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It Starts with the Glass tm
J U N E 2 0 1 0 V O L . 9 1 N O . 6
The International Journal of Motion Imaging
On Our Cover: Rabble-rousing archer Robin Longstride (Russell Crowe) leads an

uprising in Robin Hood, shot by John Mathieson, BSC. (Photo by David Appleby,
courtesy of Universal Studios.)
FEATURES
30 Slings and Arrows
John Mathieson, BSC sets up camp in Sherwood Forest on Robin Hood
42 Desert Storm
John Seale, ASC, ACS faces epic undertaking with
Prince of Persia
52 Very French Revenge

Tetsuo Nagata, AFC leads crack team on Micmacs
64 Painting Towns White

Giles Dunning captures rock tour for The White Stripes 42
Under Great White Northern Lights
DEPARTMENTS
8 Editor’s Note
10 President’s Desk
12 Short Takes: Land and Bread 52
18 Production Slate: Winter’s Bone • Harry Brown
72 Post Focus: Frozen
78 Tricks of the Trade: Red’s False Color
80 New Products & Services
92 International Marketplace
94 Classified Ads/Ad Index
96 ASC Membership Roster 64
98 Clubhouse News
100 ASC Close-Up: John Schwartzman
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DVD Playback: The Natural • Rock ’n’ Roll High School/Suburbia • Bigger Than Life
J u n e 2 0 1 0 V o l . 9 1 , N o . 6
The International Journal of Motion Imaging
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www.theasc.com
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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.
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POSTMASTER: Send address change to American Cinematographer, P.O. Box 2230, Hollywood, CA 90078.
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OFFICERS - 2009/2010
Michael Goi
President
Richard Crudo
Vice President
Owen Roizman
Vice President
Victor J. Kemper
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Editor’s Note
For a summer action movie, Robin Hood addresses some
surprisingly substantial themes. “This story is about a country
in crisis and big social upheavals,” cinematographer John
Mathieson, BSC tells London correspondent Mark Hope-Jones
(“Slings and Arrows,” page 30). “This Robin Hood has far
more of a political vision — he actually starts a revolution and
brings the country together. The film isn’t a romp in the
woods.” Call it the thinking man’s blockbuster. Well aware
that Robin Hood’s tale has been told many times, the film-
makers sought to distinguish their version not only themati-
cally, but also aesthetically; Mathieson and director Ridley Scott
referenced the work of Brueghel-dynasty painters for the film’s
bleak landscapes, and deliberately shifted their palette away from the bright hues of Michael
Curtiz’s 1938 Technicolor classic The Adventures of Robin Hood. “There are a lot of burned
browns and dark colors in our costumes and sets,” says Mathieson. “It’s a pretty mucky-look-
ing film.”
John Seale, ASC, ACS found himself at the opposite climatic extreme on Prince of
Persia, an expansive desert adventure adapted from the popular video game. Although
portions of the picture were shot onstage at England’s Pinewood Studios, the production also
deployed multiple units at various “hot spots” amid the shifting sands of Morocco. Seale had
his hands full with shooting, coordinating the various units, integrating his images with exten-
sive visual effects, and supervising elaborate digital-intermediate work. “I left particular finess-
ing for the DI, and I’m not ashamed of that,” he tells Michael Goldman (“Desert Storm,”
page 42). “I really feel you have to honor the schedule, even on something this big and
complicated, and the DI lets you leave some simple problems alone on the set, things that
might take 30 minutes or longer to fix.”
On Micmacs, Tetsuo Nagata, AFC teamed with French director Jean-Pierre Jeunet, a
filmmaker with a firmly established flair for stylized visuals. Described by European corre-
spondent Benjamin B as a “quirky mélange of slapstick, fantasy and broad comedy” (“Very
French Revenge,” page 52), the project confirms Jeunet’s reputation for elaborate imagery.
“We shot for 80 days, doing 10 shots a day — but it was never 10 simple shots!” Nagata
says.
Offbeat visual strategies also pay off in the concert film The White Stripes Under Great
White Northern Lights, which required director of photography Giles Dunning and his team
to trail a pair of indie-rock icons across Canada as they performed a series of shows at stan-
dard concert halls and more unusual venues (“Painting Towns White,” page 64). Along the
way, Dunning and his cohorts captured compelling footage of the White Stripes in action.
Director Emmett Malloy observes, “Their dynamic onstage is like nothing I’ve seen before …
Meg really is waiting to see where Jack’s going next, and that’s completely fascinating to
watch through a lens. It’s as rock ’n’ roll and as punk rock as anything I’ve ever seen.”
Photo by Owen Roizman, ASC.
Stephen Pizzello
Executive Editor
8
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President’s Desk A few months ago, a firestorm of controversy erupted as a result of Avatar’s cinematography win (for
Mauro Fiore, ASC) at the Academy Awards. Almost overnight, it seemed cinematographers and cine-
matography societies all over the world were calling for some voice of reason as to what was in store for the
future of “traditional” cinematography, and what our place was in the emerging virtual-production world.
I researched some trade periodicals dating as far back as the 1920s to get a sense of how the indus-
try reacted to major changes in the way we practice our craft. What I found were some colorful comments
that indicated how the onslaught of new technology was worrying devotees of cinematography: “Vulgar!”
“Completely lacking in artistic relevance!” “Does not deserve to be considered cinematography!” “The
death of true artistry!” “Technology run amok!” These words were used to describe such horrifying events
as the birth of the sound motion picture, the introduction of three-strip Technicolor, television broadcasting,
widescreen formats and 3-D filmmaking. It was amusing to see how the same words or sentiments were
recycled and repurposed in response to every major technological shift that had occurred in our profession
since the dawn of the motion picture.
I think there’s a kind of chaos of perception at work in these shifts, a chaos born from the belief that
because a technology is capable of expediting an artistic vision with more clarity and precision than was
previously possible, that technology must inherently be a threat to the human elements of collaboration and artistry. As we’ve seen with all of
the innovations I mentioned, the nature of how we use these tools might change, but the spirit of collaboration and creativity is actually
enhanced in the process. Above all, the artistry must drive the technology.
In the newly refurbished ASC Clubhouse, there is a plaque with some illuminating words about our craft from none other than Cecil
B. DeMille. I think they bear repeating here. (Please note that “he” and “his” are used as universal pronouns and are not intended to exclude
women from the ranks.) The missive is entitled “He Is A True Artist”:
“Amid the strange ingredients of Hollywood — a world typified by the human swarm and the artistic abstraction — there is a figure
unknown to the chants of promoters and glorifiers. His hand has rarely held the scepter of public acclaim, his brow is not crowned with the
envied olive leaf which so often settles upon the lordly producer and queens of beauty. This figure, a giant in his industry, is the cameraman
— the sine qua non of a profession which often boasts that no one in its ranks is indispensable. No one, I say, save the cameraman.
I believe this is why:
He is the custodian of the heart of filmmaking as the writers are of its soul …
His tool is a box with a glass window, lifeless until he breathes into it his creative spirit and injects into its steel veins the plasma of his
imagination …
The product of his camera, and therefore of his magic, means many things to many persons — fulfillment of an idea, an ambition ...
realization of dreams …
He is the judge who applies the laws of dramatic effect in complete coordination and fellowship with the director who interprets those
laws …
Light, composition, treatment are his instruments of power, which he wields with intelligence and sensitiveness to bring to full bloom
the meaning of his art …
His versatile management of an intricate mechanism yields astonishing results in mood, emotion, dramatic effect …
A slanting shadow becomes a shattering portent of doom …
A lifeless chair instills the feeling of infinite sorrow …
A dead wall awakens a foreboding of plunging terror …
A flash of a man’s face rises to the grandeur of drama, inspiring and ennobling …
Before his wizardry, wrinkles fade from the faces of Hollywood’s ageless, imperishable beauties
… chins take on lovely contours
… years melt away ….
Yes, the technique of the cameraman is the technique of artistic vivisection that lays bare the inner workings of our profession. If art
Photo by Owen Roizman, ASC.
can be said to be the expression of beauty in form, color, sound, shape or movement, then it must be said that same art is the art of the camera-
man — expressed in the boundless reaches of his imagination.
For his patience and singleness of purpose in a most arduous work, he is eminently deserving of that which is justly said of few men:
‘He is a true artist.’”
Michael Goi, ASC

President
10 June 2010 American Cinematographer

Short Takes
I Land and Bread Shines on the Festival Circuit
By David Heuring
Carlos Armella and Isi Sarfati were born within a few months
of each other in Mexico City, but they met many years later, when
they were both students at the London Film School. Admirers of
each other’s work, they became collaborators when Armella asked
Sarfati to shoot a short film he had written called Land and Bread
(Tierra y pan). The film went on to win the Golden Lion for Best
Short at the 2008 Venice Film Festival, and it has since collected a
number of prizes, including several for cinematography.
The eight-minute film has no dialogue or music, and appears
to consist of a very slow zoom out from an extreme close-up of a
barking dog to an extremely wide shot; the camera’s position never
changes. A mysterious drama involving the dog, a doctor, a bleed-
ing woman and a crying baby plays out before the camera, but most
of the action is heard, not seen, as it takes place inside a corrugated-
metal shack. There are seven subtle dissolves throughout the film,
and a shocking ending punctuates the tale.
“I found the script quite confusing at first,” says Sarfati, “and
I didn’t immediately realize the full extent of the artistic and techni-
cal challenges it posed. Little by little, I began to see the complica-
tions of achieving Carlos’ vision. The film was very clear in his mind,
and my job was to understand that and translate it into cinemato-
graphic techniques.”
There was no time or budget for preproduction testing.
However, Sarfati did have photographs of the location — a dry
lakebed — and a calculation of the sun’s position and path in rela-
tion to the shack, which was built the night before the shoot. The
shot begins in full daylight and ends at dusk; natural light was
augmented only by two shiny boards. “I knew the story had to be
shot correctly exposed and with a natural feel — no overexposed
skies or underexposed ground,” says Sarfati. “The cinematography
had to be subtle exposure-wise so as not to take your attention
away from the story, but aggressive framing-wise in order to create Frame grabs and photo courtesy of the filmmakers.
the mood the film required.”
He used an Arri 435 Xtreme and an Angenieux Optimo 24-
290mm zoom lens. (EFD in Mexico City provided all the equipment.)
The camera was on a tripod loaded down with sandbags and
strapped down to prevent the slightest movement.
Sarfati brought a number of zoom controls to the set and
quickly realized that none of them was slow enough to cover eight
minutes of constant, steady movement. To compensate, script
supervisor Leny Iñiguez counted time while Sarfati manually oper-
ated the zoom control at varying speeds. “It was moving so slowly
Land and Bread’s eight-minute narrative, which plays out as a slow, seemingly that I had to watch the edge of the frame or track a rock to be sure
continuous pullback move, actually required cinematographer Isi Sarfati to it was moving,” recalls the cinematographer. “We had about 45
deftly combine a series of zoom shots that he operated manually.
seconds for each segment. At the beginning and end of each

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$PLOHVWRQHLQ'ULJWHFKQRORJ\ Sarfati takes a meter reading on location at a dry lakebed, where he worked with natural light.
3DWHQWHG)RUPXOD&DUERQ7HFKQRORJ\
EHVWFRPELQDWLRQRIORDGFDSDFLW\
VWDELOLW\DQGZHLJKW segment, I would hold the zoom control all the film holds beautiful details in the sky.”
&RPSDWLEOHZLWKDOOVWHDG\FDPV\VWHPV the way down so that the transitions would The footage was developed at Labo-
DVZHOODVVKRXOGHUGROO\DQGFUDQHXVH happen smoothly at the same constant rate. ratory Ormaco, and the rest of the project’s
,QWHJUDWHGPRWRUVIRUXVHZLWKVWDQGDUG It was like being a human motion-control post was handled at Churubusco Studios in
UHPRWHFRQWUROV\VWHPV unit.” Mexico City. Armella assembled the shots in
Sarfati worried that the changes in Apple Final Cut Pro using a one-light trans-
zoom speed would detract from the story, fer. The negative was then scanned to
but he found that the variation was so mini- match the EDL, graded and recorded out to
mal, even when the film was projected, that 35mm. “Very little color correction was
audiences didn’t appear to notice it. “It is required,” notes Sarfati. “The idea was to
amazing that some viewers are so drawn color-correct to the color chart and see how
into the story they don’t even realize the it looked, and it looked and felt the way we
frame has changed from the close-up to the intended from the beginning.”
5HG2QH
wide shot,” he says. For his work on the picture, Sarfati
To keep the skies contrasty, Sarfati won the Cecilio Paniagua prize at the Alme-
used a range of ND grad filters as well as a ria en Corto short-film festival in Spain, and
polarizer. “We didn’t know what the the jury prize for cinematography at Expre-
6,. 6RQ\+':
weather would do,” he says. “If a cloud sion en Corto in Mexico. He also won a
came by in the middle of a shot, well, then cinematography award at the Miami Inter-
a cloud came by. We wrote down the focal national Film Festival.
lengths at which each segment ended so “Some projects require rigid technical
that we could do another take if necessary. control, and some require me to improvise
We ended up doing one scene three times as I go,” says Sarfati. “I can’t say which
'LJLWDO6/5 6RQ\30:(; because the dog caused a problem. There approach is better; it really depends on the
were two other segments we did twice, but project. On this film, we had one setup, one
the rest were single takes.” lens and usually one take. Because it was a
Land and Bread was shot on 1,400' of good script and we made the right cine-
short ends of Kodak Vision2 250D 5205. matographic choices, it turned out great.
Photo by Leny Iñiguez.
“We knew shooting film was the right Sometimes simplicity is the best approach.”
choice because so many of the other ●
2IoFLDO5HVHOOHU1RUWK 6RXWK$PHULFD
elements were uncontrollable,” notes
_VDOHV#]JFFRP Sarfati. “Clouds did come in and out, but
when it’s overcast, you see great detail in
the earth. Then, when the sun comes out,
14 ZZZSVWHFKQLNGH
Production Slate
17-year-old
Ree (Jennifer
Lawrence,
center)
struggles to
take care of
her younger
siblings
(Ashlee
Thompson,
left, and Isaiah
Stone) in the
drama Winter’s
Bone, which
won the Grand
Jury Prize at
this year’s
Sundance Film
Festival.
An Odyssey in the Ozarks shot Bowling for Columbine, Diggers and Quid Pro Quo, among
I By Patricia Thomson other projects.
Winter’s Bone photos by Sebastian Mlynarski, courtesy of Roadside Attractions.

