Professional Documents
Culture Documents
January 2010
January 2010
95
$5.95
A M E R I C A N C I N E M A T O G R A P H E R J A N U A R Y 2 0 1 0 A V A TA R - T H E L O V E LY B O N E S - S H E R L O C K H O L M E S - C A L E B D E S C H A N E L , A S C V O L . 9 1 N O. 1
JANUARY 2010
BEST PICTURE
BEST CINEMATOGRAPHY ROGER DEAKINS, ASC, BSC
MAZEL TOV.
####. ONE OF THE COEN BROTHERS BEST AND MOST PERSONAL FILMS.
BEAUTIFULLY PHOTOGRAPHED BY ROGER DEAKINS. ITS A MOVIE MITZVAH.
-LOU LUMENICK, NEW YORK POST
AN EXTRAORDINARY ACHIEVEMENT.
Its almost impossible to overstate the artistry that unfolds
on writer-director Henry Selicks screen. A darkly compelling
fantasia in which every corner holds surprises.
BEST CINEMATOGRAPHY
Pete Kozachik , ASC
Litepanels
$250 Rebate
$100 Rebate
MiniPlus 2-Lite Kit
$50 Rebate
MiniPlus 1-Lite Kit
On Our Cover: After inhabiting an alien body, Jake Scully (Sam Worthington) explores a
distant planet in Avatar, shot by Mauro Fiore, ASC. (Image courtesy of 20th Century Fox.)
FEATURES
32
48
60
70
Watchful Spirit
Andrew Lesnie, ASC, ACS brings a bestseller to the big
screen with The Lovely Bones
Super Sleuth
Philippe Rousselot, ASC, AFC lends a kinetic look to
Sherlock Holmes
48
DEPARTMENTS
8
10
12
18
84
88
94
98
99
100
102
104
60
Editors Note
Presidents Desk
Short Takes: Hyundai Sonata Campaign
Production Slate: The White Ribbon The Imaginarium of Doctor Parnassus
Post Focus: Technicolor Hollywood HPA Awards
Filmmakers Forum: Shane Hurlbut, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Billy Dickson
J a n u a r y
2 0 1 0
V o l .
9 1 ,
N o .
Visit us online at
www.theasc.com
EDITORIAL
EXECUTIVE EDITOR Stephen Pizzello
SENIOR EDITOR Rachael K. Bosley
ASSOCIATE EDITOR Jon D. Witmer
TECHNICAL EDITOR Christopher Probst
CONTRIBUTING WRITERS
Stephanie Argy, Benjamin B, Douglas Bankston, Robert S. Birchard,
Bob Fisher, Simon Gray, Jim Hemphill, David Heuring,
Jay Holben, Mark Hope-Jones, Noah Kadner, Jean Oppenheimer,
John Pavlus, Chris Pizzello, Jon Silberg, Iain Stasukevich,
Kenneth Sweeney, Patricia Thomson
ART DEPARTMENT
CREATIVE DIRECTOR Marion Gore
ADVERTISING
ADVERTISING SALES DIRECTOR Angie Gollmann
323-936-3769 FAX 323-936-9188
e-mail: gollmann@pacbell.net
ADVERTISING SALES DIRECTOR Sanja Pearce
323-908-3114 FAX 323-876-4973
e-mail: sanja@ascmag.com
ADVERTISING SALES DIRECTOR Scott Burnell
323-936-0672 FAX 323-936-9188
e-mail: sburnell@earthlink.net
CLASSIFIEDS/ADVERTISING COORDINATOR Diella Nepomuceno
323-908-3124 FAX 323-876-4973
e-mail: diella@ascmag.com
American Cinematographer (ISSN 0002-7928), established 1920 and in its 90th year of publication, is published
monthly in Hollywood by ASC Holding Corp., 1782 N. Orange Dr., Hollywood, CA 90028, U.S.A.,
(800) 448-0145, (323) 969-4333, Fax (323) 876-4973, direct line for subscription inquiries (323) 969-4344.
Subscriptions: U.S. $50; Canada/Mexico $70; all other foreign countries $95 a year (remit international
Money Order or other exchange payable in U.S. $). Advertising: Rate card upon request from Hollywood
office. Article Reprints: Requests for high-quality article reprints (or electronic reprints) should be made to
Sheridan Reprints at (800) 635-7181 ext. 8065 or by e-mail hrobinson@tsp.sheridan.com.
Copyright 2007 ASC Holding Corp. (All rights reserved.) Periodicals postage paid at Los Angeles, CA
and at additional mailing offices. Printed in the USA.
POSTMASTER: Send address change to American Cinematographer, P.O. Box 2230, Hollywood, CA 90078.
F O R
Y O U R
C O N S I D E R AT I O N
BEST CINEMATOGRAPHY
GREIG FRASER
BRIGHTSTAR-MOVIE.COM
APPARITIONSCREENINGS.COM
CookeOpticsLimited
OFFICERS - 2009/2010
Michael Goi
President
Richard Crudo
Vice President
Owen Roizman
Vice President
Victor J. Kemper
Vice President
Matthew Leonetti
Treasurer
Rodney Taylor
Secretary
MEMBERS OF THE
BOARD
Curtis Clark
Richard Crudo
George Spiro Dibie
Richard Edlund
John C. Flinn III
John Hora
Victor J. Kemper
Matthew Leonetti
Stephen Lighthill
Isidore Mankofsky
Daryn Okada
Owen Roizman
Nancy Schreiber
Haskell Wexler
Vilmos Zsigmond
ALTERNATES
Fred Elmes
Steven Fierberg
Ron Garcia
Michael D. OShea
Michael Negrin
MUSEUM CURATOR
6
Steve Gainer
Claudia Puig
Joe Morgenstern
F O R
Y O U R
C O N S I D E R A T I O N
cinematography.
BEST CINEMATOGRAPHY
Barry Ackroyd, B.S.C.
Stephen Pizzello
Executive Editor
8
Editors Note
WWW.BANDPRO.COM
BURBANK 818-841-9655
MUNICH + 49 89 94 54 84 90
TEL AVIV + 972 3 562 1631
NEW YORK 212-227-8577
Presidents Desk
Mark your calendars, because on Feb. 20, 2010, something huge is going to happen.
Have you ever wanted to watch your favorite cinematographer light a scene and explain
his or her thought process? Are there questions youve always wanted to ask ASC members
about their lives and careers? Do you wish you could find out the little tricks we use to make a
scene truly memorable? Have you ever wanted to visit the ASC Clubhouse?
