Tradition is a powerful concept. Defined by Webster’s as “transmittal of elements of a culture from one generation to another” this magazine has been published for generations, and within our pages each month we speak to each other from one generation of member to another, espousing information and techniques so that we may teach as well as learn.

The primary purpose of this publication is to demonstrate and celebrate the artistic and technical talents of our membership and to share that knowledge with members, subscribers and others who read about us each month. We are faithfully produced by a small core of dedicated staff who do their utmost to keep you apprised of the most cutting edge productions and technology in the film and digital world. Editor Neil Matsumoto along with Art Director Matthew Ward and Marketing Director Teresa Muñoz work diligently for all of us—I ask you to look to the right at our masthead, just as you would read the credits after a movie or TV show that you’ve worked on or enjoyed. (Not always the same thing, is it?)

We plan to make some subtle improvements to the magazine as we go along and want input from the membership regarding articles that you would like to see covered in future issues. I have been doing some behind the scenes work with the staff regarding future topics and we’re excited to explore some new territory. Jeff Goldenberg, camera assistant has offered some great story ideas such as “Four Perfs Under”—Digital replacement of deceased actors, which would bring our Visual Effects Supervisors into the mix. “Burnin’ Down the House”—Shooting in expensive locations; museums, palaces and mansions. How did you as the DP light it and how as a crewmember were you able to work around logistical difficulties? “It’s Only a Paper Moon”—Illuminating large exterior sets with extreme lighting units. “Beautifully Shot by…”—Newspaper and magazine critics speak out about what impresses them visually and the parameters they use when reviewing film and television photography. Additionally let me know what you think was your: toughest shot, coolest shot, strangest shot, most dangerous shot, and the shot of which you are most proud.

“But wait—there’s more!” For “Tips and Tools” we want to hear from assistants concerning what you expect of a good camera truck and for “The Prep Room” we would like to know what techniques you use to become as productive as possible while prepping a show; what works, what doesn’t and “Dude, where’s my equipment?” We’ve all gone through the ups and downs of trying to get in and out with the limited time production managers demand yet with lots more equipment to deal with than I ever had when I was an assistant.

Pauline Rogers will be offering a new variety of articles including information on states that offer tax incentives to filmmakers, a series on cinematographers who have had long-standing collaborations with directors (TV and film); a piece on Dante Spinotti and Duane Manweiller in November, and articles on Carnivale and Ladder 49.

We are contacting the publicity departments at the studios and our publicists requesting that they let our still photographers shoot photos of our crews on the set with and without actors so that we can showcase our members in action.

Also, we would love to hear from publicists, their trials and tribulations behind the scenes and create a series concerning “The Publicists and the Still Photographer—A Working Relationship.” Also I want to create some round table discussions in the future whereby small groups can speak to the issues on the set that affect you on a daily basis, then formulate informative articles from those sessions. 

Besides soliciting articles and ideas I would like to offer you the opportunity to send Letters to the Editor concerning anything magazine-related, past, present and future. We would like to publish comments on an ongoing basis. My email address is listed here and my mailbox is always open.

Michael Frediani, SOC
Editor-in-Chief
mike@icgmagazine.com