Made up of the chairs, co-chairs and/or vice-chairs of various committees, subcommittees and working groups.

The ASC MITC has provided leadership throughout the transition of our industry from film to digital including the development of digital techniques and technologies for making movies and television. Continued developments in digital motion imaging technologies, along with significant changes in the production environment, require our continued participation to best ensure that these rapidly advancing technologies effectively serve the creative interests of cinematographers and their filmmaking collaborators in ways that enhance their ability to achieve their creative vision.

Images from cameras are usually provided in a non-linear form, often specific to a given camera manufacturer. However, tools are typically provided to convert to alternate useful forms that are independent of camera type. Of special usefulness is linear light. A linear light representation is implicitly proportional to the light seen by the camera. Exposure then becomes a multiplicative scale factor. Within the limits of the maximum exposure and noise floor, the image is inherently invariant with respect to exposure. This paper describes simple methods to verify this exposure invariance, thus providing a characterization of the useful working exposure range. The processing steps taken in making the linear representation are also implicitly verified .

As we reflect on the disruptive impact that the pandemic has inflicted upon our personal and professional lives, I marvel at the resilience of our Motion Imaging Technology Council’s determination to continue addressing the rapidly evolving digital imaging technology challenges that are confronting filmmakers. Since its formation in 2002 as the ASC Technology Committee, our agenda over the years has consistently identified the critical technology developments driving the evolution of digital production workflows. The unique nature of our mission has always been the fusion of a solid scientific and engineering knowledge base with a laser focus on how these technologies can best benefit the cinematographer’s ability to utilize them to enhance their creative vision.

The creative role of a cinematographer as a key contributor to the artistic vision of a film was firmly established during the photochemical era. The cinematographer is responsible for overseeing the creation of a photographic “look” established in collaboration with the director. The cinematographer must have a practical knowledge of, and experience with, the film-based photographic system to effectively practice the art of cinematography.

Since its formation 100 years ago on 8 January 1919, the American Society of Cinematographers (ASC) has been consistently focused on the motion imaging technologies that underpin and enable the cinematographer’s creative toolset essential to artistic expression in narrative storytelling. From cameras, lenses, lighting, exposure metering and camera support equipment to the evolution of film stocks from BW (orthochromatic/panchromatic) to color (2 strip/3 strip Technicolor and eventually integral tri-pack single strip color from Eastman Kodak, the ASC and its cinematographer members have consistently been at the forefront of critical technology developments that have influenced the advancement of their art form.

The American Society of Cinematographers (ASC) Motion Imaging Technology Council (MITC – “my tech”) continues its well-established 15 year tradition of proactive engagement with the motion picture and television industry by playing a significant leadership role influencing the development of key motion imaging technologies to better support our filmmaking art form and the role of the cinematographer in its creation.

ASC Motion Imaging Technology Council Officers Chair: Curtis Clark, ASC Vice-Chair: Richard Edlund, ASC Vice-Chair: Steven Poster, ASC Secretary: David Reisner, dreisner@d-cinema.us

From its inception in 2003, the ASC Technology Committee has been guided by its primary mission to engage and influence motion imaging technology developments in ways that better serve and protect the filmmaker's creative intent and the role of the cinematographer in realizing a creative vision.

From its inception in 2003, the American Society of Cinematographers (ASC) Technology Committee has been guided by its primary mission to engage and influence motion imaging technology developments in ways that better serve and protect the filmmaker's creative intent and the role of the cinematographer in realizing a creative vision that best serves that creative intent.

From its inception in 2003, the ASC Technology Committee has been guided by its primary mission to engage and influence motion imaging technology developments in ways that better serve and protect the filmmaker's creative intent and the role of the cinematographer in realizing a creative vision.

Our industry has experienced remarkable change during the past decade. We have had both economic upheaval and major technological changes. Change has become almost a daily phenomenon in motion imaging. Cinematographers and their filmmaker collaborators appreciate the rich look and response of working with film, but we have recently reached the point where film is becoming seriously challenged and ...

Clark's ASC credits include such artful narrative films as The Draughtsman's Contract, Dominick and Eugene, Alamo Bay, Extremities , and Talent for the Game. His extensive commercial cinematography projects have put him on the cutting edge, working for some of the industry's top directors and agencies. Clark currently heads the American Society of Cinematographers (ASC) Technology Committee, which examines and addresses imaging technology issues as they relate to the creation of motion pictures and cinematography. That committee worked closely with Digital Cinema Initiatives (DCI) to produce the ASC-DCI Standard Evaluation Material (StEM) used to evaluate the performance of digital projectors and other elements of digital cinema systems.