Well, all these things, and many more, have been dreams and requests weve received over
the years from American Cinematographer subscribers and, more recently, our Facebook fans,
and weve been working feverishly on a way to make them possible. Next month, they will be.
Friends of the ASC is a new level of ASC membership that will open the door to the
inner workings of the Society and its members. It will give you unprecedented access to new,
exclusive content about lighting, camerawork and associated technologies, as well as access to
industry events featuring ASC members. Thanks to our partners, the vendors who support our
educational and outreach pursuits, it will also help you pursue your professional goals; these
partners will offer you discounts on their products and services.
What will you get as a Friend of the ASC? The list of benefits is growing by the day, but here are just a few of them:
A one-year subscription to the digital edition of American Cinematographer
A Friends of the ASC membership card granting access to exclusive discounts on equipment and services from the top
professional vendors in the industry, in addition to savings at the ASC Store
A free annual event at the ASC Clubhouse especially for Friends of the ASC, so you can meet and talk with ASC members
in person
Discounted admission to select ASC events
Exclusive access to Friends of the ASC content at www.theasc.com, which will include how-to videos about lighting featuring ASC members; technical tips from industry professionals on subjects such as digital intermediates; and Ask the ASC, where
you can address questions to specific cinematographers and have them answered
Exclusive access to historic audio interviews with such ASC legends as James Wong Howe, Karl Struss and Ray Rennahan
And thats just the tip of the iceberg. We plan to add even more features based on what our subscribers say is most interesting and important to them, including discounted admission to select ASC events. All of these benefits will be available for a $100
annual fee. Regardless of your location, you can connect with the ASC in ways that were never before possible.
Friends of the ASC will be officially unveiled on Feb. 20 at the ASC Open House, where attendees will get a firsthand look at
everything this new level of membership offers.
You will be hearing a lot more about this fantastic new program in the near future. Its been in the works for a few years,
and the ASC staff has worked closely with the Societys officers, board members, and active and associate members to make Friends
of the ASC the most exciting, informative and inspiring way for all filmmakers, emerging and established, to be closer to the Society and what we do.
Im looking forward to having you join us!
10
January 2010
American Cinematographer
Film. No Compromise.
Kodak, 2010. Kodak and Vision are trademarks.
Short Takes
I love the challenge of using light to bring out a cars personality and presence. You can put a certain amount of direct light on
a car, but its the source that provides shaping and contouring. The
bigger the reflective element, the easier it is to manipulate the
contouring of the lines. When you raise the light, the reflection gets
smaller; the closer you get to the car, the bigger it gets. The critical
thing is that the reflection has a clean, white edge to it. You can
see this in the commercials launching the 2011 Hyundai Sonata,
for which I used an overhead soft box as my primary sculpting tool.
In addition to providing direct light, soft boxes create the kinds of
large reflections needed to effectively bring out a vehicles design
features.
One example of a soft box is a Fisher Light, a big unit that
can be suspended and mounted in different ways, usually on a
chain motor or with a crane. It can be repositioned on the fly to
provide the cinematographer with a lot of lighting choices. You can
program fades and chase sequences within the fixture, build in
transitions, or dim down or shade off certain areas of the flickerfree color-balanced (tungsten or daylight) fluorescent globes to
reduce intensity in certain areas.
If I were shooting in the United States, I would normally use
a Fisher Light, but on the Sonata spots I had my own soft box, a
30'x20' fluorescent unit built for a Hyundai commercial Id shot in
12
January 2010
Seoul, South Korea. This particular rig only has two settings, full
strength and half strength. Compared to a Fisher, it doesnt offer
much flexibility in shaping the light, but its bright enough that Im
able to shoot anywhere between T2.8-T8 at 250 ASA. Like a lot of
standard fluorescents, the fixtures globes have a green spike, so I
have to be careful about matching my daylight-balanced lamps
(which, for the Sonata spots, included 18Ks, Pars, Dedos and
Source Fours). Because I cant filter the soft box, I add Plus Green
to all of the supplemental lighting and remove the green in
telecine.
Using Kodak Vision3 250D 5207, I photographed two
different Sonatas, one with a diffuse, metallic body that gave me
soft reflections, the other with a glossy, red paint job that offered
clearer, more specular reflections. The opening shot of the silver
Sonata is a three-quarter view, lit with a combination of my soft
box and supplemental lighting on the ground; the light is reflected
in the windshield and on the hood, and it casts a shadow pattern
beneath the character line, a convex detail in the chassis that runs
from the front wheel arch to the back of the car. The character line
is echoed with a highlight, a parallel line caused by the door panel
curving out, beneath which is a shadow caused by the door panel
angling back in.
I positioned the soft box above the hood at a 45-degree
angle, favoring the drivers side. This gave me the greatest degree
of depth of shadow and the right degree of highlight. The lights
not directly overhead, and its not on the side; if it were, the car
American Cinematographer
Cinematographer
Curtis Clark, ASC
had translucent
balloons
specially made
for a commercial
featuring the
2011 Hyundai
Sonata. Keeping
in mind the cars
trajectory as
well as the
moving camera,
the balloons
were
strategically
placed in the
frame to reflect
along the side of
the car.
Top: The crew positions the balloons onstage. Clarks lighting also included an overhead
soft box (center, above the balloons) and 18Ks (left and right). Middle and bottom: For
another sequence in the commercial, Clark devised a 20'x30' grid of 80 fluorescent bulbs.
The grids reflection on the car echoes a musical-scale graphic that was added in post.
14
January 2010
American Cinematographer
January 2010
www.aja.com
One workflow.
From Lens to Post.
Ki
Ki Pro is an all new way of connecting production and post.
Finally, shoot on the same codec as you edit with, Apple ProRes 422,
built natively into Ki Pros stand-alone, portable hardware.
With its extensive analog and digital connectivity, virtually any video and audio source can be fed into Ki Pro.
It also includes AJAs powerful 10-bit realtime up/down/cross-conversion, enabling instantaneous recording
of SD or HD from any camera format.
Record pristine ProRes media to a removable Storage Module with built-in FireWire 800, or to
34mm ExpressCard Flash both instantly mount on your OSX desktop for immediate editing and file access.
Ki Pro is tough and rugged, yet small and portable, designed for real production environments.
Powered through an industry standard 4-pin XLR, you have flexible AC and battery options. Use Ki Pro on a
table, or mate it between your camera and tripod via a bulletproof optional aluminum cage, complete with
sliding baseplate and accomodation for 15mm rods.
