American Cinematographer - November 2023 - 8

President's Desk
PORTRAIT BY JOHN SIMMONS, ASC.
OVER THE PAST FEW MONTHS HERE AT THE ASC CLUBHOUSE, I've
been immersed in Society business, and hopefully helping to create a
positive energy and provide a sense of community for everyone who
walks through the door. I have never ceased to be amazed by the creative
perspectives our members can access consistently. We've recently
had our share of technical events and presentations that delve into
the world of lenses, digital techniques, AI, virtual production, high-dynamic-range
imagery, and so on. For our members, the conversations
about these technologies - which otherwise might look hopelessly
scientific to an outsider - swing quite quickly to their narrative and
storytelling attributes. How can we use technical tools and techniques
creatively (sometimes in ways they may not have been designed to be
used) to make a screen moment resonate?
When I was coming up as a cinematographer, the technical side of
the job seemed quite daunting. There was so much to learn ... and gaining
an understanding of image construction in the photochemical days
was slow and methodical. But during that period, we established relationships
with labs, camera suppliers, film manufacturers and lighting
companies. The need for collaboration was evident in one's first attempt
to learn where the film turned from deep shadow to black, and equally
apparent in the cooperative testing that was required to get that information
into our young minds.
Early on, I was fortunate to meet Allen Daviau, ASC, who mentored
me for 45 years before passing away in 2020. I learned a lot from him
- but, most importantly, from his personification of the type of individual
one needed to be if you wanted to live your life as a director
of photography. Allen embodied generosity with his positive attitude
and kind nature. I remember one conversation with Bill Butler, ASC, who
said he felt he was selected for certain projects over more qualified
8 / NOVEMBER 2023
cinematographers because his temperament was more conducive to
creating positive energy. This is a real thing - especially now, when
bravado will take you down a shorter path than sincerity.
It's all too easy to get lost in the technical weeds. I fell into this trap
myself when I was asked to shoot the third Jurassic Park in 1999. The
project was large, and I felt I needed advice. Janusz Kamiński came
to the fore after a brain-melting early visit to the Stan Winston Studio.
Stan gave me access to fully painted maquettes of our dinosaurs that
I could test under the type of jungle lighting I was proposing. I phoned
Janusz, who listened to me inquire about paint finishes, light reflection
and incident color. Halfway through my semi-panicked list of questions,
I heard Janusz saying, " Stop. Stop. You don't need to worry about any of
this. You are working with the top department heads in the industry and
they're going to give you the best. Your job is to give these creatures a
world they can live in. "
Technical knowledge is maybe half of what a cinematographer is
made of, but one needs to be willing to put all of that into muscle memory
and dive into the narrative unknown - and put one's heart and soul
onto the screen.
Best regards,
Shelly Johnson
ASC President
American Cinematographer - November 2023

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