American Cinematographer - August 2020 - 35

dramas unfolding before us.
These ever-propagating tentpole/franchise movies are certainly
challenging for a filmmaker like me,
one admittedly steeped in classic film
history. I've become increasingly
anxious that the dazzling imagemaking tools we now wield might
become instruments for creating not
"cinema," but "content." I recall the
subtitle of Daulatzai's essay: "Past as
Prologue." We recognize that the great
cinematographers who came before us
are kindred spirits, colleagues in a
seamless creative continuum that
explores new pathways in technology
- but as a means to deepen our own
human experiences. Great images
document a continuous present
regardless of the time of their creation.
Confined by the Covid-19 lockdown and facing an uncertain socioeconomic and political future, we may
find solace in the thought that
although none of us knows what the

Sam Nicholson, ASC, on the collision of
production and postproduction
Virtual production is a new tool that is largely a
combination of live-action cinematography and virtual
assets in real time. It's a director of photography's dream
in terms of creating with finished visual effects. Over the
years, I've helped to develop new approaches to digital
set extensions and virtual assets. [My company]
Stargate's latest is "ThruView," a system for real-time
virtual asset rendering in an augmented-reality environment, with emissive OLED screens and interactive lighting. It shifts control from postproduction back to the camera. You spend your money
in prep - from set design to depth of field - rather than in post, presuming you've
made up your mind about what you want to see. When you walk on set, your assets
must be complete, organized and optimized for high-speed playback. You respond to
the director, the DP and actors in real time. The final image is visible in camera,
through the lens. It's a very different animal than postproduction.
technical future of film will be - VR,
yet another round of 3D, or something like the deeply immersive experience of Iñárritu and Lubezki's Carne
y Arena - cinema's power to move us

- I. M.

individually and collectively to give
ourselves over to this magical synthesis of visual storytelling is not only
the art form's past, but also its
present and future.
u

35



http://www.jlfisher.com/

American Cinematographer - August 2020

Table of Contents for the Digital Edition of American Cinematographer - August 2020

Contents
American Cinematographer - August 2020 - Cover1
American Cinematographer - August 2020 - Cover2
American Cinematographer - August 2020 - 1
American Cinematographer - August 2020 - Contents
American Cinematographer - August 2020 - 3
American Cinematographer - August 2020 - 4
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