Visit our website to discover the full details of how Ki Pro will change your world.
K i
P r o.
B e c a u s e
i t
m a t t e r s .
Rural Terrorism
By Jean Oppenheimer
January 2010
American Cinematographer
The White Ribbon photos courtesy of Films du Losange, Sony Pictures Classics and the filmmakers.
Production Slate
David Ward/
WRITER/DIRECTOR
Sleepless in Seattle,
The Sting
Dezso Magyar/
ARTISTIC DIRECTOR
No Secrets,
Summer
John Badham/
DIRECTOR
Saturday Night Fever,
WarGames
Alexandra Rose/PRODUCER
Norma Rae,
Frankie and Johnny
Lawrence Paull/
PRODUCTION DESIGNER
Back to the Future, Blade Runner
Paul Seydor/EDITOR
White Men Cant Jump,
Barbershop II
Bill Dill/CINEMATOGRAPHER
Dancing in September, The Five Heartbeats
800-775-0065 714-997-6765
FTV.CHAPMAN.EDU
ROBERT BASSETT, DEAN
Chapman University is accredited by and is a member of the Western Association of Schools and Colleges.
Top: Dinner at
the home of
the town pastor
(Burghart
Klaussner).
Middle: The
town doctor
(Rainer Bock)
and his
daughter
(Roxane Duran).
Bottom: White
ribbons make
Klara and
Martin stand
out in the
childrens choir.
costumes. I wanted to retain all information, from the darkest, deepest black to the
lightest white, he says, adding that set
designer Christoph Kanter and costume
designer Moidele Bickel were outstanding
collaborators.
Haneke wanted to avoid any feeling
of warmth or nostalgia, two qualities
frequently associated with period pieces.
Instead, the filmmakers opted for what
Berger describes as a kind of modern
look, although he readily concedes, I
20
January 2010
January 2010
FILM, VIDEO,
AND
BROADCASTING
CONTINUING EDUCATION:
t%JHJUBM7JEFP5FDIOPMPHZ
t%PDVNFOUBSZ
t'JMN1SPEVDUJPO
t1FSGPSNBODFGPS'JMNBOE#SPBEDBTU
t1PTU1SPEVDUJPO
t1SF1SPEVDUJPO
t1SPEVDJOHBOE&OUFSUBJONFOU.BOBHFNFOU
TECHNICAL SPECS
Super 1.85:1
3-perf Super 35mm
Moviecam Compact
Cooke S4 lenses
Kodak Vision3 500T 5219, 250D 5207
Digital Intermediate
Printed on Kodak 2302
24
January 2010
Left to right: Percy (Verne Troyer), Anton (Andrew Garfield), Parnassus (Christopher
Plummer), Valentina (Lily Cole) and Tony (Heath Ledger) update their traveling-theater show
in The Imaginarium of Doctor Parnassus.
The Imaginarium of Doctor Parnassus photos by Liam Daniel and Richard Bain. Photos
and frame grabs courtesy of Sony Pictures Classics.
Andree Martin
VP Technical Services
www.clairmont.com
Hollywood
818-761-4440
Vancouver
604-984-4563
Toronto
416-467-1700
Albuquerque
505-227-2525
Montreal
514-525-6556
January 2010
January 2010
lights for illumination, generally using 100watt bulbs wired to separate dimmers,
although he would often switch to 60- or
40-watt bulbs if they were prominent in the
frame. Very often I would take one of those
rows of bulbs out of shot and put it on a
magic arm at the height I needed, he
explains. We also used some covered
wagons, which are about 1-foot long and
have one or two 60- or 100-watt bulbs on
dimmers, and the result is like a small China
ball. Those were very easy to position, and
we could even clip them to the curtains.
As the wagon carries the troupe
away from a performance one dreary night,
its riders find Tony (Ledger) hanging from
a noose beneath Blackfriars Bridge. I
couldnt pound too much light there
because it would have killed the background, but at the same time, we wanted to
see the river, says Pecorini. There was no
way to bring a crane in, so we went to the
roof of a nearby building and set up two
DC16s and four DC8s we rented them
from Iride, and theyre like Mini-Brutes, with
16 and eight 1,000-watt Par 64s. Then I
made sure the real lights on and under the
American Cinematographer
Left: Gilliam
supervises the
setup of a
flashback to
Parnassus
younger days.
The rotating
dingles at left
create a sense
of motion on
the stationary
gondola.
Right: Tony
(Colin Farrell)
reflects upon
his latest
visage.
prime choice
15mm 40mm
28mm 76mm
Gilliam (at
camera)
checks the
frame while
Ledger
catches a ride
on the back
of Parnassus
wagon.
TECHNICAL SPECS
Super 1.85:1
3-perf Super 35mm
Arricam Lite; Arri 435 Xtreme, BL-3
Arri/Zeiss Ultra Primes
Kodak Vision2 500T 5218;
Vision3 250D 5207, 500T 5219
Digital Intermediate
Printed on Kodak Vision 2383
17mm 80mm
35mm lenses. Thats a lot less to purchase, rent and carry. Yet
still fills every need from hand-held and Stedicam to dolly and
crane applications. The perfect complement to your favorite fixed
lenses. Just some of the reasons pro cinematographers around
the world consider the Angenieux Optimo family of zoom lenses
a prime choice for 35mm film and large format digital production.
angenieux@tccus.com angenieux.com
ERRATA
Print-stock information was incorrect in
three articles last month. Release prints
of Nine, Brothers and Fantastic Mr. Fox
were made on Fuji Eterna-CP 3513DI.
24mm 290mm
Mauro Fiore,
ASC helps James
Cameron envision
Avatar, a 3-D
science-fiction
adventure that
combines highdefinition video
and motion
capture.
by
Jay Holben
|
Conquering
NewWorlds
January 2010
American Cinematographer
Ex-Marine Jake
Scully (Sam
Worthington,
opposite) goes
native after his
alien avatar is sent
to the distant
planet Pandora,
where he forges a
close bond with
Navi princess
Neytiri (Zoe
Saldana, above).
The pair ultimately
confront a human
invasion led by
Col. Quaritch
(Stephen Lang,
middle). Below:
Mauro Fiore, ASC
mans an HD
camera.
January 2010
33
The
paraplegic
Scully regains
the ability to
walk after his
consciousness
is transferred
into a Navi
avatar.