Based on a novel by Daniel Woodrell, Winter’s Bone tells the
“Authenticity” was the watchword for Winter’s Bone, a story of 17-year-old Ree (Jennifer Lawrence), who tends her younger
harrowing drama set in the Ozark Mountains about a daughter’s siblings and catatonic mother. Ree faces the prospect of losing the
hunt for her scofflaw father. Director Debra Granik is a native New family home after her drug-addicted father posts it as bond and
Yorker, and director of photography Michael McDonough hails from then disappears. Her quest to find him takes her from one
Glasgow, Scotland, so neither was familiar with Missouri’s remote ramshackle house to another, where she confronts tight-lipped kin
mountain region. The longtime collaborators therefore embarked on and a self-protective meth culture that turns ugly when cornered.
a journey of their own, devoting two years to researching and scout- “I love the book — I think it’s Annie Proulx with a male
ing the Ozarks, then shooting on practical locations with a mix of voice,” says McDonough. He encouraged Granik and producer
professional actors and local nonprofessionals. Their efforts were Anne Rosellini to purchase the rights, and he signed onto the project
handsomely rewarded at this year’s Sundance Film Festival, where as an associate producer. “Michael was the first person who said,
the film won both the Grand Jury Prize and the Waldo Salt Screen- ‘I’m not having one more discussion about whether we should
writing Award. option this. I’m coming with my paycheck tomorrow, and everyone
Winter’s Bone is Granik and McDonough’s second feature, will throw in a third,” recalls Granik.
after Down to the Bone (2004), but the two have collaborated since Because of tax incentives, proximity to New York City, and
1994, when they began graduate film studies at New York Univer- the greater likelihood of encountering snow, the producers flirted
sity at the same time. “Debra and I started the same day, same with the idea of shooting in the Catskills, but the Ozarks ultimately
class,” recalls McDonough. “We went from doing class exercises to won out. “Debra wanted to have the local flavor, local people and
making the short Snake Feed, then Down to the Bone, and then correct accents,” says McDonough. The duo made six scouting trips,
Winter’s Bone.” When he wasn’t working with Granik, McDonough working closely with Richard Michaels, a local guide in Branson,

Film And Digital Get Along!
Andree Martin Michael Condon, SOC

VP Technical Services VP Digital Division
Some rental houses are film and others are digital. We We started our digital division in 2001, where we modified
strive to be the best of both. our Sony F900 cameras to be film-friendly; capable of quick
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that ergonomics of their products would be optimized for
of 35mm and 16mm film cameras.
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Right: The
filmmakers work
on close shots for
the climactic
scene, in which
two women take
Dee to a pond to
retrieve a body.
Below: A shot
from the final
scene, which
begins at dusk
and lasts into the
night.
financier backed out. The team managed to

refinance, but had to wait until the follow-
ing winter to shoot. “We were 50 percent
poorer but 100 percent freer,” says Granik.
The filmmakers’ visual anthropology deep-
ened during the intervening year. “We took
thousands of photographs,” says McDo-
nough. Selections went into a “look book”
alongside stills from Barbara Kopple’s
Harlan County USA, Justin Hunt’s American
Meth, Jane Campion’s The Piano, and
Bruno Dumont’s La vie de Jésus. McDo-
nough studied The Piano and The Duellists
for their use of natural light; Dumont for his
desaturated, lyrical landscapes; and the
early films of Jean-Pierre and Luc Dardenne
for their handheld camera movement.
“Debra loves handheld, but she doesn’t like
shaky-cam,” he notes. Granik describes her
Mo., who broke the ice with the local than 11 of them!” goal as “a handheld camera in service to a
inhabitants. Michaels introduced the film- The filmmakers planned to shoot in gentle swiftness, without gratuitous move-
makers to the Laysons, an extended family winter, true to the novel’s setting. “Winter ment.”
with several homes in one holler; the prop- makes any journey more arduous,” Granik Framing at 1.85:1, McDonough
erties were all within a half-mile radius and observes. “When it’s cold, the idea of not shot Winter’s Bone with a Red One, using
became the production’s key locations. having enough food becomes direr, the Arri Master Primes and 24-290mm and 15-
“We used it much like a set,” says Granik. state of the woodpile becomes direr, and 40mm Angenieux Optimo zoom lenses.
“We could park our vehicles long-term and the stakes are higher for survival. There’s a “We had great lenses, and that was impor-
become very familiar with the terrain.” The kind of tenacity that winter calls upon.” tant,” says McDonough. “The Red’s an
Laysons’ daughter wound up playing Dee’s Tenacity was also required of the inexpensive camera, but if you’re going to
little sister, “and their dogs are in every producers — two months before principal do it properly, you’ve got to get $200,000
frame,” adds Granik. “There were no less photography was to begin, in 2008, their worth of accessories. We were very lucky to

don’t move them around much once we
Right: Director start,” he says. That helped keep the tempo
Debra Granik up. “Debra likes actors to feel it’s not just a
and series of shots. She wants them to feel like
cinematographer
Michael they’re in a real environment so they can
McDonough stay in character for long periods of time.”
work out their In low-light interiors, McDonough
approach to an
interior. Below: dealt with the Red’s native 320 ASA by
With 1st AC shooting without filtration and lighting as if
Michael Burke he were using 250-ASA film and fast
standing by in
the background, lenses. “The camera’s sensor is balanced for
McDonough daylight, so once you get into tungsten, it’s
prepares to take less sensitive. With digital, I always want to
a reading.
get a healthy ‘negative,’ so I light up more
and crush it later.”
Consistent with the backwoods
settings, fall-off and darkness were
common in night scenes. “Through watch-
ing films like The Duellists, I got comfortable
with half the actor’s face being dark,”
Granik says. “For swiftness, China balls and
Kino Flos are my best friends, and Michael
will swing that way. He can do ornate light-
ing, of course, but he’s willing to strip it
down to collaborate with me.”
Grip equipment was also lean. An
EasyRig occasionally came into play, and the
crew devised some poor-man’s tracking
devices. For shots of Dee walking down the
road, McDonough put a Matthews bungee
mount inside a van and shot through the
open side door. At a cattle auction, he saw
the potential of the catwalk railing to act as
get a reasonably priced rental from Abel operator Alan Pierce for the project. “I dolly track and fitted an adjustable
Cine Tech [in New York].” believe that as the director of photography CamTranSystem to ride the handrails. This
The filmmakers used three Red on a digital feature, I have to be watching tracked with Dee as she walked down the
Drives, whose 320GB capacity allowed the monitor and assessing the image, more catwalk and provided some POV shots
Granik to run multiple takes without break- so than on a film feature,” says McDo- when she chased another character.
ing. “During Down to the Bone, we had a nough. “The image I see through the digital For the climactic night scene, in
saying, ‘Still rolling,’ printed on T-shirts,” camera’s viewfinder is not sufficient, I which Dee is taken to a pond to retrieve a
says McDonough, “and we applied the believe, to allow me to do my job properly; body, Condors were not an option. McDo-
same shooting philosophy to this movie. I’d be handing off a massive amount of my nough’s solution was to divide the scene
The risk is that if a drive goes down, you lose responsibility to someone else. When into dusk, day-for-night and night-for-
a lot of material!” Shooting single camera, you’ve got a long, close relationship with a night, shooting the entire scene in one day.
the cinematographer had a second Red for director and handheld operating is impor- The filmmakers arrived at noon under an
backup and occasional B-unit work. tant, the trick is to find an operator who can uncharacteristically blazing sun, donned
Halfway through the shoot, the A camera keep the visual language consistent. I’ve wading gaiters, and went into the water to
began inexplicably shutting down about 10 worked with Al for years and knew he capture wide shots with a classic day-for-
hours into the day. “I think it was the hard would get the style Debra and I have devel- night approach: “Shoot in the daytime,
drive — it just gets tired,” muses McDo- oped on our collaborations.” avoid seeing the sky, crush it and make it a
nough. A different problem affected the McDonough lit day interiors through cooler color in post.”
backup camera. “We plugged in the same windows using an 18K or 4Ks, supplement- Next, they waited until dusk to
settings, but across the board, it had noise ing inside with small tungsten units, Kino shoot the scene’s opening, when Dee and
issues,” he says. Flos or China balls. “I worked as a gaffer for two older women arrive, park and walk
McDonough decided to tap camera years, so I know where to put lights, and we down to the lake. “We had about a 20-

Gail (Lauren Sweetser) is one of the friends Ree calls upon in her quest to locate her father.
minute window to shoot all of that,” says out to 35mm, and a festival print was struck
McDonough. “We had maybe two takes.” on Fuji Eterna-CP 3513DI. “Once the prints
With the light nearly gone, the second, went through the IN/IP stage, I found the
slightly zoomed-in take required them to Fuji print stock too low-contrast, so our
switch off the electronic shutter for extra general-release prints will be done on
exposure. “Debra and the editor loved the Kodak Vision Premier [2393],” notes McDo-
tighter shot, but to me, it’s the one shot in nough.
the movie that looks like video,” admits Granik was pleased when she saw
McDonough. “Because there’s no shutter, Winter’s Bone projected on the big screens
there’s a smearing effect.” at the Sundance and Berlin film festivals this
Night-for-night was trickier still. Film- year. “I wanted the Red reps in there so I
ing on dry land, with the camera angled could say, ‘Baby, it held up well!’” she says.
low, the filmmakers shot close-ups of the McDonough also gives the Red positive
women in the boat, retrieving their grue- reviews, but with qualifications: “Even
some catch. “We used 4-by-4 Kino Flos though it’s a beautiful image, it’s a frustrat-
with 250 diffusion in the foreground, and ing workflow.” With Panavision’s Genesis,
bounced a 2K Fresnel into a trough of water he explains, you can shoot tests, color-
to create the ripple effect of moonlight on correct them and then plug those look-up
the pond,” says McDonough. The difficult tables back into the camera to have that
part was matching the day’s earlier footage. metadata ride with the dailies. But with the
“The background was lit with our 4K HMI Red, “you can only affect the image coming
Pars because we needed some extra inten- out of the Red on the monitor, not in the
sity, some edgelight on the branches and camera. So you have to go back to zero in
trees, to mimic the intensity of the sunlight post, and that’s frustrating. But I believe
we’d encountered in the day-for-night digital cinema is the future, and it’s going to
shoot. We also back-/edgelit the actors with get better.”
a couple of 2K Blondes. We were able to
minimize the color difference between the TECHNICAL SPECS
tungsten and HMI lights in the digital inter-
mediate, as the whole palette was shifted 1.85:1
quite dramatically.” Digital Capture
After RAW data was converted to Red One
10-bit DPX files, McDonough spent six days Arri and Angenieux lenses
on the digital grade at Technicolor New Digital Intermediate
York, where he worked with colorist Tim Printed on Kodak Vision Premier 2393
Stipan on an Autodesk Lustre Incinerator
platform. The finalized files were recorded ➣
22
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phic in Mscope with the D-21, but in the
end, it came down to the Genesis and the
F35, and I felt the F35 was a bit more
advanced in its image quality.
“After shooting night tests, I
decided to rate the camera at 1,000 ASA,
add some gain and shoot in HQ mode for
night scenes,” he continues. “That,
combined with [T1.3] Arri Master Primes,
allowed us to go very low-light for night
scenes, which meant our sets blended into
the surroundings and looked very real.”
Aside from two weeks at Elstree
Studios, Harry Brown was shot on location
in some of the least charming neighbor-
hoods London and the surrounding area
has to offer. “We went to all the glamorous
places,” jokes Ruhe. “Hackney for the drug
Above: Retired den, Romford for the hospital, Woolwich
soldier Harry for the cemetery, and Elephant and Castle
Brown (Michael for the estate [housing project]. Michael
Caine) takes the
safety of his Caine actually grew up near Elephant and
neighborhood Castle; the estate wasn’t there when he was
into his own young, but he’s in a mural on one of its
hands in Harry
Brown. Right: walls!”
One of the local Estates in the U.K. are associated
hoodlums (Sean with welfare housing, drugs, poverty and
Harris) gets too
crime. This is the environment in which
Harry Brown photos by Dean Rogers, courtesy of Harry Brown Productions Ltd./Samuel Goldwyn Films.
close for comfort
when Brown Brown lives peacefully, until a gang of disaf-
turns up to buy fected youngsters savagely murders his best
some guns.
friend. The lackluster police response
stretches Brown’s patience, and when he is
I England’s “Dirty Harry”

By Mark Hope-Jones
Ruhe and Barber first collaborated
on a commercial for British television. “We
were talking about the commercial, but
mugged at knifepoint after drowning his
sorrows at the local pub, his old military
training kicks in — he turns the blade on his
To younger audiences who think of even then Daniel told me he was prepping assailant, and then becomes a vigilante
Michael Caine as Bruce Wayne’s affable this feature and that he’d send me the determined to avenge his friend’s death and
butler, Alfred, in recent Batman films, his screenplay,” recalls the cinematographer. clean up the estate.
turn as the ruthless title character in Harry “The commercial went well, and from then To establish a lighting approach for
Brown might come as something of a on I was sure I wanted to do the feature. the location night exteriors, Ruhe and gaffer
shock. But to those familiar with Caine’s Daniel is a very visual director, it was a Julian White shot tests at the Elephant and
work in such classics as Get Carter (1971) chance to work with Michael Caine, it Castle estate. “We liked how stills taken
and the Harry Palmer series, it is a welcome would be a challenge to make, and I liked with long exposures in the real locations
return to darker territory. the screenplay.” looked, so in terms of lighting, we tried to
Harry Brown, which focuses on a Harry Brown was the first British take it from there,” recalls Ruhe. “When
retired military serviceman who lives in a feature production to shoot with the Sony you take stills on these estates at night, they
terrifyingly lawless housing project in a F35, a decision influenced both by budget actually look very aesthetic and nice, with
nameless English city, is the feature-direct- and the script’s high quotient of night mixes of greens and oranges.” This encour-
ing debut of Daniel Barber, who earned an scenes. “I didn’t have a lot of experience aged the filmmakers to develop a fairly
Academy Award nomination for the 2007 with digital, and we tested the F35 along- relaxed approach to matching light sources.
live-action short film The Tonto Woman (co- side Arri’s D-21 and Panavision’s Genesis,” White notes, “Practically all the sodium
directed with Matthew Brown). The film is says Ruhe. “We didn’t consider the Red lights on that estate have a slightly different
the third feature credit for cinematographer [One] because of its compression levels and color temperature — some are old, some
Martin Ruhe, following Control (AC Nov. because it isn’t very sensitive. For a short are discolored, and some burn brighter than
’07) and The Countess (2009). time, we considered shooting real anamor- others. After the first recces, I suggested to

Right: Cast and
crew prepare to
shoot one of
the film’s many
low-light
scenes. This
one, featuring
Brown’s
interrogation of
another young
miscreant, was
lit with a single
100-watt bulb
(visible at right).
Below: In a shot
from the scene,
Brown gets
tough.
of testing as we went along, but it worked

very well.”
This gritty look was continued into
many interior scenes, including one in
which Brown interrogates a gang member
in the burned-out apartment of his dead
friend. “I wanted that to be as raw as possi-
ble,” says Ruhe. “I considered what might
actually be in a burned-out apartment, and
thought there could be one lamp with a
broken shade — essentially a naked bulb. It
wouldn’t be enough to let you see every-
thing in the room, and there would only be
a little bit of light coming in from outside. I
suggested that to Daniel, and he was daring
enough to go with it.”
One of the few scenes to be shot on
a studio set, the interrogation was lit with a
single 100-watt domestic light bulb
Martin that we should try to be dirty with it. brutal, but they do the job, and you can dimmed down to about 80 percent.
Often cinematographers try to keep a look even have them in shot. A tungsten lamp Outside the windows, a mixture of fluores-
consistent, but the nature of the location with Full CTO would almost match the cents and sodium-vapor units provided a
and the story meant we didn’t have to sodium, so if we did use tungsten, we didn’t slight glow and the suggestion of street-
worry too much about consistency. stress about tweaking things or changing light. Repeating a technique they success-
“Originally, we thought of using gels all the time. For the low light levels we fully used on Control, Ruhe and White posi-
normal fixtures, like Arri X lights,” continues wanted, the output of the Arri X lights was tioned the bare tubes and bulbs behind the
White. “But cost was an issue, and there actually far too much, so we ended up turn- window and diffused them with bubble
were also concerns about how we’d rig and ing those off and using the sodium-vapor wrap; the bubble wrap broke up and soft-
hide everything. When we did the camera and mercury-vapor lights. Daniel wanted to ened the light, making the sources look
tests, we brought in two lamps: a 400-watt see all the streetlights in the backgrounds, much farther away.
sodium-vapor Atlas and a 400-watt so we had to try and keep everything For focus puller Tim Battersby, this
mercury-vapor floodlight. They’re fairly around the camera quite low. We were kind was one of many scenes shot at T1.3 that

