SESSION: The Big Picture: Imaging And Creativity, From Capture Through Post
David Stump ASC has worked on numerous motion pictures and television productions as Director of Photography, as Visual Effects Director of Photography, as Visual Effects Supervisor, and as Stereographer, (including both live action work and 2D to 3D conversion work), earning an Emmy Award, an Academy Award for Scientific and Technical Achievement and an International Cinematographers Guild Award. His credits include such high profile projects as The Last Stand, Immortals, Quantum of Solace, The Resident, Flight Plan, Fantastic Four, X-Men 1 & 2, Into the Blue, Red Riding Hood, Garfield, Batman Forever, Hollow Man, Men of Honor, Deep Blue Sea, Stuart Little, The Sphere, Contact, Batman & Robin, Mars Attacks, Executive Decision, Stargate, Free Willy, and What Love Is, among many others.
David is a member of AMPAS, ATAS, ASC, PGA, IATSE, SOC, SMPTE and numerous other industry associations. David currently serves on the Science and Technology Council of the Academy of Motion Picture Arts and Sciences. He is currently engaged in volunteer work for the SMPTE as co-chair of a study group on the subject of High Frame Rate for digital cinema. He is also participating in the AMPAS Academy Color Encoding System (ACES) file format project where he has contributed significantly in the area of metadata, and he is a member of the Academy’s Science and Technology Council. David is also currently writing a book on Digital Cinematography for the Focal Press.
In 2001 David was accepted for full membership into the American Society of Cinematographers, where he is currently chairman of the Camera Subcommittee of the ASC Technical Committee. Under his guidance, the combined efforts of the Producer’s Guild of America and the American Society of Cinematographers recently completed production of both the ASC / PGA Camera Assessment Series, and the ASC / PGA Image Control Assessment Series, side by side comparisons of virtually all of the high end digital cinema cameras against film, run through industry standard 10 bit log and 16 bit ACES workflows, taken all the way out to film print and Digital Cinema Package.