34
January 2010
American Cinematographer
A virtual
diagram shows
a pair of
remote
research
stations that
were built in a
former
Mitsubishi
factory in New
Zealand. Gaffer
Chris Culliton
explains,
Because we
had these
exact virtual
models of the
warehouse and
the sets, we
were able to
design and test
the lighting
and
greenscreen
weeks before
we arrived in
Wellington. As
you can see, on
the real set we
decided to go
with 24-light
Dino softboxes
rather than
20Ks on the
rolling truss;
the ability to
change the
bulbs and the
diffusion
allowed us
more options
for a soft,
ambient push.
Between the
Dinos, we also
hung 10K beam
projectors to
create a hard,
warm sun
feeling where
needed.
35
Top and
middle: After
Scully tames
a flying
Banshee on
Pandora (top),
Neytiri shows
him how to
mount the
beast. Below:
Saldana takes
a ride on the
motioncapture stage.
36
January 2010
American Cinematographer
connect
the shots
consolidate your acquisition options. sacrice none.
Unifying all your video sources and cameras has
never been easy until now. The AJ-HPM200
P2 Mobile is the key workow tool on any production
because its HD-SDI connectivity lets you record from
any camera or device in 10-bit, 4:2:2 independent
frame AVC-Intra100 or DVCPRO HD/50/25 and,
simultaneously* in long GOP AVCCAM.** So no
matter how many sources you have, you can
bring them all into one portable unit.
With the new HPM200, you can play P2 and
AVCCAM footage, as well as full frame rate P2
playback from a disk drive. You can also archive
Quaritch talks
to Scully
while testing
an Armored
Mobility
Platform suit.
This sequence
was shot in
the former
Mitsubishi
facility in
New Zealand,
where
Culliton and
key grip
Richard Mall
created the
illusion of a
100'-tall
space by
hanging
greenscreen
teasers of
different
lengths, which
hid the light
fixtures and
the real 22'
ceiling.
January 2010
American Cinematographer
Military helicopters fire their missiles into Pandoras toxic atmosphere. The staggered
teasers strategy was also employed for these greenscreen shots.
January 2010
Top: Scully
makes his way
through
Pandoras
jungle foliage
while trailed
by Dr. Grace
Augustine
(Sigourney
Weaver).
Middle:
Director James
Cameron
offers
Worthington
and Weaver a
demonstration
of proper
military
technique on
the motioncapture stage.
Bottom:
Worthington
jumps a horse
also covered
with mo-cap
sensors.
42
January 2010
American Cinematographer
Shut-Eye
y for
Shut-Eye
RED One
RED
...als
o ava
ilable
exact
came
Patent pending
ng
at this great expanse of a 100'-tall location that simply didnt exist we were
looking up into our lighting fixtures and
the ceiling, says Culliton. We had to
find a way to light from above yet still
have a greenscreen up there so the rest
of the set could be added later.
To solve the problem, Culliton
and key grip Richard Mall took a cue
from the theater world and hung greenscreen teasers of different lengths from
the ceiling. The teasers were hung in
between the rigging; the lights were
clear to illuminate the set, but from the
camera position, the teasers hid the
fixtures. We hung the teasers perpendicular to the ceiling, covering roughly
150 feet of ceiling space, with about 6 to
10 feet of space between each teaser,
says Culliton. If you stood in the corner
and looked up, it appeared as a single
piece of greenscreen. On the camera
side, between the teasers, we hung Kino
Flos to light the green; wed normally
use green-spike tubes for greenscreen,
but because of the lights proximity to
the actors and the set, we went with
standard tungsten tubes. To light the
set, we hung 10Ks gelled with 12 CTB,
and we had about 50 10-degree Source
Four Lekos gelled with 14 CTB and 14
Hampshire Frost hanging between the
teasers. Those gave us little hits and
highlights throughout the set.
Greenscreen, in abundant supply
on the shoot, was often placed close to
actors and set pieces for particular
composite effects, which led to concerns
about green spill. Fortunately, while
touring the Weta Digital facility, Fiore
found a solution with the help of fellow
ASC member Alex Funke. We went
over to visit with Alex, who shoots the
miniatures for all of Wetas work, and he
showed us this 3M Scotchlite material,
the same highly reflective material thats
used in traffic signs and safety clothing.
He put it around the miniatures and lit
them with ultraviolet light, which
allowed him to pull really clean mattes
without corrupting the rest of the set.
Using standard black-light
fixtures, Fiore and his team began
attaching the Scotchlite material to
for
and
ra ty
pes s
ee ou
r web
sit
www.d
denz-deniz.com
www.denz-deniz.com
43
Virtual-production supervisor Glenn Derry (top) aims the SimulCam, which allowed the filmmakers
to shoot live motion-capture footage and immediately see a low-resolution version of the CG
animation on a monitor (middle). Bottom: Cameron and Fiore review their work on set.
44
January 2010
American Cinematographer
,1,7,21
3URIHVVLRQDO
'6WHUHR5LJV
IURP367(&+1,.
One of Pandoras fearsome creatures, a Thanator, takes Scully by surprise.
effect that was very distracting, continues Fiore. Even a practical fluorescent
could cause a problem. I tried a few
experiments, like putting polarizing gel
on the highlight sources and a Pola on
the lens and then trying to dial them
out, but as soon as the camera moved,
the effect was gone. So I had to bring in
smoke, where I could, to bring down
the contrast.
Fiore also had to rethink his
approach to composition. Anytime
youre in a position where one lens is
obstructed by an object and the other
isnt say, when youre shooting over
someones shoulder or through a doorway you get into a situation your eyes
cant comfortably handle in 3-D.
Whenever we got into that type of situation, we had to be very careful to
ensure both lenses were seeing both the
obstruction and the clear view.
Because so much of the films
world is virtual, Fiore was constantly
matching interactive lighting with
elements that would be comped into
the image in post. An example of this is
a plasma storm that takes place on
Pandora. What is a plasma storm? No
one knows its all inside Jims head!
Fiore exclaims with a laugh. We had to
figure out a way to create a fantastic
event that no one had ever seen before.
