The ASC Technology Committee has been renamed the ASC Motion Imaging Technology Council. Established in 2003, the Committee has helped organize efforts to study and assess subjects ranging from digital cameras and lens optics to motion imaging workflows, advanced color management, virtual production techniques digital archiving and more recently virtual reality.
“During our past 14 years of proactive motion picture and TV industry engagement, the ASC Technology Committee has played a significant leadership role in guiding the evolution and development of key motion imaging technologies to better support our filmmaking art form,” noted Chairman Curtis Clark, ASC.
“Many of our industry partners and supporters, along with users of our technologies, have suggested that the Committee’s name does not sufficiently convey the scope and influence that our activities have had on important motion imaging technology developments,” he continues. “In response to that input and after careful consideration, we have decided to change the Committee’s name to the ASC Motion Imaging Technology Council (MITC) — or ‘My Tech.’ We believe this better represents the expanded scope of the work we are doing and our widely recognized role as industry leaders — influencing the advancement of motion imaging technologies in ways that best serve the creative interests of filmmakers while emphasizing the cinematographer’s contribution to the art form.”
Clark added, “Our Subcommittees will now be designated Committees of the ASC Motion Imaging Technology Council. We will continue to encourage our Committees to work in a coordinated manner, combining their expertise on topics of wide interest and concern, including ACES, HDR, digital motion picture camera developments, look management, virtual production techniques, lens developments, DI, motion imaging workflows, projection and display technologies, archiving, as well as advanced imaging.”
MITC’s latest reports on a variety of technological issues will be published on in the September issue of the SMPTE Motion Imaging Journal as part of the 2017 SMPTE Progress Report.
Review: Writer-Director Aaron Schimberg’s “A Different Man”
Imagine you could wake up one morning, stand at the mirror, and literally peel off any part of your looks you don't like — with only movie-star beauty remaining.
How would it change your life? How SHOULD it change your life?
That's a question – well, a launching point, really — for Edward, protagonist of Aaron Schimberg's fascinating, genre-bending, undeniably provocative and occasionally frustrating "A Different Man," featuring a stellar trio of Sebastian Stan, Adam Pearson and Renate Reinsve.
The very title is open to multiple interpretations. Who (and what) is "different"? The original Edward, who has neurofibromatosis, a genetic disorder that causes bulging tumors on his face? Or the man he becomes when he's able to slip out of that skin? And is he "different" to others, or to himself?
When we meet Edward, a struggling actor in New York (Stan, in elaborate makeup), he's filming some sort of commercial. We soon learn it's an instructional video on how to behave around colleagues with deformities. But even there, the director stops him, offering changes. "Wouldn't want to scare anyone," he says.
On Edward's way home on the subway, people stare. Back at his small apartment building, he meets a young woman in the hallway, in the midst of moving to the flat next door. She winces visibly when she first sees him, as virtually everyone does.
But later, Ingrid (Reinsve) tries to make it up to him, coming over to chat. She is charming and forthright, and tells Edward she's a budding playwright.
Edward goes for a medical checkup and learns that one of his tumors is slowly progressing over the eye. But he's also told of an experimental trial he could join. With the possibility — maybe — of a cure.
So... Read More