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Above: The production films in the tunnel where some of the bloodiest action occurs.
Right: Cinematographer Martin Ruhe at work in the film’s key location, a grim housing project.
required all his skill to keep sharp. “It is very to go for one or the other. I was using an T1.3. I don’t know anybody else who could
difficult, and with HD, you’re either bang-on onboard monitor and had a Cine Tape on, have done it. With focal lengths, Daniel
or bang-off focus-wise,” he says. “With but they only go down by the inch, and we would always want to go as long as the
film, you’ve got that little bit of latitude were working at fractions of an inch. A lot scene would allow, so we were often at
within the depth of the film stock, but with of it was tape measures and keeping my around 75mm.
HD, it’s almost like focusing onto a piece of fingers crossed!” Ruhe adds, “It was a hell “We also used an Angenieux
glass. You can’t have both the character’s of a job for Tim because the Master Primes Optimo 24-290mm for day exteriors,” says
eyes in focus if he turns his head; you have go up to 150mm, and we were so often at the cinematographer. “For day scenes, I
28
rated the camera at 500 ASA and used an echo the movie’s opening sequence, in also utilized sharpening tools. “It wasn’t
85 filter. To be honest, in tests, I couldn’t see which two hooligans on a motorcycle film really needed on long-lens shots, but on
any difference between using an 85 and their shooting of a young mother and are wider shots,” notes Ruhe. “For example,
resetting the camera to 5,600°K.” then hit by a truck. For these shots, Ruhe there’s a wide shot of Harry sitting beside his
The onboard monitor Battersby used needed to find an appropriately low-resolu- wife in the hospital, and it was nice to add
for pulling focus was an Astro, which Ruhe tion video camera that would still work on a bit of sharpness to his face so your eye
also used extensively. “Probably the most the big screen. “We tested a couple of was drawn to him.”
useful thing was the waveform display on cameras, including the SI-2K [Mini], but the
the Astro — I used it more than my light quality was too good,” he says. “We also TECHNICAL SPECS
meter,” says Ruhe. Supplementing this was tested real mobile phones, but in the end
a 17" monitor that showed live images in we used a Sony DCR-PC2E, a slightly older 2.40:1
HD, though playback was only available as Mini DV camera. They were provided by Digital Capture
a composite picture. Ruhe usually operated Take 2, who supplied all of our camera gear. Sony F35, DCR-PC2E
the F35 himself, and single-camera setups We gave a camera to the two guys on the Arri and Angenieux lenses
were the norm. “We shot most of the bike and let them ride around to give the Digital Intermediate
movie on dollies or legs,” he says. “There’s footage an authentic feel. That scene and Printed on Fuji Eterna-CP 3513DI ●
a riot scene and a shootout that we did the killing of Harry’s friend were a mix of
handheld, but with Harry, the camera only actors operating shots and second-unit
really starts to move when he does. At the work [directed by Ben and Joe Dempsey].”
beginning, it’s very static, and we tried to Harry Brown’s desaturated color ERRATUM
find frames within the frame so he appears palette was achieved mainly in the digital In our coverage of Lebanon (April
locked in. We wanted a claustrophobic feel grade, carried out on a Baselight system at ’10, p. 20), colorist Andreas Froehlich was
for those early scenes.” Framestore in London. “We desaturated incorrectly identified as an employee of
Brown finally discovers exactly how the image a bit and worked on the contrast Geyer Cologne. He is the manager/senior
his friend died when he sees footage of the levels — with HD, it’s tricky to keep detail in colorist at Head Quarter GmbH, also in
killing that one of the gang members the blacks at low light levels, and we had Cologne.
captured on his cell phone. These images tons of those,” says Ruhe. He and Barber
29
John Mathieson, BSC
brings a brawny
aesthetic to Ridley
Scott’s Robin Hood.
By Mark Hope-Jones
•|•
Slings and
T
Arrows
he fable of Robin Hood, the archetypal philanthropist
outlaw with a hands-on approach to redistributing
wealth, is one of the oldest in English folklore. Literary
depictions of him and his band of merry men as popu-
this quintessential English tale, set in an English landscape,”
says Mathieson. “It seems natural and logical that Ridley
should make Robin Hood — and do it his way. This story is
about a country in crisis and big social upheavals. This Robin
lar heroes first emerged in narrative ballads of the 14th Hood has far more of a political vision; he actually starts a
century, and continue to this day. Motion pictures took up the revolution and brings the country together. The events bring
mantle from their earliest beginnings; cinematic adaptations about the Magna Carta, which was the beginning of all of our
of the story number in the dozens and now have a history that democracies, in a way. The film isn’t a romp in the woods.”
spans more than a century. The latest adaptation is the current Scott and Mathieson have worked together several
release Robin Hood, directed by Ridley Scott and shot by times since their first film together, Gladiator (AC May ’00).
regular collaborator John Mathieson, BSC. Most recently, they paired up for Kingdom of Heaven (AC
“I think it’s great for England’s biggest director to make June ’05), a medieval saga set just a short time before the

Opposite: Royal archer
Robin Longstride (Russell
Crowe) aims to spark a
revolution in Robin Hood.
This page, top: Robin
leads his key men on
horseback: Allan A’Dayle
(Alan Doyle), Will Scarlet
(Scott Grimes) and Little
John (Kevin Durand).
Middle: John Mathieson,
BSC gets medieval with
his light meter. Bottom:
the newly crowned King
John (Oscar Isaac) confers
with a key adviser, Sir
William Marshal (William
Hurt).
Greg Williams, courtesy of Universal Studios.
historical period covered in Robin

Photos by David Appleby, Kerry Brown and
Hood. This meant that various elements

of their visual approach to a story based
around the Crusades had already been
established, although the two films take
place against quite different backdrops.
Whereas Kingdom of Heaven incorpo-
rates dramatic desert landscapes in the
Holy Land, Robin Hood plays out
entirely in northern France and
England. Scott brought up the work of
the Brueghel dynasty of painters as a
www.theasc.com June 2010 31

◗ Slings and Arrows
Top: Robin takes visual reference for European winter

aim during a landscapes, and Mathieson traveled to
forest battle. Brussels to view some of their work.
Middle: Our hero
seeks the counsel “Ridley wanted to shoot the pastoral
of Sir Walter English countryside — he wanted that
Loxley (Max von kind of Brueghel landscape,” recalls the
Sydow). Bottom:
After being cinematographer. “We had two fantas-
relieved of his tically harsh winters, but unfortunately,
duties by the king, we kind of missed them both [because
Marshal is taunted
by his of production delays]. That look of
replacement, black trees against a hilly, snow-covered
Godfrey (Mark landscape was something we were
Strong). Top right:
Godfrey musters after.”
his troops. In terms of a color palette,
Mathieson says he and Scott wanted to
avoid the rich greens and reds that
characterize one of the most famous
Robin Hood adaptations, Michael
Curtiz’s early Technicolor production
The Adventures of Robin Hood (1938).
“There are a lot of burned browns and
dark colors in our costumes and the
sets,” says Mathieson. “It’s a pretty
mucky-looking film, but we did shoot
in the summer, and our ideal would
have been to shoot right through the
winter. I just love the winter light in the
U.K. — the slow, long sun. It was a very
wet summer, so we did get a lot of over-
cast skies, but an overcast sky in
summer is not very interesting because
there’s no movement in it. It’s often just
a flat white, and you want more gray.”
Robin Hood was shot in Super
35mm rather than anamorphic for a

Top: Isabella of
Angoulême
(Léa Seydoux)
informs John of
Godfrey’s
duplicity when
he is still a
prince with
aspirations to
the throne.
Fireplaces and
candles had to
justify the light
in some fairly
cavernous sets
built at
Shepperton
Studios, so the
crew employed
single-wick,
double-wick
and triple-wick
candles on
chandeliers and
candelabras to
create a strong
impression of
number of practical reasons, according source lighting.
to Mathieson. “Everyone thinks Ridley However, as
is a purist in his photography, and he is, Mathieson
notes, “You also
but he loves a zoom lens,” says the cine- have to put
matographer. “If you’re doing a tracking some ambience
shot, you can strengthen the composi- in the room. For
that, we’d
tion throughout without it feeling like a often use space
zoom. It’s just more convenient to lights very low
zoom in a bit and go again than to down or simple
batten strips
spend time changing the lens while with household
everyone’s waiting. And if you’ve got to bulbs hanging
climb a hill, you’d rather take one zoom overhead.”
Bottom: Isabella
than a whole box of lenses. and John share
“Another consideration was that a more intimate
anamorphic zooms start at around a moment.
T5.6 and only look good at T11, and in
the woods, you want to be at T2.8 or
less,” he continues. “Also, ’Scope lenses
aren’t that long, and you want long and some [Angenieux] Optimos — the operating as well, and Paul and I both
lenses when you’re shooting horses and 15-40mm and 28-76mm both have a did some Steadicam work,” adds
landscapes. We were up to a 1,000mm very useful range. Every time we could Mathieson. “We only limited ourselves
and longer. We had an [Optica] Elite use a zoom lens, we did. You need a to two cameras when we were onstage
[T2.8] 120-520mm with a doubler on good range of lenses and a lot of tele- at Shepperton. The rest of the time, we
it. We also used a [Panavision] Primo photo when you’re shooting with so seemed to have hundreds of them. I
3:1 135-420mm, often with a doubler. many cameras, because you’ve got to think every camera technician I know
It’s a good device if you’ve got a big stay out of each other’s way.” turned up at some point during the
stunt and a lot of horses; it gives you a The production often had up to a shoot!” The second unit, led by direc-
nice, thick shot of the melee of battle, dozen Arri cameras — Arricam Studios tor/cinematographer Alexander Witt,
creating a documentary look that makes and Lites and Arri 235s — running at was also extremely large. “Sometimes it
you feel like you’re right in it. We also once. The principal camera operators was bigger than we were,” notes
had the new 19-90mm Panavision were Peter Taylor, Martin Hume and Mathieson. “I’ve done three or four
Compact Zoom, which was very good, Paul Edwards. “Chris Plevin did a lot of films with Alex, and he knows what

Right: Marion
(Cate Blanchett)
pours the wine
while having
dinner with Robin
and Loxley. Below:
The fair maiden’s
feelings for Robin
grow stronger
with each
encounter.
cially useful at the location, as the castle

was built atop a hill, with a village set
positioned below it. In particular, the
Raptor, a self-leveling vehicle supplied
by Chapman, was in almost constant
use. “We could put a 30-foot
Technocrane on the Raptor, drive it in
and push a button, and it would level
itself,” says Hymns. “With a 30-foot
arm, you’ve instantly got a 60-foot track
that you can put anywhere you want in
no time at all, so it’s incredibly versa-
tile.” Other vehicles included quad
bikes and a six-wheeled Gator support-
ing a hard-mounted Steadicam (for
traveling shots of galloping horses).
The trickiest problem for
Mathieson at this and other woodland
locations was the heavy summer
foliage. “The woods were an absolute
he’s doing. We’d talk about our work, in Surrey, England, where Mathieson pain,” he says. “When a beech tree
but they were very quick conversa- and Scott also shot the opening scenes throws its leaves out in high summer,
tions.” of Gladiator. A huge set of the French no light comes down to the ground.
The film’s titular character, castle was built for exterior scenes. Key Nothing grows under them because
played by Russell Crowe, begins the grip Gary Hymns recalls, “The castle there’s no light. Your light meter reads
story as Robin Longstride, an archer in was 60 feet high, and we lifted a 30- nothing at all. I was underexposed, even
King Richard’s army. Returning from foot Technocrane onto the top with a when I was pushing [Kodak Vision3
the Third Crusade, the army stops to Lee Lifting crane. We also had a Strada 500T] 5219 one stop, sometimes more,
lay siege to a castle in France and crane parked by the castle and swung it and shooting wide open. I can deal with
reclaim monies previously paid as in as the horses charged, then lifted it underexposure, but the quality of the
ransom to the French monarch. This 60 feet in the air.” light was very flat because the trees
sequence was filmed at Bourne Woods All-terrain vehicles proved espe- covered everything. When you put a

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Right: Director
Ridley Scott
blocks out a
scene in the
woods. Bottom
left: The crew
deploys bounce
cards amid the
trees. Bottom
right: Scott,
enthroned in his
director’s chair,
concentrates on
a shot.
long lens on, the background went Martin, the film’s gaffer. That cleared continues Mathieson. “The good thing
mushy green. It was very difficult to get paths for light to reach the forest floor, about the SoftSuns was that if we
good contrast and separation. We used but left the problem of how to get the stacked one on top of another, we could
smoke and did what we could.” fixtures into position. “It’s difficult, look straight at them, because they
In combination with the smoke, because if you’re doing a fast-moving formed a single round source up in the
large lights were used to provide sequence and you start putting up trees — that was our low sun. They
dappled backlight, though getting them towers, they just get in the way, and were great. They didn’t actually light
into position was quite a challenge. “We then you spend even more time taking the scene that much, but they gave us a
got a woodsman in with a huge saw, them down.” The solution was to lift bit of light and depth in the distance,
and he swung about from tree to tree, the lights into place with a crane. “We something bright in the background.”
cutting down limbs for us,” says Alan used 18Ks and 100K SoftSuns,” Though some of the difficulties

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created by the summertime shoot were
Top: In an addressed in the digital intermediate,
English camp,
Robin carried out at Company 3 with colorist
challenges Stephen Nakamura, Mathieson main-
Little John to a tains that “a lot of the timing could have
sleight-of-hand
game. Middle: been done photochemically were it not
Robin and his for the 800-plus visual effects shots.
steed gallop CGI was often used to complement
into battle
against French and extend landscape shots, allowing us
invaders in a to bolster the number of horses and
major soldiers to make it look like an army.
sequence shot
at Freshwater You used to have to lock the camera off
West in Wales. for shots like that, but you can do a
Bottom: A surprising amount of movement now,
determined
Robin won’t let and that’s good, because it makes the
water slow CGI less obvious.”
him down. Maintaining an authentic feel to
action scenes was important to the cine-
matographer. “It’s a down-and-dirty
action film, so we didn’t want our
visual-effects shots sticking out. A lot of
those shots are very real, with multiple
cameras and a lot of stunt men, riders
and extras, so it was a matter of supple-
menting them. Arrows were put in
[digitally] because with CGI, you don’t
have to cheat the direction the archers
are pointing. But we still shot some
arrows on set. My father came down
one day, and he used to be a professional
soldier and wasn’t too worried about
arrows raining down on him. He had
experience marching right through
them!”
One important advantage that
visual effects brought the production
was the ability to position camera oper-
ators in shot. Mathieson explains, “For a
lot of the CG material, Ridley would
stick a camera right in the middle of the
action, so we’d all have to dress up in
silly outfits and try to disguise the
camera. We looked embarrassingly
awful, but Ridley could put us right in
there and then remove the camera [in
post]. There was a lot of camera
removal! We could go for the shot and
worry about it later.”
The closing battle in Robin Hood
takes place on a vast beach where
French invaders are met by the English
forces. Filmed over two difficult weeks
at Freshwater West in Wales, the
sequence involved 1,500 cast and crew