0RGXODU'HVLJQ
2SWLPXP8VDELOLW\
+LJKO\3UHFLVH$GMXVWPHQW
/LJKWZHLJKWDQG5XJJHG'HVLJQ
)XOO')OH[LELOLW\
0D[LPXP&DPHUD&RPSDWLELOLW\
)XOO0RWRUL]DWLRQDYDLODEOH
8QLYHUVDO
0LUURU5LJ
6WHDGLFDP
0LUURU5LJ
:HFRPELQHWKHODWHVWWHFKQRORJ\
PDWHULDOVDQGRQVHWH[SHULHQFHWR
VXSSRUWVWHUHRVFRSLF'SURGXFWLRQV
ZLWKIXQFWLRQDOKLJKHQGHTXLSPHQW
2IoFLDO5HVHOOHU1RUWK 6RXWK$PHULFD
_VDOHV#]JFFRP
ZZZSVWHFKQLNGH
45
Augustine
examines
mission data
with Scully,
Spellman
(Joel Moore,
right) and
Chacon
(Michelle
Rodriguez,
background).
46
TECHNICAL SPECS
1.78:1
High-Definition Video
Sony F950, HDC1500, F23;
SimulCam
Canon zoom lenses
Digital Intermediate
47
Andrew Lesnie,
ASC, ACS
reteams with
Peter Jackson on
The Lovely
Bones, in which
a murdered teen
tracks her killer.
by
Simon Gray
|
Watchful Spirit
A
48
January 2010
life from the man who killed her. How she escapes the label
Susie Salmon, murder victim is the thrust of the film.
Susie watches over her family as they struggle to cope
with her death, which eventually shatters her parents
marriage. The poignancy of the film is that Susie stays 14
while her family grows older, says Jackson. Through the
Salmon family, we see the years pass. When Susie is killed, in
1973, her younger sister, Lindsey [Rose McIver], is 12, and by
the films conclusion, Lindsey is almost 20 and expecting a
baby.
The Lovely Bones is Jacksons fifth collaboration with
director of photography Andrew Lesnie, ASC, ACS, following the Lord of the Rings trilogy (AC Dec. 01, Dec. 02 and
American Cinematographer
Photos by Barry Wetcher, SMPSP; Matt Mueller; and Pierre Vinet. Photos and frame grabs courtesy of DreamWorks Studios LLC.
Opposite:
Susie
(Saoirse
Ronan)
approaches a
lighthouse in
an inbetween
sequence
that leads to
a grisly
discovery.
This page,
top: Susie
and her
father, Jack
(Mark
Wahlberg),
bond in his
study.
Middle:
Andrew
Lesnie, ASC,
ACS lines up
a shot in the
set with
Peter Jackson
(foreground).
Bottom:
George
Harvey
(Stanley
Tucci), Susies
murderer, is
seldom
shown in full
view in the
film.
January 2010
49
Watchful Spirit
have geographical proximity, especially
the Salmons and Harveys homes.
Thats very important to the underlying sense of unease, notes Jackson. Its
disturbing that Susies missing,
presumed murdered, and Susie and the
audience are the only ones who know
its the guy living four doors down. He
even has all the evidence of her murder,
including her body, in his house.
The cornfield where Susies
kidnapping and murder take place lies
between the safety of the school and
her house Harvey, almost within
plain sight, has dug a small room under
the cornfield. Susie leaves school late
one afternoon, and as she walks across
the field towards home, she drops one
of her books, and a note from a boy she
has arranged to meet falls out and
blows across the field. As she gives
chase, the camera reveals Harvey,
standing in the middle of the otherwise
empty field. He attempts to persuade
Susie to climb down into the underground room, which he has furnished
with toys. Initially reluctant, she is
finally won over when Harvey taunts
her that the other kids will see it first.
Set in the late afternoon, the
scene was filmed over two days in a
variety of weather conditions. Lesnie
combined a cool ambience (Kodak
Vision2 200T 5217 with an 81EF filter
on the lens) with warm tungsten lighting in the background to provide separation. From the cornfield, you can see
the school soccer field and some of the
neighborhood houses, he explains.
Jays crew rigged 10 unsnooted Mole
Pars on each of four poles surrounding
the soccer field, and we also had tungsten light a mix of Nine-light Maxis
and 2K and 5K Fresnels emanating
from the nearby houses.
Some time later, in a night scene,
Susie is shown escaping from Harveys
underground room and running across
the cornfield. (It is, in fact, her spirit
that has escaped.) Lesnie lit the scene
with 12K Pars on two 135' Condors,
with smaller HMIs and tungsten
sources backlighting the naturally
occurring mist. He recalls, Saoirse
Top: Harvey
keeps an eye
on his prey.
Middle: Susie
comes faceto-face with
Harvey on her
way home
from school.
Bottom:
Harvey
successfully
lures the girl
into his
underground
toy room.
50
January 2010
American Cinematographer
Top: Preparing a
night shoot in
the cornfield.
Middle: Harvey
checks on his
secret room.
Bottom (from
left): 1st AC
Colin Deane,
camera
operator
Cameron
McLean, Lesnie,
1st AC Dean
McCarroll and
stills
photographer
Pierre Vinet
capture Harvey
at home.
Stretchedmuslin ceilings
helped the
team reduce
lighting
technology in
house interiors.
www.theasc.com
January 2010
51
Watchful Spirit
Top: A gazebo
figures
prominently
in Susies in
between,
serving as a
motif for her
varying
emotional
states.
Bottom: The
filmmakers
prepare to
shoot on
location in
New Zealand.
January 2010
Watchful Spirit
Above: Jack
thinks he catches
a glimpse of his
missing daughter
in his study
window. Right:
(from left) Gaffer
Jay Fortune,
Lesnie and
Jackson sit in
what Lesnie calls
the only safe
place during an
expansive
Steadicam shot
around the
Salmon
household.
January 2010
THE
LOVELY BONES
Cinematography by
www.arricsc.com
Watchful Spirit
Above: One of
Jacks ships-ina-bottle takes
on surreal
dimensions in
Susies in
between.
Bottom:
Filming in a
barley field
that provided
elements for
another inbetween
sequence.
January 2010
actually a serial killer. In one of her inbetween scenes, she is drawn toward a
lighthouse, and when she enters it, its
Harveys house, and she is bombarded
with imagery of the other victims.
Rather than undertaking a complicated
visual-effects sequence, Jackson wanted
the encounters to happen in real time,
with no cuts. I wanted to blend
Harveys house with the sites where
hed dumped the bodies: a swamp, a
ditch, underneath the floorboards, in an
old shack, and underneath a freeway,
says Jackson. I wanted to be able to
film Susie in Harveys kitchen, then pan
across and suddenly be in the swamp,
American Cinematographer
To simulate Susie drifting down through a watery environment, Saoirse was lowered
slowly on a wire rig, with fans below taking out some of the gravity effect, says Lesnie.
