Editor's Note

By Pizzello, Stephen | American Cinematographer, April 2006 | Go to article overview

Editor's Note


Pizzello, Stephen, American Cinematographer


Our biggest issue of the year so far is also our most diverse. Flipping through it, you'll find articles on projects shot in a wide range of formats: standard 35mm, anamorphic 35mm, Super 35mm, 8- and 15-perf 65mm, high-definition (HD) video, 24p HD and MiniDV, among others. It's safe to say that cinematographers are taking full advantage of their creative options.

In this era of expanding palettes, Matthew Libatique, ASC has distinguished himself as a director of photography who is more than willing to take risks, and the bank-heist thriller Inside Man reteamed him with Spike Lee, a filmmaker who has always encouraged his cinematographers to push the envelope. "Spike sort of riffs with me, gives me an idea, and then I go away and come up with a visual arc," Libatique told interviewer John Calhoun ("Cop vs. Robber," page 36). "At a certain point he'll look at me and say, 1So, what have you got?'" For the duo's latest "joint" (Lee's favored term for his films), Libatique responded with a look that artfully combines mixed color temperatures, cross processing, bleach bypass and a digital intermediate (DI).

Not to be outdone. Peter Sova, ASC put a new spin on film-noir conventions for Lucky Number Slevin, his latest collaboration with adventurous director Paul McGuigan. Working on some highly stylized sets crafted by production designer François Séguin, Sova crafted inventive imagery that would fully embody the picture's clever script. Jon Silberg sat Sova under the hot lights for his grilling ("Marked Man," page 82). …

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