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Left:
Mathieson
mans an
Arricam on
location.
Right: Robin
and his men
encounter the
enemy.
lighting a ‘candlelit’ scene,” says sion of source lighting, but Mathieson Arthur Max put a huge fireplace in
Mathieson. “I like candles to give a bit notes that “you also have to put some that set, and John asked him to make
of exposure to the area they’re in, so I ambience in the room. For that, we’d the back and the sides removable, so if
tried to shoot as wide as I possibly could often use space lights very low down or we weren’t looking directly at the fire,
with the zoom. Obviously, you could simple batten strips with household we could put in a lighting rig,” says
shoot on primes, but for speed, we bulbs hanging overhead. You can’t be Martin. “We had a row of Six-light
really had to use zoom lenses, and too noir about it. Candlelight is actually Maxi-Brutes behind the fire that we
pushing the 5219 helped.” Using large quite soft, and it does fill a room.” wired to a dimmer so we could pulse
numbers of single-wick, double-wick Fireplaces were a useful source, each individual bulb. That, with a
and triple-wick candles on chandeliers particularly in King John’s sizeable combination of gels, gave us the
and candelabras gave a strong impres- throne room. “[Production designer] desired effect. We could make it as
fierce or as low as we wanted.” cameras, you’re not going to stop and or overexposed, and if you leave it the
A menu of gels that Martin and say, ‘Let’s all change filters!’” way it is, there’s a visual rhythm when
Mathieson selected in advance helped Scheduling conflicts prevented all the scenes are cut together. If you
create unique looks for different times Mathieson from participating in most fiddle with every frame in every single
of day and night on the interior sets. of the digital grade, so Nakamura scene, there’s no journey in the film
Blue gels in windows were often worked with Scott instead. Several photographically.” ●
combined with warm gels inside to looks had been created when the
create contrast between interior and visual-effects plates were graded, so
exterior light. Mathieson notes, “You Nakamura had a reference for the
can mix color temperatures in the frame majority of scenes. Color correction
more now, especially because of the was done on a DaVinci Resolve using
control you have in the DI. That said, I 2K proxies; the final filmout was at 4K.
did try to gel [lights] and shoot as “We tested a 2K filmout and a 4K TECHNICAL SPECS
though we’d be doing a photochemical filmout with the same grade to show 2.40:1
finish, because if you expose the nega- Ridley how they looked, and he
tive properly with the right colors at the preferred the grain structure of the 4K 4-perf Super 35mm
right temperatures, you get a head start version,” recalls Nakamura.
on the final timing.” Though he used Mathieson joined Nakamura for Arricam Studio, Lite; Arri 235
many different gels, Mathieson avoided an intense few days toward the end of Optica, Angenieux and
putting filters in front of the cameras the grade. “I spent what time I could Panavision lenses
whenever he could. “I’m always putting with it, and then I had to let it go, and
lights really close to the edges [of the that was fine,” says the cinematogra- Kodak Vision3 500T 5219;
frame], so if you put a piece of glass in pher. “I think a lot of films look the Vision2 50D 5201, 250D 5205
front of the lens, you’re basically push- same these days because there’s too Digital Intermediate
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Desert
John Seale, ASC, ACS and
his collaborators conquer
Storm England’s Pinewood Studios.
According to the film’s director of photography, John
Seale, ASC, ACS, Kristian Davies’ book The Orientalist,
daunting logistics on the period which features paintings of life in Persia and other parts of
adventure film Prince of Persia: ancient Arabia, was the primary inspiration for the movie’s
visuals. “The book is a beautiful collection of visual material,
The Sands of Time. and we based the [look] and a lot of the lighting on that —
knowing, of course, that we could finesse many of the details
By Michael Goldman
in the digital intermediate,” says Seale. “In particular, we
wanted very dramatic skies, the kind you could spend a year
•|• looking for and never actually film for real. [Visual-effects
supervisor] Tom Wood worked hard on lots of sky replace-
A
dapted from a video game created by Jordan Mechner, ments. We also used the DI to focus attention on certain parts
Prince of Persia: The Sands of Time follows an adventurous of the frame, like those painters did when they focused light
prince, Dastan ( Jake Gyllenhaal), who joins forces with on what they wanted you to concentrate on.”
a princess, Tamina (Gemma Arterton), to prevent an In addition to helping the filmmakers achieve a
ancient dagger with magical powers from falling into villain- painterly aesthetic, Prince of Persia’s 1,400 or so visual-effects
ous hands. The project, which director Mike Newell calls “a shots often required extensive set extensions and the blending
gigantic undertaking,” was in production throughout much of of practical photography with CGI, making the acquisition of
2008, incorporating, at times, four or five separate units work- plates on location and onstage equally complicated. Thus, the
ing on four desert locations in Morocco and on 10 stages at nuances of lighting were a central issue throughout the shoot.

Opposite: Prince
Dastan (Jake
Gyllenhaal) takes
up arms against a
lethal Hassansin
(Thomas DuPont)
in Prince of
Persia: The Sands
of Time. This
page, top:
Dansan partners
with Princess
Tamina (Gemma
Arterton) to
safeguard a
magical dagger.
Bottom left: The
nefarious Nizam
(Ben Kingsley)
has his own plans
for the dagger,
which can turn
back time.
Bottom right:
Cinematographer
John Seale, ASC,
ACS prepares for
action.
Unit photography by Andrew Cooper, SMPSP. Images courtesy of Disney Enterprises, Inc. and Jerry Bruckheimer, Inc.
It all started in Morocco, where hand combat, armies on the march and so we could see the progression of
2nd-unit director/cinematographer other action. visual-effects passes they’d done with
Alexander Witt and his crew filmed For the look in Morocco, the cloud and sun manipulations. We
particularly challenging stunts and filmmakers referenced exterior scenes in decided to [emulate] some of that.” The
captured hundreds of plates for visual- Ridley Scott’s Kingdom of Heaven (AC sky-replacement work on Prince of
effects shots. Key grip Tommaso Mele June ’05), which Tom Wood had also Persia was achieved sometimes with
recalls that his crew continually found worked on, and which was also partly 3-D effects, and other times with CG
themselves maneuvering Fisher 10 and shot in Morocco. “Morocco has such a matte paintings that incorporated stills
11 dollies, a 30' Technocrane mounted pitiless blue sky at that time of year — Wood had shot with his Canon 5D.
on a Raptor utility vehicle, a variety of almost no weather changes,” says (Some of these stills were actually
diffusion materials, and dozens of blue- Newell. “Tom was well aware of this, captured in London, just outside
screens and greenscreens around the and he showed John and me several Pinewood Studios.)
desert to film horse stunts, hand-to- panoramic shots in Kingdom of Heaven “We all understood that the digi-

◗ Desert Storm
tal grade would be absolutely vital for leave some simple problems alone on the
achieving what we wanted to achieve, set, things that might take 30 minutes or
and we decided to do a lot of the color longer to fix. So part of my job during
composition at that end stage,” contin- the shoot was to determine what we
ues Newell. “John Seale then figured out could leave to the DI process while we
how to produce a negative that would maintained our schedule.”
suit that.” Prince of Persia was shot in 4-perf
Newell and Seale agree that the Super 35mm, and Seale took his
extensive DI work, carried out at Ascent customary approach, shooting a single,
142 in London with Company 3 high-speed film stock (Kodak Vision2
colorist/ASC associate member Stefan 500T 5218), using multiple cameras,
Sonnenfeld, was practical and necessary and relying almost exclusively on zoom
for a production that simply couldn’t dot lenses — in this case, Panavision’s 11:1
every “i” and cross every “t” as it swept 24-275mm Primo, 3:1 135-420mm
across the world on a constricted time- Primo, and new T2.8 19-90mm
line. “I left particular finessing for the Compact. “Phil Radin at Panavision, our
DI, and I’m not ashamed of that,” says ‘camera angel,’ gave us two of the very
Seale. “I really feel you have to honor the first Compact zooms, and great little
schedule, even on something this big weapons they are!” says Seale. (The
and complicated, and the DI lets you production also used a variety of Primo
prime lenses.)
“500-ASA negative does a lot for
Top left: Dastan you, and it will handle midday [scenes] if
scales a castle wall, a you just haul it back — you put a whole
set built onstage at
Pinewood Studios. lot of 85ND filters in front of the lens,”
Top right: The castle continues Seale. “As the light expires,
set came within feet you start pulling the NDs out to increase
of the lighting grid,
requiring bluescreen the ASA. And if the color temperature
to hide the ceiling shifts toward the warmth of a late after-
and equipment. noon, you start pulling the 85 out in
Middle: The
Pinewood sets were small quantities as well. I developed this
used to film a whole filter system on The Mosquito
massive castle- Coast (AC Feb. ’87), and I haven’t used a
storming sequence.
Bottom: Space lights slow-speed stock since then.
provide ambience as “I shot first unit [on Persia] with
Kino Flo Image 80s four cameras, trying to get performances
illuminate the
bluescreen. without having to spend five hours on it.
We were using four cameras all the time,

cross shooting, and the actors and the
editors loved it because it’s more
organic. The main challenge, of course,
is lighting for so many cameras, but
that’s solved by lighting 360 degrees —
at least, it is when you have a gaffer like
Mo Flam. The bigger challenge is light-
ing a bigger background, especially if
there are lots of visual effects. But I’m
finding there are little things you learn
when cross shooting, like how to use
one person’s backlight as another
person’s fill. The bottom line is, if you
use multiple cameras and cross shoot,
it’s going to work out if you know what
you are doing, light ahead in your mind,
and make sure each of those cameras is
productive.”
Prince of Persia’s technical
requirements grew even more compli-
cated once the project landed at
Pinewood, because enormous sets were
built on those stages. Newell calls that
leg of the shoot “a huge circus and a
colossal shebang,” noting that multiple
stages and units were active almost
constantly. At the center of the madness
was a crucial action sequence, Prince
Dastan’s storming of an ancient Indian
castle. Originally, the filmmakers hoped
to build the castle set in Morocco, but
early in production, they realized that
was impractical — the most suitable
location was in a windy region, close to
some mountains. “We were very
worried the set might blow over,” says
Newell. Therefore, the sequence was
moved to Pinewood and changed from
daytime to nighttime to make it more
The film’s 1,400-plus visual-effects shots, supervised by Tom Wood, often called for sky replacements
logistically feasible. and the seamless blending of practical photography with CGI.
On Pinewood’s James Bond
Stage, production designer Wolf
Kroeger and his crew created a massive the set was too close to the grid to utilize end, they had to do more work in post
set piece representing the fortified bluescreen adequately. than they originally intended to take
Eastern gate of the castle, and the top of “It’s a big action scene that out the rig and clean up some shots. In
the set was just a few feet from the large involves a lot of actors, stuntmen, horses that sense, almost every shot in the
lighting grid that was required for the and fire,” says Witt. “Most of the lights sequence is an effects shot.”
sequence, which starts at night and hanging from the ceiling were skirted Seale notes that the nature of the
finishes in morning light. “The lighting space lights, and we dimmed them or set made it virtually impossible to
rig was a problem,” concedes Witt, turned some on or off to suggest correctly light all of the bluescreens, and
whose second unit filmed much of the changes in time of day. For sunlight and occasionally the bluescreens proved
action at the castle. Extensive blue- highlights, we used about 10 20K useless. “The set, in places, was within 2
screen was required to hide the grid and Molebeams and 15 20K lights on scissor meters of the grid; it was a nightmare to
lighting equipment, but in some areas, lifts, adding CTO as necessary. In the light and fully cover the actors’ back-

◗ Desert Storm
concerned, the filmmakers essentially

A wall of 144 “threw the kitchen sink at the problem,”
Martin Stagebar says Flam, the key gaffer. More specifi-
LED fixtures was cally, he credits Chris Gilbertson’s Light
constructed
behind a giant by Numbers system for enabling the
“crystal” setpiece filmmakers to have as many dimmers
and controlled by and moving lights as they needed across
Chris Gilbertson’s
Light by Numbers multiple stages, with efficient control
system to create and a detailed data record. “With Light
interactive by Numbers, all the lighting changes are
lighting effects
that served as a recorded and repeatable, so if we had to
template for the come back to a scene, we had all the
visual-effects details about how it was lit,” says Flam.
Lighting diagram courtesy of Light by Numbers.
team.
“In addition to the first and second
units, we had a few visual-effects units
going, and they all used the system. The
ground with blue,” says the cinematog- keep the whole thing moving along. first unit could establish a look that
rapher. “It would have been a hell of a That saved me a lot of angst.” could easily be repeated by other units.”
schedule and money-burner if Tom had Meanwhile, the production had Gilbertson served as key dimmer-
demanded perfect, even light for that. eight other stages going at Pinewood board operator at Pinewood, managing
Fortunately, he wasn’t too finicky about much of the time. Confronted with the a team of three operators who moved
that as long as he could cut a good edge. challenge of maintaining a brisk shoot- from stage to stage. “Our control desks
The software and the artists’ skill level ing pace despite the logistics, detail and are easy to physically maneuver, with
has improved so much that they can interaction those separate shoots pneumatic tires, handles, rain covers and
work around such problems so we can required, particularly where lighting was so on, so we could move them whenever

◗ Desert Storm
we needed to, which meant the produc-
tion didn’t have to pay to have desks all
over the place. We could load all the
stage files into each of the four systems
we had and simply move them around.
This did, of course, require some careful
file management, but it saved the
production a lot of money.”
Among the reams of visual effects
in the film, there are two sequences that
serve as particularly effective illustra-
tions of the cooperation between the
camera department and the visual-
effects team on set. The first is the
“dagger-time” effect that appears several
times in the film. A riff on The Matrix’s
famous “bullet-time” effect (AC April
’99), which stops or visually slows down
time, “dagger time” relates to a key story
point: the dagger Prince Dastan seeks to
protect can literally turn back time.
Top: An aerial camera rig
Portions of the effect were shot by
captures a daring rooftop Wood’s crew with a specially cabled
chase. Middle: The crew nine-camera rig from Panavision that
captures a Steadicam shot on
location in Morocco. Bottom:
was configured at Double Negative, one
Seale regularly rolled up to of the visual-effects houses on the
four cameras simultaneously project. According to Wood, Panavision
throughout the production.
“If you use multiple cameras
technicians designed a cable combina-
and cross shoot, it’s going to tion that would sync each of nine
work out if you know what PanArri 435s, with eight of them slaved
you are doing, light ahead in
your mind, and make sure
to a master so that their shutters opened
each of those cameras is and closed at exactly the same time.
productive,” he says. Wood explains, “We shot it on a blue-
screen stage using the nine-camera
array, which was similar to the Matrix
array but used motion-picture cameras
instead of still cameras. Each camera
was running at 48 fps with a 90-degree
shutter angle; that gave us crisp, clean
stills of the action that we could run
backward in post. In the computer, we
could put a virtual camera any place at
any time within the sequence and see
everything compressed into one frame,
like a long exposure image. Then,
through that frame, we could travel
around the whole scene.” Seale adds,
“The light level for this high-speed
work had to be T16, and the first unit
had shot the original scenes at T2.8. Mo
kept records of our lighting and then
replaced those lamps with larger units,
or sometimes used two lamps instead of
one, in the same basic spots to get the