We bounced HMI Pars into 10-by lam reflectors loosely tied and shaken to create a ripple
effect. We filmed this at 120 fps with two Arri 435s, one on a Scorpio head on a Giraffe
crane, which doubled the height of her fall by starting low and craning up to the ceiling,
and the other on a Steadicam, maintaining a slow-moving wide shot.
Watchful Spirit
Lesnie
prepares to
negotiate a
shopping mall
with key grip
George Patsos
(left) and
dolly grip
Louis Sabat.
58
604
642
643
650
Industry Sodium
651
HI Sodium
652
Urban Sodium
653
LO Sodium
thing much closer to the finished product. This approach worked so well that
some of the looks Sam and Jon applied
to the dailies are in the final film.
TECHNICAL SPECS
2.40:1
Super 35mm, 4K Digital Capture,
High-Definition Video
Arricam Lite, Arri 435, Red One,
Ikonix HD-RH1
Angenieux Optimo, Arri Ultra Prime,
Fujinon lenses
Kodak Vision2 500T 5218,
200T 5217
Digital Intermediate
Printed on Kodak Vision 2383
New LEE
Urban
effect
filters
Create a Sodium effect
with tungsten or daylight
Think LEE
www.leefilters.com
59
Philippe Rousselot,
ASC, AFC uses
creative deduction
to craft a striking
look for Guy
Ritchies Sherlock
Holmes.
by
Benjamin B
|
Super
Sleuth
S
60
January 2010
American Cinematographer
Unit photography by Alex Bailey and Barry Wetcher. Photos and frame grabs courtesy of Warner Bros.
Opposite:
Sherlock Holmes
(Robert Downey
Jr.) searches for
clues, backed by
his loyal
sidekick, Watson
(Jude Law). This
page: The duo
brainstorm at
221B Baker
Street, a set
built in
Brooklyn.
Bottom:
Philippe
Rousselot, ASC,
AFC finds his
frame.
www.theasc.com
January 2010
61
Super Sleuth
Holmes
often finds
himself at
odds with
the alluring
Irene Adler
(Rachel
McAdams),
and keeps a
close eye on
Watsons
romantic
prospects.
Rousselot
notes that
he kept the
look of the
main
characters
faces a bit
on the cool
side: I
prefer a cold
skin tone to
a warm one.
I find it more
elegant and
also closer
to the period
in those
days, people
stayed out of
the sun.
January 2010
completely different from what I imagined, even on the day of shooting. It was
a day-by-day discovery.
The films images have a crisp,
sometimes edgy look, with soft lighting
and strong contrast; its a look far
removed from a traditional period piece.
The look was completed in the DI by
an occasional, slight softening of the
shadows and some highlights, creating a
subtle smear, and a grade that deepened
and sometimes gilded the blacks of an
already-contrasty image. Usually you
want detail in the blacks, but on this
picture we purposely lost detail, notes
Rousselot. It looks like those 19thcentury paintings that used bitumen.
Bitumen, he explains, was a black paint
made from coal tar that degraded over
time, eventually damaging the works of
Delacroix and others who had used the
material to create strong blacks in their
paintings.
The location work in Sherlock
Holmes was shot in Great Britain, and
the soundstage work was shot across the
Atlantic, on the Armory stages in
Brooklyn. There, the production built
the interiors of Holmes and Watsons
Baker Street flat and of the Tower
Bridge site where the third-act showdown takes place. Because of the
productions tight schedule, Rousselot
worked with two gaffers, both longtime
January 2010
63
Super Sleuth
Taking control
of a sinister
sect,
Blackwood
demonstrates
a mastery of
black magic.
Helium
balloons were
used to
provide
ambient
lighting in
some of the
shows larger
locations.
January 2010
American Cinematographer
Top: Framestore
created digital
matte paintings
of the buildings
and sky to add
a 19th-century
feel to this
grand view of
Londons
Houses of
Parliament.
Middle and
bottom:
Watson signals
a warning
while
investigating a
slaughterhouse,
part of a
sequence shot
on location at
docks in
Liverpool.
January 2010
65
Super Sleuth
66
January 2010
American Cinematographer
GET
O
T
H
T
R
A
E
E
H
T
F
O
S
YOUD GO TO THE END
.
S
D
R
A
D
N
TA
S
R
U
O
Y
S
T
E
E
M
T
THE SHOT THA
OURS.
S
T
E
E
M
T
A
H
T
Y
B
R
A
E
N
B
A
L
LUCKILY THERES A
ettable images, its
will go to create unforg
rs
ke
ma
lm
far
w
ho
g
ogram
Considerin
KODAK IMAGECARE Pr
a
s
ay
alw
t
os
alm
es
er
th
lves to
reassuring to know that
have committed themse
s
lab
er
mb
me
r
Ou
.
by
ar
accredited laboratory ne
age of lms benets
so you can take advant
ds
ar
nd
sta
ty
ali
qu
st
the highe
wherever you roam.
ipating laboratory at:
Find your nearest partic
agecare
www.kodak.com/go/im
Film. No Compromise.
Super Sleuth
An elegant
gentlemens
club serves as
the setting
for a
confrontation
between
Holmes and
Watsons
fiance, a
sequence the
filmmakers
captured with
two cameras.
January 2010
Super Sleuth
Rousselot
(left) confers
with Ritchie
and an
unidentified
crewmember.
70
make it feel as if it was shot with a helicopter. The multiple ironies of creating
a virtual helicopter move to add realism
to a greenscreen set in a 19th-century
story are not lost on the filmmakers.
Inglis notes that the last days of a
DI are often fully occupied by a CGIladen final act. On a lot of films now,
you end up with a very short space of
time to grade what is sometimes the
hardest scene in the film: the big finale,
says the colorist. And its often the hardest thing because its mostly CGI. On
Sherlock Holmes, this process was greatly
simplified by the use of digital mattes;
for a few key scenes, effects facilities
Double Negative and Framestore sent
both the final image with the composite
effect and black-and-white mattes of the
separate elements. In the Tower Bridge
sequence, this meant an outline matte
for the stormy CG sky, a second matte
for the CG bridge, and a third (foreground) matte of the actors silhouettes
cut out from the greenscreen. Inglis
could then use the mattes to, for example, grade the foreground actors separately from the CG sky or bridge.
After praising 2nd-unit cinematographers Stewart and Neal
Norton, camera operator Des Whelan,
and the other members of his crew,
Rousselot assesses the evolution of the
movies look: Guy wanted to make the
film realistic as opposed to stylized, but
he also wanted to give the film a recognizable look, which in a way is a contradiction. But contradictions are always
interesting! This meant we had to try to
find something that was neither realistic
nor stylized, and I think we finally
found it at the end of the DI.
