Dear Colleague:

Here's an advance look at the August 2009 issue of American Cinematographer magazine, which will have a special focus on integrating CG effects. (All articles are tentative and subject to change.)

Stephen Goldblatt, ASC will discuss his cinematographic recipe for this stylish film, which tracks blogger Julie Powell’s intrepid attempt to cook every dish in chef Julia Child’s famous book Mastering the Art of French Cooking. Starring Meryl Streep as Child and Amy Adams as Powell, the movie boasts sumptuous imagery that was further enhanced during Goldblatt’s close collaboration with color-timer Steve Scott in the digital-intermediate suite. Goldblatt will discuss both his principal photography and his postproduction work with Scott.

Salvatore Totino, ASC went “back to the Vatican” with director Ron Howard for this sequel to the 2006 blockbuster The Da Vinci Code. Tom Hanks reprises his starring role as symbologist Robert Langdon, who travels to Rome in an attempt to decipher the clues to a murderous conspiracy at the highest levels of the Catholic church. Totino and effects experts from The Moving Picture Company and CIS Vancouver will break down their contributions to key sequences created with state-of-the-art CG techniques.

Director of photography Ben Seresin faced some epic challenges while collaborating with director Michael Bay and ILM effects experts on this technology-driven sequel to the 2007 sci-fi spectacular. The filmmakers will break down a particularly tricky, effects-intensive Imax sequence set against the backdrop of Egypt’s pyramids.

Director Louie Psihoyos assembled a crack team of “covert operatives” to shoot this politically charged documentary that exposes the slaughter of an estimated 23,000 dolphins per year in a heavily guarded cove in Taiji, Japan. Director of photography Brooke Aitken supervised a group that included a former Canadian Air Force electronics whiz who could hot-rod cameras; Industrial Light & Magic mold-makers who created fake-rock housings; two champion free-divers who could place cameras and hydrophones underwater at night; a master diver who coordinated clandestine operations; and a music roadie who moved the crew and 70 cases of equipment into place.

The August issue’s departments will also offer illuminating insights:

Short Takes will offer an analysis of the visually striking Philips 21:9 television-set ad “Carousel” shot by cinematographer Fredrik Bdckar.

Production Slate will present an overview of a joint ASC/BSC panel staged at June’s Cinegear Expo, during a year in which the ASC is celebrating its 90th year of existence and the BSC its 60th. Participants from both organizations will offer their thoughts on the craft of cinematography and where it may be headed in the near future. This section will also offer an interview with Scott Miller about his work on the experimental project Stingray Sam.

Post Focus will present an overview of the latest updates to Technicolor’s DP Lights system.

ASC Close-Up will offer a profile of Society member Aaron Schneider, whose cinematography credits include the theatrical feature Kiss the Girls and the TV series Murder One, The Agency and Supernatural.