◗ Desert Storm
but he credits Seale’s lighting team for
creating a unique production solution to
allow real-world light to meld with the
effect, and for creating an on-set
Seale prepares template for the visual-effects team to
to film some of follow.
the local talent Flam, Gilbertson and U.K. gaffer
in one of the
four desert Steve Costello worked with the visual-
locations the effects team and the art department for
production months on various options for creating a
visited in
Morocco. close approximation of the final interac-
tive lighting effect, with the goal of
mapping lights to a video image of simi-
lar color and intensity. They finally
settled on a specially designed LED
wall. “We decided to create a wall of
increased stop that was necessary. The light-emitting crystal, “about the size of LEDs and run video content through it,
success of a complicated shoot like this a redwood tree, but with sand swirling sort of like a big TV,” says Gilbertson.
depends on the crew’s ability to under- around inside of it, depicting moments “This was the most expensive option,
stand and execute what’s needed, and of certain characters’ pasts,” says Wood. but it meant we could actually run the
the camera, grip and electric crews were The effect is triggered when a character visual-effects element live on set, while
a great group of very keen and coordi- plugs the magic dagger into the crystal still getting the stop that John and Mo
nated guys and girls.” to rewind time, giving him great power. needed. We used 144 Martin Stagebars
The second unusual effect that Wood estimates that about half of the to create the LED wall, which measured
required on-set solutions was a giant, light and image projections are CGI, approximately 14 feet by 10 feet. This
50
totaled more than 5,000 DMX chan- evolving together into one intercon- Motor Company: what you’re trying to
nels, which were then driven by 10 nected whole. “For shows like this, achieve is so huge that all departments
DMX universes [signal streams] from a cameramen should go hand-in-hand have to be interlocked.” ●
[Maxedia] media server. The server was with the visual-effects guys to accept
loaded up with lots of different versions their awards,” says Seale. “What Tom
of the visual-effects element that would and his team contributed to the cine-
be added later. We then drove the matography on this picture is massive.”
media server with the normal lighting Newell is even more effusive on this
desk and controlled brightness, speed point, noting that traditional divisions
and other aspects of that content.” between departments have little mean-
Flam suggests that these kinds of ing in the modern filmmaking land-
solutions have been in use for years in scape. “If you’re a cinematographer and
the theater world, but are now being you think you can just shoot a scene,
incorporated more seamlessly into deliver it to the visual-effects team and TECHNICAL SPECS
motion-picture production. “They use then step aside so they can do their
color changers and moving lights on magic, you are badly deceived,” declares 2.40:1
Broadway and in rock ’n’ roll shows all the director.
4-perf Super 35mm
the time, but we don’t in film unless “On Prince of Persia, I felt there
there is a specific challenge,” says Flam. were actually three directors: me, John Panaflex Platinum, Lightweight;
“We’re starting to find out that there are Seale and Tom Wood,” continues PanArri 235, 435
lots of interesting things we can do with Newell. “Alex Witt and his second unit
this technology!” also made great contributions to figur- Panavision lenses
More generally, Seale observes ing out the look and executing it. Kodak Vision2 500T 5218
that cinematography and visual effects Directing a film like this is like being
on epics such as Prince of Persia are chairman of the board of the Ford Digital Intermediate
51
Very French
Revenge
Tetsuo Nagata, AFC films the Dec. ’04), which brought Delbonnel the first ASC Award
ever given to a foreign-language film, as well as an Oscar
whimsical thriller Micmacs for nomination.
director Jean-Pierre Jeunet. For his latest picture, Micmacs (French slang for
“muddles” or “intrigues”), Jeunet teamed with Tetsuo
Nagata, AFC, who has won Cesar awards for Officer’s Ward
and La Vie en Rose (AC June ’07). Nagata’s other feature
By Benjamin B credits include Blueberry, Narco, Until the Lights Come Back
and Splice. He is also known for his commercial work, and
before shooting Micmacs, he worked with Jeunet on a
•|• number of commercials, including a lavish spot for Chanel
No. 5.
Micmacs begins when a soldier dies by stepping on a
D
irector Jean-Pierre Jeunet has imprinted a strong mine. His young son, Bazil (Noé Boon), becomes obsessed
visual style on all his films, and he has been associated with the mine’s French manufacturer. The film cuts to the
with top French directors of photography and with adult Bazil (Dany Boon), a gentle dreamer who works in a
the pioneering of cinematography techniques. He video store. When a shootout goes wrong outside the shop,
began by collaborating with Darius Khondji, ASC, AFC, Bazil is shot in the head, and the doctors decide to leave
on two films co-directed with Marc Caro, Delicatessen and the bullet where it is. After he loses his job and his home,
The City of Lost Children, which launched a renaissance of Bazil is adopted by a group of oddball scavengers who live
the ENR photochemical process in France. With Bruno in a junkyard. One day, while scavenging, he comes upon
Delbonnel, ASC, AFC, Jeunet made Amélie (AC Sept. ’01), two neighboring weapons firms and realizes that one of
which helped pioneer the use of the digital-intermediate to them built the mine that killed his father, while the other
create a distinctive look, and A Very Long Engagement (AC made the bullet that is lodged in his brain. Bazil decides to

Opposite: Bazil (Dany Boon, left) listens in as fellow Micmac Remington (Omar Sy) helps him set a trap
for a pair of arms dealers. This page, top: Young Bazil (Noé Boon) sees his mother (Lara Guirao) receive
word of his father’s death. Bottom: An arms dealer’s security guards mock Bazil when he turns up to
request compensation.
take his revenge upon the heads of continues the director. “There are Prison Break, joking that “they stole
Frame grabs and unit photography (by Bruno Calvo) courtesy of Epithète Films/Tapioca
both companies, and, with his friends’ many very different references that two or three ideas from me, so I stole
help, devises a series of far-fetched the viewer might or might not see, one of theirs.”
strategies to sabotage the weapons including the films of Sergio Leone, Sitting down with AC in Paris,
Films and Sony Pictures Classics. Additional photos courtesy of the filmmakers.
factories. Nagata recalls that during prep, Jeunet

Micmacs is a quirky mélange of asked him to do all he could to “to
slapstick, fantasy and broad comedy. shoot very quickly.” The cinematogra-
As is often the case with Jeunet’s pher fulfilled this request. “We shot
films, it presents a world filled with “I knew it was a for 80 days, doing 10 shots a day —
Rube Goldberg devices interspersed but it was never 10 simple shots!” Like
with poetic, childlike epiphanies. little risky to do a many of Jeunet’s films, Micmacs is
Upon meeting with AC in
Montmartre, Jeunet acknowledges
cartoon with a dense, peppered with short shots and
laced with complex camera moves. On
that Micmacs is a genre-mixing serious theme, but I top of its fast-paced schedule, the
collage from his cinematic “idea box.” production encountered bad weather
He explains, “I wanted to do a film didn’t hold back.” throughout the shoot, which called for
about vengeance, a film with strange, many exterior locations. “Of course, all
original characters — a bit like Snow the storyboards called for sun, and we
White and the Seven Dwarfs — and had mostly rotten weather,” says
also wanted to do a story about arms Nagata.
dealers. I knew that it was a little risky Mission: Impossible, classic cartoons In fact, exteriors, with changing
to do a cartoon with a serious theme and the films of Buster Keaton.” The weather, posed the greatest challenge
behind it, but I didn’t hold back. director even confesses to borrowing to Nagata. “It was often a race against
“I put everything I had in it,” an idea from the Fox television series time, so I went for simplicity,” he says.

◗ Very French Revenge
“I tried to eliminate the unnecessary
and only use the essential.”
Sometimes, as for a scene outside the
St. Eustache church, it was a matter of
just using reflectors and bounce
boards on one of the rare sunny days.
While shooting a friendly
encounter between the junkyard crew
and some drug dealers on a street on a
gray day, Nagata added contrast to the
flat natural light by using negative fill,
setting up a 20'x40' wall of black
Right: Director butterflies. “I blocked the whole
of photography street,” he says. “It made the fore-
Tetsuo Nagata,
AFC risks his ground darker than the background. If
soul to work I had tried to add lighting instead, it
with one of the would have quickly become absurd.”
film’s more
unusual set The production spent a week
pieces. Bottom: shooting a sequence that takes place
Director Jean- by a canal, where the Micmacs gang
Pierre Jeunet
lines up a uses a cannon to shoot two of their
slightly high own across the water to sabotage a
angle on his munitions dump. For day exteriors
main characters.
like this one, Nagata used three or
four Jumbo Dino lights (with 16
narrow-beam 1K bulbs), which he left
uncorrected. “I put them far away, and
they got mixed with daylight,” he says.
“It looks like a setting sun, warming
up the scene the way Jean-Pierre likes
it. Of course, this doesn’t work when
the lights are too close to the actors.”
Nagata often added a small,
handheld HMI (800-watt or 1.2K
Cine Par) with a Chimera made of 1⁄4

Left: Bazil
eavesdrops as
Remington,
pretending to
represent an
African dictator,
meets with
arms dealer
Nicolas Thibault
De Fenouillet
(André
Dussollier, left).
Below: A closer
shot from the
scene.
Medium Grid Cloth diffusion to

bring out the actors’ faces. “I usually
like to light from the back or the side,
but on this film, I was more generous
with the light and brought the source
more to the front.”
A day-interior meeting
between one of the weapons manu-
facturers, Nicolas Thibault De
Fenouillet (André Dussollier), and
Remington (Omar Sy), a Micmac
disguised as a revolutionary in search
of arms, takes place in the ornate
Train Bleu restaurant, a Belle Epoque from a film and put it on a wall, it down) starts with Jeunet’s rough
landmark, as Bazil eavesdrops. The should look like a painting,” says sketches, which are rendered by a
characters sit at a table sidelit by a Jeunet. “I give a lot of importance to storyboard artist. “The second step is
giant window. Nagata positioned 6 the graphic quality of each shot, prob- to reproduce the storyboard on loca-
12K HMIs outside, creating a power- tion with interns or real stand-ins
ful sidelight. He complemented this who resemble the actors,” says the
with a tungsten source bounced on a director. “I may change or find new
12'x12' frame of Full Grid Cloth for things, and I take stills. Then I go
fill.
Nagata notes that he some-
“I give a lot of back home and edit the stills to create
a sequence [that leads to a definitive
times modulates the color of bounced importance to the storyboard].”
light with different materials. “I go On the set, Jeunet will further
shopping for fabrics in an open-air graphic quality of refine his shooting plan by setting up
market with my gaffer, Patrick the shots with a video viewfinder
Contesse, and I have a good collec- each shot.” mounted with 35mm lenses. “I
tion of tissues and papers,” says the always use video viewfinders because
cinematographer. “Beige is a classic with the screen, you can easily put the
for skin, and a little pink works well lens on the ground or high up,” he
with women.” explains. “When I see directors using
Nagata was not very involved ably because I started in animation.” old-fashioned optical viewfinders, I
with the camera moves or the fram- The director is known for his tell myself they’re not going to lie on
ing on Micmacs, as Jeunet considers meticulous preparation, which culmi- the ground because it’s wet or dirty,
composition to be an essential part of nates in a shooting script that features so they may end up with banal frames
the director’s job. “I like what precise storyboards alongside the text. because they have limited them-
Kurosawa said: if you take a frame The process of découpage (shot break- selves.” ➣
On a Paris
rooftop, Bazil
gathers
intelligence on an
arms dealer by
dropping a
microphone
down his
chimney.
Nagata reveals that the film- lens height to suit each actress, and he you end up at the end of the day with
makers tested the Red One for notes that wide-angle lenses can actu- the sun setting, and sometimes you’re
Micmacs but found the latitude ally flatter some female faces. “I’m even shooting close-ups with night
“reduced,” so they instead opted to often shooting down, and because falling,” says the cinematographer.
shoot 35mm, mainly with a Panaflex short focal lengths work well with big “On one of my projects, I used three
Millennium XL. The cinematogra- eyes, they give a doe-eye effect stocks, and I had to go from 50-ASA
pher suggested shooting with because the eyes look bigger from to 250-ASA and then to 500-ASA
Panavision Primo Classics and an above. From below, it becomes ugly.” for one scene. It was all mixed up, and
Angenieux Optimo 14-50mm zoom. Many of the shots of Bazil are it was terrible when I did the timing.”
“Jean-Pierre likes the sharpest possi- He adds that he has found the grain of
ble image, and he always shoots with 5219 “the same” as that of slower
a wide angle,” he notes. Micmacs was stocks.
mostly shot with 21mm, 24mm, Color is a distinctive element of
27mm, 30mm and 35mm Primo
Classics, whose close-focus capabili-
“Long focal Jeunet’s style, and all of his films are
dominated by warm colors. Micmacs,
ties suited Jeunet’s camera placement, lengths compress however, also contains less typical
which is typically very near the actors. gleams of cyan, blue, green and even
According to Jeunet, the main everything. mauve, especially in the night footage.
lens on the production was the “I go more toward warm colors than
21mm. “My telephoto lens is a Wide-angle lenses cold ones,” acknowledges the director.
35mm!” he jokes. He finds long focal
lengths “boring because they
create something “I’d like to try other colors, but it’s also
true that when the sky is gray and
compress everything. Wide-angle
lenses create something stronger; they
stronger.” you’re shooting the gray buildings of
Paris, the only way to save the image
give expressiveness to the eyes, to the is to go toward warm colors.”
look, to the set, and you get more Nevertheless, he continues, “with
depth of field. It’s a real style. Look at Tetsuo, we made some other color
the films of Orson Welles, Sergio choices.” Nagata recalls that he and
Leone and Stanley Kubrick.” from below. “A man can take an angle Jeunet “spoke about using comple-
Many directors avoid wide from below,” states Jeunet. “Micmacs is mentary colors.”
angles when doing close-ups because a story of a man who grows as he In many of the night scenes,
they can distort a face, but “because I takes his vengeance, so we wanted to Nagata added strong, cold colors to
use actors with interesting faces, that’s see Bazil grow; we didn’t want to the warm palette. A good example
not a problem — on the contrary, it crush him. The camera is never at eye occurs early in the film, when Bazil is
makes them even more graphic,” says level; I find that boring.” shot in the video store. Nagata lit the
Jeunet. “But it’s a more delicate matter Nagata shot Micmacs on a video-store interior with a mixture of
with women, so I always do tests with single film stock, Kodak’s Vision3 cyan-, green- and orange-gelled Kino
them.” He selects a focal length and 500T 5219. “On almost every film, Flos, replacing the existing fluores-

Right: This
frame grab of
the accident
that sends a
stray bullet
into Bazil’s
head illustrates
Nagata’s effort
to mix cold
colors into the
warm palette
Jeunet favors.
Below: Bazil
lies critically
wounded in
the video store.
250-watt and 500-watt practicals.

Hidden Kino Flo tubes added small
alcoves of other hues: gold, green and
orange. Nagata added an underex-
posed toplight by shining space lights
gelled with cyan through a Grid
Cloth ceiling above the open parts of
the set. The final effect is an image
made of warm highlights and subtle,
cooler darks. “If the tungsten bulbs
were 2,700°K, then I had, say, 3,600°K
to 4,000°K coming from above,” says
the cinematographer.
cents with practicals, and added warm says Jeunet. “I wanted the feeling to One of the most elegant light-
ceiling light through diffusion on stay warm. It’s that simple.” ing setups is the stylish, dark-walled
Bazil. During the exchange of gunfire The film’s main interior set is apartment of arms dealer Marconi
outside, the bikers slide down the junkyard “cave” where the (Nicolas Marie). Nagata says he asked
sodium-yellow streets in a garish Bonetto to cover the set with a
landscape featuring green and mauve translucent ceiling made of “a mater-
façades and blue neons set up on a ial used for lampshades, like a plastic
bridge. “It’s cruel lighting, with a dirty resin.” Nagata hung space lights
feel to it,” says Nagata. Later, when “It’s cruel lighting above, creating a very soft toplight,
Bazil tucks in under a cardboard cover which he complemented with practi-
alongside the river, there is a similar with a dirty feel cals and a soft fill — “very little,
mix of green practical fluorescents, almost nothing” — to bring out the
colorful lamps in the background, and to it.” eyes of the armed Africans who take
an orange streetlight on the hero. Marconi prisoner. Nagata created the
Some night scenes are set on a fill with one of his favorite fixtures, a
rooftop where Bazil does a crude form Source Four Leko, through a
of wiretapping by dropping micro- Chimera. Jeunet notes that the light-
phones down chimneys. Nagata’s crew Micmacs live and work. The producing setup was “very practical because
suspended 6K helium balloons just tion shot for some 10 days in the set, we could shoot extremely quickly. The
outside frame to create a blue moon- created by production designer Aline metal of the guns, the gangsters’ black
light cast, and lit Bazil’s face with an Bonetto. Nagata lit the cave with skin, and the set are magnifique. It’s a
orange wash. “That’s intentional,” warm pools of light using suspended very beautiful light.” ➣
Right: African
rebels (from
left: Laurant
Mendy,
Doudou Masta
and Marc
Stussy) show
up at Marconi’s
apartment to
take him
prisoner.
Below: The
Micmacs’
junkyard cave
mixes warm
highlights and
subtle, cooler
darks.
convincing way as the crane moved up.