As a filmmaker, Im really trying
to get away from reality I want to
create an enhanced reality, affirms
Ritchie. Philippe and I talked about a
look, and, like all these things, you sort
of change things on the day. It sort of
naturally percolates. Lighting is not
necessarily an intellectual process. Its an
TECHNICAL SPECS
Super 1.85:1
Super 35mm and
High-Definition Video
Panaflex Millennium, XL; Arri 435;
Phantom HD
Panavision Primo lenses
Kodak Vision3 500T 5219,
Vision2 250D 5205
Digital Intermediate
Printed on Kodak Vision 2383
71
TheRight Stuff
Caleb Deschanel, ASC is
honored with the Societys
Lifetime Achievement Award
amid his still-thriving career.
by Jon Silberg
|
72
January 2010
n The Black Stallion (1979), his first feature as a director of photography, future ASC member Caleb
Deschanel had an opportunity to collaborate with a
director, Carroll Ballard, whose goal was the kind of
visually poetic feature cinematographers long to shoot. After
wrapping the project, however, Deschanel was far from
certain that an illustrious career awaited him. The production was difficult; many of the Canadian crewmembers were
deeply skeptical of Ballards improvisational approach, and
the director and cinematographer had begun to have their
own doubts. Deschanel was reassured, however, when his
wife, actress Mary Jo Deschanel, saw the finished film. She
was blown away by it, he recalls, and she got so mad at
Carroll and me for having been so cautious, so negative. He
went on to win the Los Angeles Film Critics cinematography prize and earn BSC and BAFTA award nominations for
his work on the film.
Deschanels cinematography career, which so far
American Cinematographer
Photos by Ron Grover; Sidney Baldwin; Bruce Herman; Brian Hamill, SMPSP; Takashi Seida; Andrew Cooper, SMPSP; and Philippe Antonello.
Opposite:
Caleb
Deschanel, ASC
(right) consults
with director
Philip Kaufman
during filming
of The Right
Stuff. This
page, top:
Kaufman and
Deschanel
flank
legendary pilot
Chuck Yeager
on a break
during the
shoot. Bottom:
Deschanel
takes to a
crane to
capture a shot
for the film.
73
Right: Deschanel
at work on Being
There, his first
collaboration
with director
Hal Ashby.
Below: The
cinematographer
glances up
during filming of
More American
Graffiti, his
second feature
credit.
January 2010
Deschanel
offers his
daughters,
Zooey (at
camera) and
Emily, a
glimpse of life
on the set
during filming
of The
Sluggers Wife.
75
Top:
Deschanel
checks Robert
Redfords
light during
filming of The
Natural as the
actor chats
with director
Barry
Levinson.
Right:
Levinson and
Deschanel
line up a shot.
January 2010
Caleb,
Congratulations on this distinguished honor. Your creativity
and vision have inspired filmmakers throughout the world.
Lucky for us your artistry will continue to excite us for years to come!!!
www.panavision.com
Deschanel at
work on Carroll
Ballards Fly
Away Home, a
production that
employed
Ultralight aircraft
to get unique
perspectives of
its winged
subjects.
January 2010
TO SUBSCRIBE BY PHONE:
Top: Deschanel
makes a
last-minute
adjustment to Bai
Lings crown for a
scene in Anna
and the King.
Right: The
cinematographer
prepares a
crane shot
on the show.
January 2010
Top: Deschanel
lines up an
overhead angle
for The Patriot.
Middle: The
cinematographer
checks the light
on his wife, Mary
Jo Deschanel, for
an interior scene
in the
Revolutionary
War drama.
Bottom:
Deschanel checks
Jim Caviezels
light during
filming of The
Passion of the
Christ.
82
January 2010
American Cinematographer
Post Focus
January 2010
American Cinematographer
stribution
For international di
m
.co
see www.chrosziel
January 2010
AUDI
OFFICIAL SPONSORS
AMERICAN AIRLINES
ABSOLUT VODKA
LITTLE BLACK DRESS WINES
RR DONNELLEY
STELLA ARTOIS
FESTIVAL SPONSORS
BASKIN ROBBINS | BEST BUY | HP | MANN THEATRES | PANAVISION
CONTRIBUTING SPONSORS
DELUXE ENTERTAINMENT SERVICE GROUP | DREAMAGO | FILM TRACKER | FINAL DRAFT, INC | HAMILTON | MOVIE MAGIC
THE POST GROUP | SCREEN ACTORS GUILD | SAGINDIE | SO CAL STORAGE | HOLLYWOOD & BRONSON LLC
SUSTAINING SPONSORS
AUDIO RENTS | FUJIFILM | KODAK | STORYBOARD QUICK
CULTURAL SPONSORS
CRA/LA | LA COUNTY ARTS COMMISSION | SKIRBALL CULTURAL CENTER
Filmmakers Forum
January 2010
long periods without fatigue. Sure, you can still mount it on sticks,
dress it up with a mattebox and create a monster, but thats
moving in the wrong direction.
As an example, lets talk about car mounts. People have
said we can throw away the speed-rail rig a film camera requires
and use a small suction-cup rig for the 5D, but thats not going far
enough. With the 5D, we can even throw out the suction cups.
Shooting from a pickup truck, I can stand in the bed and reach
forward to handhold the camera right outside the driver-side
window, moving the camera in ways not possible with a rig while
getting closer than a pursuit arm could allow. Inside cars, too, you
can move the camera easily and capture perspectives no other
camera system can deliver.
My first chance to put the 5D through its paces came when
McG asked me to shoot a series of 10 three-minute Webisodes
that served as an interactive marketing campaign for Terminator
Salvation (AC June 09). We shot all 10 episodes in three days.
After that, I used the 5D to shoot the feature-length documentary
Cheech & Chongs Hey Watch This, directed by Christian Charles
and produced by the Weinstein Co., and which mixes footage
from the comedians live stage show (shot with Panasonic AJHPX3700 VariCams) with a series of backstage vignettes (shot
with the 5D). I shot the entire feature in three days.
Ive also used the 5D to shoot a series of short recruitment
videos for the U.S. Navy. One features a Navy swimmer performing a water rescue; we follow him from the base, where he gets
the call, into the rescue chopper, out over the ocean and down
into the drink, where he rescues a downed pilot. We shot all of
that action including shots inside the helicopter, from one
helicopter to another, and underwater in three hours with
seven 5Ds.
