New Cinematographers

Customer Reviews

Average Customer Review




New trends in cinematography, August 9, 2008
By Rockstone (Atlanta, USA)
This book provides detailed technical discussions of the methods of cinematography in a number of contemporary films by different contemporary cinematographers. It is a technical discussion of shooting techniques, lab processes, etc. and now recommended for the average reader or even the reader interested in films but not the technical details. There are frequent illustrations, though I dont believe that they are all taken from the actual film footage.
There is an emphasis on European films and cinematographers, but some American films are covered as well.
I found the book interesting but it has a narrow appeal: you must want to know about cinematography techniques but accept that you are not getting all the details of how to do the techniques. (For example, there are several areas where special lab procedures are mentioned, but not specifically what was done, for this you would presumably have to contact the lab directly.
Also with the emergence of several types of HD videography, it is too bad that some discussions of d.p.s using new electronic methods was not included.



An invaluable guide to the art of the moving camera, September 17, 2007
By Nathan Andersen (Florida)
"New Cinematographers" is a beautifully produced and packaged book, full of insights into what goes on in the mind of some of the most creative and interesting cinematographers working today. There are sections devoted to each of several new cinematographers, and chapters on several of the films they worked on. Readers of the book basically get to look at refined notes by some of the contemporary masters of cinema (Lance Acord - Buffalo '66, Being John Malkovich, Lost in Translation; Jean-Yves Escoffer - Lovers on the Bridge, Gummo, Good Will Hunting; Darius Khondji - Delicatessen, Se7en; John Mathieson - Gladiator, Matchstick Men; Seamus McGarvey - High Fidelity, The Hours; and Harris Savides - The Game, Elephant), whose names are not as well known as the directors of the films they worked on, but who ought to be -- as this book makes abundantly clear, the body of work to which each of these cinematographers contributed bears the mark of their creative talents just as much as it bears the stamp of their directors or writers. The list of films covered reads like a catalog of all of the most visually compelling works by the most creative directors of the past decade (Being John Malkovich, Seven, Elephant, The City of Lost Children, etc.). There are pictures, diagrams, scripts, notes, all included to flesh out the process they went through in each film, and accompanied by an incredible wealth of detail about the filmmaking process, their experience with the director, their methods for planning for each shoot, their reflections on their craft, specific explanations on how they achieved some of the most interesting shots, and details about difficulties faced during each shot. Some of the most illuminating bits include some of the various reflections on how to capture the distinctiveness of particular faces, or how and why they decided to manipulate the look of a particular actor. Reading through this book is not only exciting and intriguing for me as a lover of film, but was also extremely rewarding in the wealth of insights it gave me into the decision-making process of a wide range of experts. This is an exceptional and extremely valuable book, well worth owning.



pure gold, February 1, 2007
By Brian Lange (Chicago, IL)
This book is an excellent resource for cinematographers, both professional and aspiring.

Lance Acord, Jean-Yves Escoffer, Darius Khondji, John Mathieson, Seamus McGarvey, and Harris Savides all go through a step by step process of what they did to execute certain scenes. Lighting charts, set design blueprints, call sheets, storyboards, on set photography, film stills... it's all in this book. Very detailed and descriptive. In depth writing about film stocks, developing processes, filters, lights, colors... everything you could possibly imagine!

Hands down a GREAT resource, as they dissect scenes in movies they actually shot. So you can follow along while watching films such as Buffalo '66, Being John Malcovich, Lost in Translation, Gummo, City of Lost Children, Seven, The Beach, Gladiator, The Hours, and plenty more.

Definite recommendation.



a voyage through the gaffers glass, June 8, 2005
By Brian L. Schilling (Los Angeles, CA)
New Cinematographers is a quick, thorough, and interesting read. The information is presented in a simple way that is neither too flowery nor too sparse. Divided into 6 sections, one for each cinematographer, then sub-divided for each film that is discussed. The language is not excessively technical, so a beginner should be able to understand. It is not bland for the seasoned professional though, since a lot of the techniques presented are very non-conventional. Some of the films covered are quite different than what you will find in your typical issue of American Cinematographer, whose films seem to have a limitless budget. Especially in the early part of their careers, these cinematographers, found innovation, imagination, and hard work would go a lot further toward the overrall success of the film than just a budget can allow. Highly recommended for beginner, professional, or enthusiast.