“It’s a bit like what we do now to
convert 2-D movies to 3-D [in post] —
you break the image up into layers and
move them relative to each other.”
Carsoux adds that the 2½-D technique
can only be done with objects that are in
the distance, because close objects
change too much with movement and
therefore require full 3-D rendering.
Another key collaborator on
Micmacs was colorist Didier Lefouest,
who has worked on many commercials
with both Nagata and Jeunet. Lefouest
explains that the color timing of
Micmacs began with tests during prep
and continued with graded dailies
throughout production, so the look was
Visual-effects supervisor Alain object is expensive and time-consuming pretty well defined by the time the film-
Carsoux was often on the set. Although to create, so he often opts for digital makers began the DI.
Micmacs’ visual effects are not elaborate, effects that mix 3-D CGI objects with Like Carsoux, Lefouest was
they are key to the poetic feel of the 2-D photographic plates. As an exam- often present during the shoot. The
film. Carsoux and his team at Duran ple, he cites a crane move at the end of dailies footage was telecined on a
Duboi are responsible, for example, for Micmacs that cranes up to reveal a canal Spirit, and Lefouest timed the footage
Jeunet’s trademark inserts of images and a Parisian landscape behind sand every day using a DaVinci. Jeunet
inside the frame to represent thought dunes created to look like Morocco. viewed HD dailies with his crew using
balloons, as when Bazil’s bullet acts up The final image, he says, is “a series of a projection setup in a trailer.
and he calms himself with rote memo- layers, not continual like real 3-D.” In Whenever there was a major change in
ries. this example, the challenge was to make location, or another grading issue,
Carsoux observes that CGI is the 2-D elements — the trucks, the Lefouest would go to the set to review
sometimes done in “2½-D,” not quite barge and the Paris cityscape — move his timed dailies with Jeunet and
3-D. He explains that a true 3-D virtual relative to the foreground dunes in a Nagata. ➣
For the film’s climax, 2-D plates and 3-D CGI mingle in a crane shot that reveals a Parisian cityscape behind some sand dunes that the
Micmacs are trying to pass off as Morocco.
During post, select footage was where we were going, and we had the requests.” The DI, he notes, often
scanned at 4K using an Arriscan at work print as a reference. After involved isolating portions of the
Digimage Cinema in Paris. Lefouest production wrapped, we did one more graded image with windows and
then did a preliminary timing of the week of artistic research together, and refining them over time. Lefouest
scanned material. “Because I did the then I worked for two weeks on my describes his work as similar to that of
dailies for six months, I knew the own, redoing the timing and also a cabinetmaker: “I sand, then varnish,
images by heart,” he says. “With Jean- preparing my windows, knowing that then sand again, then varnish again,
Pierre and Tetsuo, we knew exactly Jean-Pierre would have certain until it’s perfect.” (Ed. Note: The DI
62
TECHNICAL SPECS
2.40: 1
3-perf Super 35mm
Panaflex Millennium XL;

Arri 435
Panavision and Angenieux

lenses
Kodak Vision3 500T 5219
Digital Intermediate
Printed on Kodak Vision 2383
workflow comprised 4K scanning, 2K no one will ever notice, but which she
color correction and a 4K filmout.) needs to tell the story. Likewise, the
Summing up his collaboration cinematographer will tell his own
with Nagata, Carsoux, Lefouest and version of the story with his lighting.
the others in his cinematic family, Each person has his own version of
Jeunet notes, “We’re all craftsmen. the story, and the director is the one
The production designer will look at a who combines them.” ●
set and bring things to it that perhaps
63
The White Stripes Under
Great White Northern
Lights follows indie-rock
icons on a unique tour
of Canada.
By Iain Stasukevich
•|•
Painting
Towns
White
“R
ock documentaries are easy to make,” says director Giles Dunning, camera operator/editor Tim Wheeler, camera
Emmett Malloy. “Put 10 video cameras onstage and assistants Hassan Abdul-wahid and Jeremiah Pittman (who
get some talking backstage.” But Malloy, an experi- doubled as a sound recordist) and producer Mike Sarkissian.
enced music-video director, recognized that The (Camera assistant Vincent Foeillet took Hassan’s position
White Stripes’ first tour of Canada presented an opportunity during the second leg of filming.) “Working with musicians is
to do something different. The result is The White Stripes a very visceral experience because you’re reacting to something
Under Great White Northern Lights, a compelling twist on the live,” notes Dunning, who has shot concerts for such acts as
“rockumentary” format that offers dynamic performance David Bowie, The Rolling Stones and Ben Harper.
footage shot at both standard concert halls and smaller, eccen- The White Stripes’ process was especially spontaneous.
tric venues boasting lots of local flavor. With little more than an inkling of what town they’d land in
While directing the video for the band’s song “Icky next, the filmmakers spent their two weeks on the tour racing
Thump” in 2007, Malloy spent some time between setups to keep up with White and his bandmate and former wife,
with front man Jack White, who confided that the itinerary drummer/vocalist Meg White. Dunning recalls, “We shot all
for the duo’s first Canadian tour, which would celebrate their of the most unique cities on the tour, ending at their last date,
10th anniversary, was filled with secret shows and stops in which was their 10th anniversary show. They were doing two
remote locations. Malloy was intrigued and urged White to shows a day, a matinee and a showcase. We’d fly overnight
consider filming the tour. “Jack liked the idea,” says Malloy, “so from one town to the next, maybe get two hours of sleep on
we formed a small crew and hit the road with them — but not the way, go out with cameras and start scouting the towns,
with the intent of making a film. In our minds, we were docu- then go to the main venue and check out the lighting condi-
menting a moment, and that allowed everyone to just let tions.” After filming the show, they’d jump back on the plane
things be. Nobody was overthinking it. There was no deadline and do it all over again.
and no pressure. We weren’t sure how the footage would be Jack White’s boundless energy and focus quickly set the
used.” bar for the filmmakers, according to the cinematographer.
The crew comprised Malloy, director of photography “The first day of our first stop, in Whitehorse, we got up early

and went out to scout the town, think-
ing Jack would be asleep, and then we
ran into him walking around — he was
also scouting the town, just as intrigued
to be there as we were,” recalls Dunning.
There was a short learning curve
when it came to figuring out how
closely the filmmakers could follow Jack
and Meg. “After the first show, Lalo
Medina, their road manager, slammed
the door in our faces because it was his
job to preserve their privacy,” says
Dunning. “When they come offstage
after a show, they need their moment.
But a few days later, they started letting
us in [on that moment].” Malloy adds,
“Our biggest advantage was that Jack
and Meg already knew us from the
music-video shoots. They understood
that we would take care of them. This
isn’t my film; a lot of my personality is in
it, but it’s a film for The White Stripes.”
Most of Under Great White
Northern Lights was shot on Super Opposite: The
16mm, whose imagery Malloy describes White Stripes —
lead
as “romantic and more in tune with the singer/guitarist/
band” than digital formats. ( Jack White keyboardist
Photos by Autumn de Wilde. Frame grabs and photos courtesy of Three Foot Giant and Giles Dunning.
has always been a vocal proponent of Jack White and

drummer/
“old school” musical instruments and vocalist Meg
technologies.) The main cameras were White — slow-
two 16mm Bolexes and two Aaton dance onstage
after wowing
XTR-Prods, and the production carried the audience
two Canon zoom lenses, an 11.5- with their 10th
165mm and a 7-63mm; this gear was anniversary
concert. This
provided by Panavision Hollywood. page, top to
“The Aatons were perfect for this job bottom:
because they’re so light,” says Dunning. Onstage
cameras capture
“That’s especially important when the Stripes’
you’re shooting for 21⁄2 hours straight.” intuitive
(Additionally, some backstage footage musical
interplay; Jack
was captured with a Panasonic AG- attacks his
HVX200.) keyboard with
During prep, the filmmakers characteristic
abandon;
bought all the Eastman Tri-X 7266, director of
Plus-X 7265 and Ektachrome 7285 photography
they could find. “In the end, we used Giles Dunning
observes an
most of it,” says Dunning. “It’s rare that outdoor show.
people go out and shoot this much
reversal, but one of the things people
respond to when they see the film is the
look of the reversal stock.”
Shooting reversal poses its share
of obstacles, chiefly the extremely
narrow latitude of 6 or 7 stops. “In a

◗ PaintingTownsWhite
concert setting, the lighting range can be
very wide, and you’d typically choose a
stock that’s more forgiving,” says
Dunning. “We only had two cameras
onstage at a time, and there was no radio
contact. It’s not the ideal way to shoot a
concert documentary, but the payoff is
the beautiful image; you get really dense
blacks and a slight vintage look.”
The cinematographer empha-
sizes that a good rapport with the show’s
lighting director, in this case Susanne
Sasic, is key when shooting a live event.
Most of the lighting tweaks for the
Stripes’ tour were worked out a few
hours before each show, during the
sound check. “I tried to spot the things
that might make the show difficult to
shoot,” says Dunning. “A lot of the work
is balancing what’s already there. One of
the first steps you have to take when
you’re shooting in color is working out
the different color temperatures, partic-
ularly the spotlights. You just have to be
careful to not destroy the look of a rock
’n’ roll show.
Top: Dunning “We were going for a somewhat
films Meg as naturalistic feel on this,” he continues. “I
the band
prepares to usually have at least six cameras onstage
“showboat” for concert films, but I wanted to pare it
with an down this time. We also wanted to avoid
impromptu
concert staged swooping cranes and dollies, which feel
on the water. very contrived to me.” Malloy notes, “I
Middle: The
Whites share a
tender
moment at the
piano while
reflecting on
their lives and
career. Bottom:
The musicians
admire
nature’s
handiwork
while
inspecting an
ice floe during
some
downtime.

wanted to give the film a single-camera

feel. I like those moments where you
can tell [the operators] are finding their
footing.”
There are a lot of moments when
the shot goes out of focus, or Jack does
something unexpected and the operator
has to reposition himself quickly. “Even
if you’ve worked with Jack before, that
doesn’t give you the ammunition to
Top left and
right: The
keep up with him!” says Malloy. “We
filmmakers didn’t have a set list, headphones or a
capture video village. These venues were small
evocative
images of a
enough that we could give each other
humble hand signals!
cemetery. “I was fortunate to be working
Middle:
Inspired by the
with cameramen who knew the music
sartorial well, and when one angle got cut off,
elegance of the they’d find another angle,” continues the
White Stripes’
entourage,
director. “They’d let the shot go out of
director focus if it worked for the song, and they
Emmett Malloy usually knew where the performers
dons a snazzy
tie and fedora.
would be at just the right moment.”
Bottom: Meg “The beautiful thing about oper-
offers a Mona ating with musicians is that you’re
Lisa smile as
she’s captured
responding to the music, and your work
on the move. is very intuitive,” says Dunning. “It’s
also good to be familiar with your
camera because you’re pulling your own
focus while your second AC is across
the way, shooting with a Bolex!”
To keep things visually interest-
ing, Dunning approached each show in
a different way; he shot one on black-
and-white reversal, the next on color
reversal, one with a tripod, the next
handheld, and so on. “You don’t feel like

Left: Color
footage
highlights the
band’s
signature use
of red as part
of their visual
image. Right:
Jack proves he
can fill a big
niche in rock.
you have to play it safe with Jack and cameras get so close to them it feels as through a lens. It’s as rock ’n’ roll and as
Meg. You can push the limits with though each performance is under a punk rock as anything I’ve ever seen.”
them and you’ll get something very microscope. “Certainly, their dynamic On top of their grueling showcase
unique-looking,” he says. onstage is like nothing I’ve seen before,” schedule, the Stripes played “secret”
Under Great White Northern says Malloy. “The way they read each matinees in each town at unusual venues
Lights crackles with energy, owing as other and the way they stare each other — a bowling alley, a retirement home,
much of its intensity to Dunning’s cine- down is remarkable. Meg really is wait- on a boat, and even on a city bus. One of
matography as it does to the relation- ing to see where Jack’s going next, and Dunning’s favorite locations was Iqaluit,
ship between the Whites onstage. The that’s completely fascinating to watch the capital of Canada’s Nunavut
70
province, where the production shot colorist Beau Leon, some additional and more unique. No matter how many
“You Don’t Know What Love Is.” He color effects were applied, and some thousands of feet you shoot, there’s
recalls, “It was dusk for one hour there. grain was added to the HD footage to nothing like the beauty of film and the
Jack and Meg played their showcase at help it blend better with the Super surprises that come with it.” ●
11 p.m., and when we left the club it 16mm material. Leon also helped
was still daylight, and kids were running Dunning increase the saturation and
around and playing. We shot Jack and contrast in a bit of footage shot with
Meg walking across some rocks on the Vision2 500T 7218, which was used for
shore by these red and white houses, locations where Dunning needed to
and that black-and-white footage is squeeze a few extra stops out of the
some of the most beautiful stuff in the ambient light.
movie.” Dunning wanted to get a time- Dunning and Malloy had free TECHNICAL SPECS
lapse shot of the tide going out (using a reign to film whatever they pleased, but
Bolex and a Norris intervalometer), but Jack was given final cut. “There were 1.78:1
because of the band’s schedule, no one some specific angles he didn’t want us to Super 16mm and Digital
on the crew could stay with the camera. include, and he was always asking us to Capture
He ended up leaving it with one of the crush the black in the telecine,” says
locals and came back the next day to Dunning. “The band always had edito- Aaton XTR-Prod; Bolex;
retrieve it. rial control, and knowing that made Panasonic AG-HVX200
Under Great White Northern them feel freer with us. Canon lenses
Lights was recently released on DVD “The real beauty of this docu-
and exhibited on HDCam-SR at festi- mentary is that we got to do things the Eastman Plus-X 7265, Tri-X
vals, including South by Southwest. In way we did,” he adds. “The way these 7266, Ektachrome 100D 7285,
the final telecine transfer, carried out at specialty film stocks keep disappearing Kodak Vision2 500T 7218
New Hat Post in Santa Monica by on us, they’re becoming more special
604 Full CT Eight Five New LEE
Urban
642 Half Mustard Yellow
643 Quarter Mustard Yellow
650 Industry Sodium
651
652
HI Sodium
Urban Sodium
effect
653 LO Sodium
filters
Create a Sodium effect