American Cinematographer
Hurlbut used
the camera to
follow Navy
SEALs on their
maneuvers for
the feature
The Only Easy
Day Was
Yesterday.
The camera
allowed a
wide variety
of angles to
be captured
quickly.
January 2010
Top and
middle:
Working with
Panavision
Hollywood,
Hurlbut has
taken to
mounting
Primo primes
and zooms on
the camera.
Im sure this
is a glimpse
of the
future of
moviemaking,
when well
literally
mount a chip
on the back
of a highquality
motionpicture lens,
he writes.
Bottom:
Hurlbut and
camera
assistant Mike
Svitak (left)
set up a shot
for a U.S.
Navy
recruitment
video.
92
January 2010
American Cinematographer
JOIN HOLLYWOODS
PROFESSIONALS IN
2010
www.cinegearexpo.com
94
January 2010
SUBMISSION INFORMATION
Please e-mail New Products/Services releases to:
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.
Footcandles
400
90
48
30
22
Diameter
1.5'
2'
3'
4'
5'
American Cinematographer
)))-D8I:?)'('
nnn%`ej`^_kflk$kiX`e`e^%e\k
<lifg\jc\X[`e^kiX`e`e^Zflij\fe[`^`kXcZ`e\dXXe[?;KM
<XicpY`i[iXk\jlek`c*(AXelXip)'('
?===`cdK\c\m`j`feLe`m\ij`kpBfeiX[Nfc]
Gfkj[Xd$9XY\cjY\i^#>\idXep
January 2010
American Cinematographer
the operators harness, then absorbs vibrations before they reach the camera,
making for smooth shots even when
moving. The regular-duty Atlas can accommodate cameras from 4 to 14 pounds,
while a heavy-duty option works with
cameras up to 30 pounds.
For more information, visit
www.atlascamerasupport.com.
International Marketplace
SUPER16INC.COM
Top-notch camera and lens servicing
Ask about Ultra 16!
T: 607-642-3352
bernie@super16inc.com
Toll-free: 877-376-6582
FREE ESTIMATES
TM
98
January 2010
American Cinematographer
FLANGE
FL
ANGE DEPTH CONTR
CONTROLLER
ROLLER
Simple adjustment
a
by monit
monitor
POLAVIEW
NEW The Polarizing Checker
TM
www.denz-deniz.com
www
.denz-deniz.com
MSRP $9500
For product info and
a list of our dealers go to:
www.polaview.com
MANUFACTURED BY
ALAN GORDON ENTERPRISES, INC.
Classifieds
CLASSIFIED AD RATES
All classifications are $4.50 per word. Words set in bold face or all
capitals are $5.00 per word. First word of ad and advertisers name
can be set in capitals without extra charge. No agency commission or
discounts on classified advertising.PAYMENT MUST ACCOMPANY ORDER.
VISA, Mastercard, AmEx and Discover card are accepted. Send ad to
Classified Advertising, American Cinematographer, P.O. Box
2230, Hollywood, CA 90078. Or FAX (323) 876-4973. Deadline for
payment and copy must be in the office by 15th of second month
preceding publication. Subject matter is limited to items and services
pertaining to filmmaking and video production. Words used are subject
to magazine style abbreviation. Minimum amount per ad: $45
USED EQUIPMENT. PRO VIDEO & FILM EQUIPMENT COMPANY. (888) 869-9998, providfilm@aol.com.
www.UsedEquipment
Newsletter.com.
CLASSIFIEDS ON-LINE
Ads may now also be placed in the on-line Classifieds at the ASC
web site.
Internet ads are seen around the world at the same great rate
as in print, or for slightly more you can appear both online and in
print.
For
more
information
please
visit
www.theasc.com/advertiser, or e-mail: classifieds@theasc.com.
SERVICES AVAILABLE
STEADICAM ARM QUALITY SERVICE OVERHAUL
AND UPDATES. QUICK TURNAROUND. ROBERT
LUNA (323) 938-5659.
USED EQUIPMENT. PRO VIDEO & FILM EQUIPMENT COMPANY. (972) 869-9990.
Worlds SUPERMARKET of USED MOTION
PICTURE EQUIPMENT! Buy, Sell, Trade.
CAMERAS, LENSES, SUPPORT, AKS & MORE!
Visual Products, Inc. www.visualproducts.com
Call 440.647.4999
99
Advertisers Index
16x9, Inc. 98
AC 4, 79
AFI 87
Aja Video Systems, Inc. 17
Alan Gordon Enterprises
99
Apparition 5
Arri 41
Arri CSC 55
AZGrip 98
Backstage Equipment, Inc.
95
Band Pro Film & Digital 9
Barger-Lite 6
Birns & Sawyer 98
Burrell Enterprises 98
Camera Image 97
Canon 83
Cavision Enterprises 29
Chapman/Leonard Studio
Equipment Inc. 13
Chapman University 19
Chrosziel Filmtechnik 85
Cine Gear Expo 93
Cinematography
Electronics 89
Cinekinetic 98
Cinerover 98
Clairmont Film & Digital 25
Convergent Design 46
Cooke Optics 6
Deluxe 39
100
Glidecam Industries 21
VF Gadgets, Inc. 99
Willys Widgets 98
www.theasc.com 70,
83, 95, 99
Innoventive Software 91
K 5600, Inc. 71
Kino Flo 47
Zacuto Films 99
ZGC, Inc. 6, 45
Zipcam Systems 57
+
From content creation to production to post-production to
delivery, the NAB Show focuses on the tools and techniques
needed to capture your award-winning vision. See, touch and
test the advancements inuencing todays edgiest content,
from HD to 3D, editing, and the latest in online video,
broadband, animation, gaming, social networking and more.
+
+
Clubhouse News
102
January 2010
Primes photo courtesy of Zacuto. Acord photo by Ryan Millar, courtesy of Capture Imaging and Createasphere.
TTwo
wo Even
Events
nts in One: Createasphe
Createasphere/EXPLORE
ere/EXPLOREE (formerly HD EXPO) presents the
Digital
Entertainment TTechnology
ech
hnology Exposition and Di
igital Asset Management Conference & Exposition
n
For all the details and to register for FREE, log on to: createasphere.com/february
January 2010
American Cinematographer
Close-up
n?
io
t
u
ll
o
p
IR
o
t
n
io
t
Looking for a solu
ONFILM
M I C H A E L G O I, A S C