX practitioners lacks the instinctual knowledge of how lenses and cameras work in recording what is in front of them. What [previous generations] came up absorbing on set, they have to make a conscious effort to grasp. By the same token, as VFX capabilities continue to expand, cinematographers don't necessarily have a grasp of how their own process might be affected. And the truth is, the constantly expanding capabilities in the VFX world help us make shots that would not have been possible even a few years ago. It is foolish to Richard Yuricich, ASC (right) examines the miniature Tyrell Corp. building during production of Blade Runner. get too nostalgic for the 'good old days' when we can do so much more now. Taylor: I feel lucky to have been at this vantage point to see all the important scientific and technological developments in motion pictures. And that illustrates one of the important intersections between cinematography and visual effects: We in the visual-effects field have been able to give 1st-unit cinematographers a new tool set that they can bring to bear to overcome photographic storytelling challenges. u 59http://www.ficgibara.com