rates, laser projection and much more. Representatives from more than 30 Cinematographers Societies participated, and international meetings like this are important. It gives Cinematographers from around the World a valuable chance to meet, to exchange experiences, to learn from – and to support each other. This is exactly the reason IMAGO was established in 1992, and we are grateful that the gathering international cinematographers for discussions on topics of common interest now also have become a tradition of the ASC.
The ASC Clubhouse was filled to the rim with international cinematographers.
The future of Cinematography
The intense changes in cinematography, with virtual reality, with shorter production periods, new cameras with more possibilities to shoot in existing light, means that cinematographers are under pressure.
With the possibility to shoot in 4, 6 and 8K, cinematographers also often experience their shots being reframed in the edit, and the images are often coloured in Avid or in post even before the DP and the director is there. When we get to the DI, the directors are surprised when the DOPs says “this is not our image” Roberto Schaefer noted. “How do we get our control back”?
Ron Johansen ACS said: “At the end of the day we are artists. We must understand the technology, but must convey to our colleagues that we are artists, not merely a recorder of images.”
From left: Nigel Walters BSC, Tahvo Hirvonen FSC,m Fredewrick Goodich ASC, Yannis Daskalothanasis GSC, Ron Johanseon ACS, Deyuan Mu CSC and Yang Shu CSC.
Who is the author of the images?
Cinematographers are the custodians of the image, it is our heritage and our responsibility, said Frederic Goodich ASC. But the discussion quickly turned to a discussion about authorship, and the view by many that cinematographers are authors of the image, and should receive fair remuneration for the use of the images.
For many, the struggle is less about money, but more about getting the respect on a set many feels have become chaotic.
The news has just been released that Jost Vacano ASC, BVK, have won a court case in Germany regarding fair remuneration for the film Das Boot, directed by Wolfgang Petersen. Vacano developed a method to capture long running sequences in a cramped submarine, which became a visual signature in this film.
The film grossed 85 million dollars world-wide, and Vacano was, after an 8 year long court case, awarded a settlement of 475.000 Euros for his work. Vacano´s struggle, supported by the BVK, was on behalf of all German cinematographers, to focus on cinematographers rights as a visual artist.
Vittorio Storaro AIC ASC held a detailed talk about the situation of authorship for cinematographers, and the importance of fighting for this right.
Many of the delegates present noted the importance of membership in IMAGO, where experiences and facts about authorship and other major challenges for cinematographers can be shared and cooperated about.
In addition, the delegates of the 2016 ICS had detailed seminars about the need for focus on gender equality in cinematography, ACES, the making of The Revenant with the team behind, including award winning DOP Emmanuel Chivo Lubeski, visits, talks and demonstrations as Panavision, Technicolor, AMPAS and much more.
IMAGO Board members in Los Angeles: From left Paul René Roestad FNF/President IMAGO, Predrag Bambic SAS, Nina Kellgren BSC, Louis Philippe Capelle SBC, Elen Lotman ESC, Rolf Coulanges BVK and Ron Johanson ACS.
A great Summit for all present, and our warmest thanks goes to the whole team at ASC former President Richard Crudo, and to Frederic Goodich, the ASC newly elected new President Kees Van Ostrum, Michael Goi, Patty Armacost and Delphine Figueras.