with tungsten or daylight
Think LEE
www.leefilters.com
71
Post Focus
I Adding Chills to Frozen
By Michael Goldman
tures, the crew battled to maneuver a 50' Super Technocrane, vari-
ous lighting rigs and other equipment up the mountain and into
position to film actors suspended 48' in the air for hours at a time.
The recent release Frozen typifies how the independent film “The decision to shoot practically was easy,” says Barratt. “We’ve all
world is evolving, with traditional and digital techniques coming seen big-budget films where the greenscreen effects look fake, and
together to make complicated productions affordable. On the for another thing, Adam and I felt we could get better performances
production side, the filmmakers adopted a traditional approach, from our actors if we actually stuck them on a chairlift. And they
shooting 3-perf Super 35mm for a final aspect ratio of 2.40:1. On really were stuck — they came down for lunch and for a bathroom
the post side, they adopted a digital workflow that enabled much of break. Plus, budget-wise, shooting on the mountain was more
their visual-effects work to be done during the digital-intermediate affordable than getting a large greenscreen.”
process. For night scenes, which dominate the film, “we wanted a
Directed by Adam Green and shot by Will Barratt, Frozen tells moon-glow feeling, soft lighting, so we had to have moonlight
the tale of three skiers trapped on a chairlift on an isolated moun- bouncing off the snow back up to the actors,” says the cinematog-
tain. Principal photography, which took place at a ski resort near rapher. “To do that, we put Nine-light Maxi-Brutes under the actors
Ogden, Utah, over five weeks, was “the hardest shoot I will ever and basically pounded the light into the mountain. That gave us a
have,” says Barratt. Working largely at night in sub-zero tempera- soft bounce that resembled moonlight reflecting off snow.”
Visual-effects supervisor/colorist Tyler Hawes and his team at
Lit Post in Los Angeles devised an affordable method for digitally
transforming the snow flurries captured in camera into a blizzard
that pervades the film and becomes, in essence, a character in the
drama. They accomplished this entirely within a DI pipeline built on
the foundation of Digital Vision’s Nucoda Film Master system.
There are 260 visual-effects shots in the film, and Hawes
created half of them, almost all snow effects, while color-timing the
picture. He explains that although the production captured lots of
snowy footage on location, the look of those scenes varied widely,
and a consistent, dramatic blizzard was required to fulfill the story’s
needs. “Ironically, after they went to great lengths for realism by
filming on a remote mountain, the footage looked like it had been
shot onstage because you [couldn’t] see the weather and environ-
ment around the actors — there was just blackness,” says Hawes.
“Naturally, they couldn’t sit around waiting for the clouds and
moonlight to be just right so that the background would show up.
Also, the script calls at certain points for certain weather hits, making
weather a supporting character. So we had to finesse the snow and
light to bring more realism and authenticity to the scenes.”
The filmmakers decided not to attempt to do any of the
snow effects with CGI; Green wanted to avoid artificially generated
elements for the sake of realism, and the production didn’t have the
time or money for 3-D effects work. Hawes’ team had successfully
added rain and fog to Green and Barratt’s previous collaborations,
Images courtesy of Lit Post.
the features Hatchet and Spiral, and Hawes believed a similar

approach would work for snow in Frozen. His team used both real
snow and snow machines to shoot additional snow plates using
both 35mm and digital (Red One) cameras, and then brought them
into the DI session to stitch it all together.
Nearly half of the 260 visual-effects shots in the indie thriller Frozen are snow
effects created during the digital-intermediate process at Lit Post.
“Originally, we talked about me just doing the color correc-
tion, and making effects separate,” Hawes explains. “Then, we

added simple effects like wire removals and Autodesk Unveils 2011 Lineup help implement 3-D finishing with minimal
things I could easily do with the Nucoda Autodesk has introduced the 2011 disruption to existing creative workflows.
system. But there was this bigger challenge versions of its Digital Entertainment “3-D is core to what we do at Autodesk, so
of how we could create, with a limited Creation Software for 3-D modeling, being a leader in end-to-end stereo work-
budget, about 20 minutes of snow and animation, effects, rendering, compositing, flow capabilities is a natural extension for
other weather effects. Ultimately, the plan digital sculpting and 3-D painting, as well as us,” says Stig Gruman, Autodesk’s vice pres-
we came up with deeply involved the DI the 2011 releases of its creative finishing ident of digital entertainment. Key new
process. The Nucoda system allows you to products for visual effects, editorial finishing stereoscopic features include cross-product
do respectable compositing, where you can and color grading. The complete line offers support for the FBX 2011 software; a
take multiple layers or clips, composite them users improved interoperability, new stereoscopic camera rig and object support
together, and then grade them in the creative tools and accelerated workflows, in Action, Flame and Smoke’s 3-D composit-
context of a final composite. I figured that while the creative finishing products intro- ing environment; concurrent stereoscopic
with my experience as a compositor, I could duce an end-to-end stereoscopic finishing visual effects, editorial finishing and grading
put together convincing snow elements and workflow for film and television produc- workflow; and stereoscopic monitoring and
combine them with the original photogra- tions. preview modes.
phy. If we’d done this same thing with CGI Of the Digital Entertainment Launched in December 2009, Smoke
and a desktop-based visual-effects pipeline, Creation Software releases — comprising for Mac OS X has rapidly gained ground in
it would have taken longer to get it right, Maya, 3ds Max, Softimage, Mudbox, Mac-based creative workflows by offering
because everyone would have been viewing MotionBuilder, FBX asset-exchange tech- an all-in-one editorial finishing solution. Also
it separately, on different monitors, apart nology, HumanIK 4.5 middleware and available as a turnkey solution for the Linux
from the main photography.” Kynapse 7 middleware — Maya 2011 is a operating system, Smoke 2011 boasts new
Hawes calls this a “converged work- particular standout. Marc Petit, Autodesk’s tools for editing, viewing and compositing
flow,” noting that other effects in the film senior vice president of Media & Entertain- stereoscopic content; drag-and-drop
did incorporate some CGI, and says the ment, notes, “Autodesk Maya 2011 takes conform of AAF or XML files from Apple
strategy “paid off once we got a rhythm” Digital Entertainment Creation workflows Final Cut Pro or Avid Media Composer; and
because, in the DI suite, it took “an average to new heights with a new customizable native in-application support for Red RAW
of about 20 minutes a shot to get it all done. user interface, new high-performance view- and H.264 QuickTime media.
We got all the weather stuff done in less ports and a new 3-D editorial interface.” The 2011 releases of Flame and Flare
than a week.” Now available for Snow Leopard, Maya help further integrate advanced 3-D capa-
Hawes suggests that keeping the 2011 also boasts enhanced tools for char- bilities with the addition of new creative
snow effects in the DI suite increased acter animation, including non-destructive tools such as a GPU-based pixel-shader
creative opportunities for the filmmakers, live targeting; integrated color manage- rendering pipeline, which improves the
particularly for Barratt, who could be more ment; asset structures for pipeline connec- quality of rendered results and enables
involved than he might otherwise be in the tivity; and improved rotoscoping. support for new texture mapping and light-
visual-effects pipeline. “Artists prefer to Augmenting Maya’s stereo ing effects; a new Substance procedural
move quickly, and if you’ve got 130 weather computer graphics capabilities, the 2011 texture library with over 100 near-photore-
shots going out to separate facilities and releases of Flame, Flare, Smoke and Lustre alistic textures that can be applied to 3-D
then coming back to you, you’ve got to offer stereoscopic capabilities designed to objects, 3-D text or surfaces; native in-appli-
remember what you were thinking some
time ago,” says Hawes. “On Frozen, we all
sat down together and built the effect we
wanted. Integrating so many of the effects
into the DI was great for Will, because it
gave him back some of the control the cine-
matographer often loses with CGI.”
In the end, Hawes believes this work-
flow saved the production weeks of time
and offered “about 75-percent cost savings
compared to a traditional approach.” He
presumes, like most industry professionals,
that CGI will always require a separate
pipeline, separate tools and separate artists.
However, for 2-D effects involving certain
kinds of compositing work, Frozen was,
perhaps, ahead of a rising curve.

cation support for Red RAW and H.264
QuickTime media; and support for individ-
ual rendering layers when soft-importing
OpenEXR media files. Additionally, both
products feature 3-D compositing enhance-
ments such as support for multiple outputs
in Action, including z-depth, normal and
matte passes; and support for diffuse,
parallax, reflection and specular mapping.
Finally, Lustre 2011 gives colorists
additional control over color and lighting
effects in both stereoscopic and standard
grading workflows. New features include
support for grading of OpenEXR media
files, Red workflow enhancements with
support for Red Rocket through Mac Wire-
tap Gateway and open management of
grading metadata.
For additional information, visit
www.autodesk.com.
POWERED BY
®
T EC H N O LO GY FilmLight Offers Low-Cost

Baselight, Streamlines
HDCam-SR Workflow
FilmLight has announced a low entry
® price point addition to its Baselight range of
kleer nonlinear color-grading systems. Known

simply as Baselight, the new system offers
colour facilities a cost-effective way to benefit from

the performance and feature set associated
with the product line.
Priced at $95,000, Baselight is a fully
featured color-grading system capable of
handling all inputs and delivering multiple
output formats up to and including dual-
link RGB 4:4:4 HD. Configured to work as
kezia, kedo… part of an integrated, file-based workflow
with comprehensive support for industry-
standard editorial systems, Baselight
www.gekkotechnology.com includes a GPU renderer, Blackboard control
76
surface, Baselight Kompressor and 12TB
formatted RAID 5 storage. The system is
fully upgradeable up through the top-of-
the-range Baselight Eight and benefits from
FilmLight’s comprehensive range of global
support, maintenance, training and special-
ist consultancy services.
Additionally, during the recent
National Association of Broadcasters
conference in Las Vegas, FilmLight demon-
strated an on-set workflow incorporating
Truelight On-Set to apply 3-D LUTs to the
output from a Sony F35 camera in real time.
The Truelight system also allows pre-defined
looks and primary color-correction conform-
ing to the ASC Color Decision List to be
applied near set after recording. The CDL
information created on set can be easily
embedded as auxiliary data and recorded
on the HDCam-SR tape to be used as a
starting point for the final grade in Base-
light, or burned into shots to create digital
dailies.
FilmLight also demonstrated the
Baselight’s native grading support for the
standards-based high-quality 440Mb
MPEG-4 SStP (Simple Studio Profile) codec,
on which HDCam-SR recording is based.
SStP is now available as MXF-wrapped
media for near-real-time exchange over a
GB Ethernet connection from the latest
SRW-5800/2 VTR and can be decoded in
real time within Baselight.
“We are very pleased to be working
in partnership with Sony to help develop
and support these new HDCam-SR file-
based workflows,” says Wolfgang Lempp,
FilmLight’s founder and technical strategist.
“The inclusion of SStP closes the gap
between compressed and uncompressed
high-end workflows, and will eventually
lead to a cost-effective and efficient 4K
workflow.”
www.filmlight.ltd.uk. ●
Tricks of the Trade
I Using Red’s False Color
By Claire Walla
eliminating the frequent need to stop and reload, False Color
allows the cinematographer to get an instantaneous light reading
without venturing away from the camera. “I would do a quick
Like most cinematographers, Chase Bowman measures flash [of False Color] during a take, and as soon as the director
light for relative exposure values and adjusts his iris settings accord- yelled ‘Cut,’ my gaffer would go right into fixing the problem
ingly. But he doesn’t use a light meter. “I’m kind of embarrassed to because he knew exactly what I was referring to,” recalls
say it because I was brought up on film, but I leave my light meter Bowman. “It got to the point where we didn’t even have to talk
at home now,” he says. Instead, he uses False Color, a function on about it, and that made production more fluid.”
the Red One digital camera, which he has been using since 2007. Another reason Bowman likes False Color has to do with
With the click of a button, False Color covers the onscreen image its ability to quickly capture the whole scope of light within a
with a multi-hued overlay, using a scale that ranges from Purple (1 frame. He points to a car-mount shot from Second-Story Man as
IRE) to Red (108 IRE), with Green (44 IRE) balancing out the two an example. In a medium shot, the camera looks through the rear
extremes at 18-percent gray. window of a car onto a young girl who’s peer-
The concept is not so different from ing back toward the camera. “The girl’s skin is
other cameras’ built-in light meters, like the very dark, but there was also the reflection of
histogram (which displays temperature values the trees and the glare of the sun to consider
via bar graph), or a zebra pattern (an overlay of
False Color when setting the exposure,” explains Bowman.
slanted lines that lean left or right, depending
on whether the image is over- or underex-
allows an “A light meter wouldn’t do much to get an
overall feel for exposure — the angle of inci-
posed). However, Bowman maintains that color instantaneous light dent of the reflected light would be one prob-
representation is more direct with False Color. lem.” But False Color could capture everything
“I’ve even had my script supervisor pick up on it reading without within the frame at one time, allowing
and give me exposure advice,” he reports. Bowman to see exactly how the character’s
“Really, it’s that easy.” venturing away skin responded to the speckled veil of sun and
While shooting the feature Second-Story shadow that complicated the shot.
Man in January, Bowman not only set all his
from the camera. False Color also helps when motion is a
exposures using False Color, but also communi- factor. This is the case for settings overrun by
cated on set with color-coded instructions. “We intelligent lights that constantly move and
were doing a lot of day-for-night shots, and we change, but it’s also true for more basic action
didn’t have enough money for [lighting] balloons or other night- shots. If a scene calls for someone to throw a baseball, for
exterior lighting tools, so it was all about exposure level,” he instance, the cinematographer can set the camera to False Color,
explains. “My gaffer and I came up with a [rubric] for how we were watch the ball move across the screen, and mark exactly where
going to establish moonlight, and it was all color-coded: purple for the light affects the object while it’s in motion. “You can take an
things that didn’t need any detail [straight underexposed], light instant reading with a light meter and get a feel for the space,”
blue for the majority of the shots, and essentially no color [the mid- adds Bowman. “But you can’t spot-meter a moving baseball.”
tones] for specific highlights.” Bowman attributes the great benefit of False Color to the
If an actor was standing in the snow amid a cluster of trees, inherent differences between film and digital. “Film is a much
for example, Bowman set his exposure so that the leaves in the more forgiving medium. If you blow out a highlight on a car, it
trees were purple, the snow was light blue, and the actor’s face looks great because it looks natural. But with digital, as soon as
was no color. “I knew that as long as there was ‘no color’ on the the highlight goes, you know you’re watching digital.
actor’s cheek at any given time, it wasn’t totally underexposed,” he “For me and a lot of the cinematographers I know, using
notes. the Red has been all about trying to create the illusion that it’s
Bowman is quick to add that there’s nothing wrong with film,” he continues. “We’re trying to find something we can
using a light meter with the Red. However, he believes it makes maybe call ‘Digital 35.’ Without question, the key to that [with the
sense to follow a digital-specific method when shooting a digital Red] is protecting highlights, and that’s a big part of what False
format. Part of this has to do with the way digital technology has Color does for me.” ●
impacted the production process. In the same way that digital
cameras allow filmmakers to maintain the momentum of a shot by

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New Products & Services
• 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.
the compressed dailies are recorded on a standard SDHC card and

can then be removed for immediate editing on Avid or Final Cut Pro
systems.
An overscan output for monitoring will provide a view
beyond the frame borders. Output video options include HDSDI at
4:4:4 and 4:2:2. Aaton also plans a provision for an unlimited
number of cascading 3-D LUTs to preview the cinematographer’s
intentions and to store settings for later use in post.
The next iteration of the Penelope-Delta will be shown at the
IBC show in Amsterdam in September, with an eye to releasing the
system in early 2011.
For more information, visit www.aaton.com.
Aaton Introduces Penelope-Delta

By Benjamin B
French camera manufacturer Aaton showed the first proto-

type of the Penelope-Delta digital camera system at the National
Association of Broadcasters convention in April. The Penelope-Delta
is a digital magazine that adapts to Aaton’s Penelope 35mm film
camera, thus enabling the same camera body with lens and optical
viewfinder to be used to shoot either 35mm or digital. The conver-
sion between film and digital use is estimated to take less than 30
minutes.
Penelope-Delta’s digital sensor is a Bayer-pattern CCD built for
Aaton by Dalsa Corp. Aaton announced a unique dual-sensitivity
feature, which, the company states, allows for the sensor’s base Panasonic Unveils 4 ⁄ 3 " HD Camcorder
sensitivity of 800 ISO to be reduced to 100 ISO. The camera is also Panasonic Solutions Company has announced the AG-
said to have very low noise at its 3,200 ISO setting. Penelope-Delta is AF100 AVCCam HD camcorder, a professional micro 4⁄3" video
designed for image capture at a resolution exceeding 4K. The camcorder optimized for high-definition-video recording.
dynamic range is 13 stops. Targeted at the video- and film-production communities, the
Aaton is known for its cameras’ ergonomics, and the Pene- AF100 delivers the shallow depth of field and wider field of view of
lope-Delta extends the company’s “cat on the shoulder” philosophy a large imager with the flexibility and cost advantages of compati-
to the digital arena. The weight of the Penelope-Delta will be 16.5 bility with a growing line of professional-quality micro 4⁄3" lenses,
pounds, including two onboard Li-Ion batteries and the internal Solid filters and adapters. The full 1080 and 720 production camera
State Disk recorder. The camera’s low power consumption should offers superior video handling, native 1080/24p recording, variable
allow for three to six hours of operation, depending on the ratio frame rates, professional audio capabilities and compatibility with
between record and pause modes, without having to swap the SDHC and SDXC media.
onboard batteries. Additionally, a custom operating system enables a The design of the AF100’s micro 4⁄3" 16:9 MOS imager
four-second boot-up, and the noise level is measured at 19 dbA, a affords depth of field and field of view similar to that of 35mm
low value attributed to wide vents and a large, slow-moving fan. movie cameras in a less expensive camera body. Equipped with an
The Penelope-Delta will simultaneously record two file interchangeable lens mount, the AF100 can utilize an array of low-
formats onboard the digital magazine: uncompressed RAW at up to cost and widely available still camera and cine-style lenses.
800MB/second in a DPX wrapper, and compressed dailies in Avid’s “Designed in consultation with the filmmaking community,
open DNxHD format, either in the low-res 36MB/sec flavor, or in the AF100 eclipses the video performance of other cameras in this
higher quality 10 bit. The uncompressed files are internally recorded price range,” says Joe Facchini, vice president of Sales & Product
on a lightweight, removable DeltaPak that contains four 2.5" SSDs; Management, Media & Production Services, Panasonic Solutions

