American Cinematographer - September 2008 - 12

coverage on his logistically complex projects. In an afternoon presentation, DeVries demonstrated his comprehensive knowledge of documentary cinematography. A separate technology session used George Miller’s Happy Feet to compare the challenges of liveaction cinematography with creating lighting and camerawork on a digital project. Finally, a screening of Mel Gibson’s Apocalypto was followed by a lively Q&A session with Semler. Day 3 addressed the business side of cinematography, offering tips on career management in an increasingly competitive industry. Tim McGahan, ACS outlined various strategies. Related sessions examined how cinematographers can diversify their skillsets by mastering disciplines such as Steadicam operating or underwater camerawork. In the afternoon, McAlpine treated the audience to a very candid account of his many years as a cinematographer, noting that he was happy to be celebrating a personal milestone that echoed the Society’s: the completion of principal photography on his 50th feature film, Wolverine. Day 4 featured two panel discussions that were open to the general public. The first, titled “The Collaborators,” was presented by Peter Thompson and featured Semler, James and McAlpine in conversation with directors Miller and Bruce Beresford. Touching upon the long careers of each panelist, the discussion was filled with amusing and informative anecdotes. Recalling his experiences shooting Black Robe in Quebec, James extolled the benefits of foresight and good fortune: “The film was shot on location, [and] for several months, all we’d had was heavy cloud cover, which was perfect. The sun had come out twice, but that was it. I had a dream — not a hope, but an actual dream — that for the final shot, the sun would come out as it was setting, providing a fitting metaphor. The crew told me I was crazy. Well, we did two takes of the rather elaborate shot, and on the second, a tiny chink appeared in the clouds and the sun shone through — right behind the cross I’d asked to be 12 moved over a few feet the day before! As soon as the camera stopped rolling, [the sun] disappeared again!” McAlpine recalled the first day of principal photography on his first feature, The Adventures of Barry MacKenzie. Having shot only under the bright Australian sunshine, McAlpine received a shock when he arrived in overcast London. “I’d always wondered how European cinematographers got that beautiful soft light for their exteriors. I arrived on set in the middle of the day, straight off the plane. When I pulled out my meter, it read 2.8! I thought, ‘That meter didn’t travel well,’ so I pulled out the second one, which also read 2.8, as did the third. By then I’d realized that while the sun shines on the globe, it arrives on the surface in many varied and wonderful ways.” The day’s second panel, moderated by Dominic Case, featured Okada, Lesnie, Philippe-Capelle, Boyle, Walters and John Bowring of Lemac. Taking the theme “Future of the Image” to heart, this session offered detailed technical discussions and debates that addressed several topics: the ongoing issue of digital vs. film; the immediate future of 3-D cinematography techniques and equipment; and the new skillsets cinematographers are expected to master. The weekend’s festivities concluded with the National Awards ceremony, where Nott won the Milli Award for Cinematographer of the Year for his work on The Company, which also earned him an ASC Award. Judging by the reactions of prominent guests, the ACS event was a smash. “I’m amazed and excited about the success of this event,” said McAlpine. “It bodes well for the future of Australian cinematography.” Okada concluded, “This anniversary celebration cemented my belief that cinematographers are drawn to sharing their devotion to creating images. Discovering the similarities we share brings our societies closer together.” I

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American Cinematographer - September 2008

Table of Contents for the Digital Edition of American Cinematographer - September 2008