Company. “Ideal for film schools and inde-
pendent filmmakers, this affordable digital-
cinematography camera employs an
advanced professional AVC/H.264 Hi Profile
AVCHD codec compatible with a wide range
of editing tools and affordable players.”
The AF100 records 1080/60i, 50i,
30p, 25p and 24p (native) and 720/60p,
50p, 30p, 25p and 24p (native) in AVCHD’s
highest-quality PH mode (maximum
24Mbps). Ready for global production stan-
dards, the camcorder is 60Hz and 50Hz
switchable. Furthermore, the camcorder
boasts built-in ND filtering and dramatically
reduced video aliasing. Standard profes-
sional interfaces include HD-SDI out, HDMI,
time code recording, built-in stereo micro-
phone and USB 2.0. The AF100 also features
two XLR inputs with +48-volt Phantom
Power capability, 48-kHz/16-bit two-channel
digital audio recording and support for
LPCM/Dolby-AC3. With two SD slots, the
AF100 can record up to 12 hours on two
64GB SDXC cards in PH mode.
The AG-AF100 is scheduled to ship
by the end of this year. For more informa-
tion, visit www.panasonic.com.
Canon’s XF305, XF300 Go Tapeless

Canon U.S.A., Inc. has introduced the
XF305 and XF300 professional camcorders.
Both employ the Canon XF Codec (MPEG-2
4:2:2 50Mbps codec) for capturing and
recording native 1920x1080 video onto
affordable and widely available Compact
Flash (CF) cards. Uniting video, audio and
metadata into a single file, the camcorders
use an MXF File Wrapper — a widely
supported open-source format — to maxi-
mize compatibility with existing industry
infrastructure and nonlinear editing systems.
Both models include a Genuine
Canon 18x HD L-series lens with a 35mm
equivalent zoom range of 29.3-527.4mm.
The lens also boasts a Full Manual Focus monitor can provide a display of the multi-camera or 3-D productions.
mode with mechanical “hard” end stops camcorders’ built-in waveform monitor The XF305 is priced at $7,999 and
and distance markers for professional oper- and vectorscope to aid in achieving accu- the XF300 is priced at $6,799, and both
ability and repeatable manual focus. To rate exposure and color levels; it can also models are expected to be available in late
minimize chromatic aberrations and provide show peaking, edge-monitor focus and June. For more information, visit
a compact size and weight to the lens while magnification, enabling the user to confirm www.usa.canon.com.
also delivering a resolution of approximately critical focus. The camcorders are also
1,000 TV lines, Canon utilized HI-UD (high- equipped with a 0.52", 1.55-megapixel Angenieux Adopts Cooke’s
index, ultra-low dispersion), UD and aspher- color electronic viewfinder, providing ample /i Technology
ical lens elements. The lens also features a resolution for critical focus and approxi- Thales Angenieux and Cooke Optics
new SuperRange Optical Image Stabilizer mately 100-percent field-of-view coverage Ltd. have announced a partnership agree-
system with Dynamic and Powered modes for accurate framing. ment in which Thales Angenieux will incor-
for optimal performance in the greatest vari- Both camcorders feature a built-in porate Cooke’s /i Technology into its lenses.
ety of situations. stereo microphone as well as dual XLR Cooke’s /i Technology enables film
At the heart of the XF305 and XF300 inputs for external audio sources; the and digital cameras to automatically record
are three native 1920x1080 CMOS image camcorders support 16-bit PCM audio at key lens and camera data for every film
sensors developed and designed by Canon, 48 kHz with automatic and manual audio frame shot and provide it digitally to post-
as well as Canon’s proprietary DIGIC DV III level adjustment. The XF305 also features production teams. The technology stream-
Image Processor, which ensures natural industry-standard HD-SDI output, genlock lines both production and post, saving
colors and captures tonal gradations and and SMPTE time code (in/out) terminals for significant time and costs and eliminating
shadow detail with remarkable accuracy.
The DIGIC DV III Image Processor also
powers Canon’s innovative Face Detection Arri, Fujinon Collaborate on
Technology, an autofocus option that can Alura Zooms
significantly reduce the effort required when Arri and Fujinon have partnered to
camera operators work alone. Additionally, create a completely new family of modern
Canon’s new XF Codec boasts excellent cine zoom lenses. Using the latest in optical
color detail, and the 4:2:2 color sampling design technology and innovative manufac-
offers twice the color resolution of HDV and turing techniques, the Arri/Fujinon Alura
other 4:2:0 formats. To ensure compatibility, Zooms combine the highest optical perfor-
Canon has worked in cooperation with mance with an amazingly small size, weight sensor or film plane, internal reflections like
such editing- and postproduction-software and price. flares and veiling glare have been greatly
developers as Adobe, Apple, Avid and Grass The wide Alura Zoom 18-80 and the reduced through the use of Fujinon’s multi-
Valley. long Alura Zoom 45-250 are a set of layer EBC (Electronic Beam Coating) lens
To maximize the camcorders’ adapt- matched PL-mount cine zooms designed for coating. This ensures maximum light trans-
ability across various production environ- use with both film and digital camera mission and a high-contrast image with
ments, each model can record at multiple systems. Both zooms exhibit excellent opti- clear highlights and true, deep blacks. Color
bit rates, resolutions and variable frame cal performance, and their size and weight fringing is minimized through the use of
rates for slow and fast motion. At 50Mbps have been kept practical, allowing crews to extraordinary dispersion glass. Breathing has
(Continuous Bit Rate) 4:2:2, the camcorders work fast on the set. been greatly reduced, especially at the wide
can capture 1920x1080 resolution at 60i, Both lenses share a maximum open end. Nine iris leaves provide round out-of-
30p and 24p or 1280x720 resolution at aperture of T2.6. Great care has been taken focus highlights and a pleasing, organic
60p, 30p and 24p; at 35Mbps (Variable Bit during the design phase to ensure that the bokeh.
Rate) 4:2:0, they can capture 1920x1080 T-stop remains truly consistent over the Alura Zooms are compatible with Arri
60i/30p/24p or 1280x720 60p/30p/24p; entire zoom range, avoiding a decrease in digital and film cameras as well as Arri
and at 25Mbps (CBR) 4:2:0, they can light level across the zoom range common accessories, and they have been constructed
capture 1440x1080 60i/30p/24p. Addi- with other lenses. This is especially beneficial for the rough conditions of professional
tional professional features include variable- when the Alura Zooms are used on digital production. Large, easy-to-read, precision
interval for time lapse, frame-record for cameras, where a drop in light level quickly focus scales on both sides of the lenses aid
stop-motion animation and a photo feature becomes visible. focus pulling. Additionally, the zooms’ color
for frame grabs. Alura Zooms exhibit high contrast characteristics and handling are matched to
Each camcorder features a freely and high resolution for sharp, punchy existing prime lenses in Arri’s repertoire.
rotating 4.0", 1.23-megapixel LCD monitor images. While the special optical design For additional information, visit
that can be positioned at either the right or ensures an evenly illuminated image on the www.arri.com and www.fujinon.co.jp.
left side of the camcorder body. The LCD

guesswork while enabling greater creative
freedom. The /i capability is now built into
an external box (a prototype of which is
pictured) that will connect to existing Ange-
nieux lenses; moving forward, Thales Ange-
nieux will incorporate /i Technology into
new lens designs.
Philippe Parain, managing director of
Thales Angenieux, France, says, “/i Technol-
ogy is an astounding development for our
industry and one which drives it forward.
We are delighted to work with Cooke to
incorporate this technology into our lenses,
in order to advance in the streamlining of
the film-production process.” Les Zellan,
chairman of Cooke Optics, notes, “We have
great respect for Thales Angenieux and are
thrilled to welcome them to the growing /i
family.”
Thales Angeniuex is the latest in a
distinguished group of companies to adopt
/i Technology. The growing list includes
Aaton, Arri, Avid, Cinematography Electron-
ics, CMotion, Mark Roberts Motion Control,
Preston Cinema Systems, Red, The Pixel
Farm, Service Vision and The Foundry.
For more information, visit
www.cookeoptics.com and www.ange
nieux.com.
Zeiss Fits Compact Primes

to DSLRs
Optics specialist Carl Zeiss has intro-
duced Compact Prime CP.2 cine lenses,
specially designed for HDSLR cameras.
Compact Prime CP.2 lenses deliver
great flexibility by introducing interchange-
able mounts that allow the lenses to be
used with a wide range of cameras, from
traditional cine to HDSLR systems. Available
with three different mounts — PL, EF and F
— this new family of Zeiss lenses enables
cinematographers to be completely free in
their choice of camera systems while ensur-
ing a high consistency of images. Further-
more, the lenses can be upgraded to any
number of existing or future cine and still
cameras while enabling cinematographers
the cinematic qualities of any location and
record metadata including GPS, compass
heading, date/time, voice notes and a
sunrise/sunset readout.
“We are pleased to offer filmmakers
a unique and cost-effective application that
supports the specific needs of users within
our industry,” says John Buccola, Panavi-
sion’s chief information officer. “Leveraging
the capabilities of the iPhone with Panavi-
sion’s years of service in the film industry has
resulted in a fantastic new tool for produc- Kodak Adds Super 8
tion.” Ektachrome Stock
Photos in the app can be framed in Kodak has introduced a new color-
to continue using the same set of lenses. 2.40:1, 1.85:1, 1.78:1 and 1.33:1 aspect reversal film available in the Super 8mm
Like their predecessors, Compact ratios. Panascout allows user to upload format. Kodak Ektachrome 100D Color
Prime CP.2 lenses are made for a rigorous directly to Final Cut with Final Cut Server, Reversal Film 7285 is a daylight-balanced
life on set. The ergonomics have been MobileMe and SmugMug, and users can 100-speed film incorporating bright, satu-
improved compared to standard SLR lenses. also e-mail images and metadata directly to rated colors and fine grain with excellent
The longer focus rotation and the possibility colleagues. Panascout also lets users find sharpness.
for manual focus give users the flexibility Panavision suppliers anywhere in the world, “Super 8mm film is a versatile,
they demand. The iris opening consists of 14 purchase Panavision apparel through the affordable option for filmmakers who
high-precision blades, which stay consis- Panastore, review the complete Panavision require the image quality and flexibility of
tently round and symmetrical over the entire equipment reference library in the technical film,” says Chris Johnson, product
T-stop range, translating into natural and center and visit the online screening room in manager for Kodak’s Entertainment Imag-
pleasing out-of-focus highlights and a the media center. ing Division. “Kodak’s commitment to
smooth bokeh. The modern lens design and Panascout can be purchased R&D continues to raise the bar for image
tight tolerances ensure low distortion, high through iTunes for $9.99. For additional quality. One benefit is that Super 8 is now
resolution and excellent color rendition. information, visit www.panavision.com and a terrific option for students who want to
Compact Prime CP.2 lenses cover a www.panascout.com. hone their skills, as well as for professional
full-frame 24x36 image format without filmmakers who want to craft a distinctive
vignetting, and they are based around a Litepanels Illuminate look for their project.”
common aperture of T2.1 for the standard Sola Fresnels The Super 8 film format is
set. Litepanels, a Vitec Group company, supported by a network of laboratories.
For additional information, visit has introduced the Sola series of LED Fres- One of the leading facilities in the U.S.
www.zeiss.com. nels. Offering beam control of 70 degrees supporting the Super 8 format is Pro8mm
to 10 degrees, the daylight-balanced Solas in Burbank, Calif. “Our customers have
Panavision Panavises iPhone provide the controllability and single- been clamoring for Kodak to offer the
Panavision Inc. has launched the shadow properties inherent in a Fresnel 100D product in the Super 8 format,”
Panascout location-scout application for the light while utilizing a fraction of the power says Phil Vigeant, president of Pro8mm.
iPhone. Panascout simulates the cinematog- of conventional fixtures. “The results our customers can produce
rapher’s viewpoint from a professional Sola Fresnels are available in three with a Super 8 camera and a 50-foot
cinema camera and boasts an intuitive models. The Sola6 weighs 6 pounds and cartridge of Super 8 film scanned to HD
workflow allowing filmmakers to capture draws 75 watts, producing an output are amazing.”
equivalent to a 650-watt tungsten unit. The One of the leading facilities in
Sola12 weighs 14 pounds and draws 250 Europe supporting Super 8 is Wittner-
watts, providing the equivalent output of a Cinetec. “The increased saturation of the
2,000-watt tungsten fixture. The SolaENG is 100D film makes colors just pop,” says
designed for both on- and off-camera company President Daniel Wittner. “We
mounting, measures 4"x4"x5" and weighs are glad to see Kodak continuing to
only 10 ounces; the fixture draws 30 watts support this important format.”
and produces an output equivalent to a For additional information,
250-watt tungsten source. visit www.kodak.com/go/motion,
Like all Litepanles, Sola Fresnels www.pro8mm.com and www.wittner-
feature instant dimming from 100 percent cinetec.com.

to 0 with no noticeable color
shift. The SolaENG provides
manual focus and dimming
control via camera-lens-style
ergonomic controls. The
Sola6 and Sola12 provide
on-fixture motorized control
of focus and local dimming
via a convenient touch
screen and are also remote-
controllable via their inte-
grated DMX interface.
Output is fully flicker free
and remains consistent even as the battery
voltage drops.
Employing Litepanels’ ultra-efficient
LEDs, Solas draw significantly less power
than conventional tungsten lights and
generate very little heat. The fixtures have a
universal AC input and can be used on any
85-245-watt power worldwide. Addition-
ally, the SolaENG runs on 10-20 volt DC
sources such as camera batteries, or it can
be powered via an AC adapter.
www.litepanels.com.
Lighting Solutions
from BriteShot fixed fixed
BriteShot Inc. has introduced a trio

of lighting products for film and video A new generation of
productions: the Luminator 1 LED fixture, electromechanical dolly!
the Space Light Wrap and the Thermal Rain fixed fixed
rear crab front
Blanket.
Able to produce any color tempera-
ture from 2,800°K to 6,800°K with no color
fringing and using only 2.5 amps of power
GF-Primo
GF- Primo Dolly
Dolly
at full intensity, the lightweight Luminator 1 NEW: easy to set-up low camera positions
boasts long life and incredibly low heat. It NEW: more options for creative camera moves
takes less than a minute to change lenses, NEW: more steering options for better
taking the luminaire from spot to flood manoeuvrability
(with multiple degrees in between). The NEW: more sitting positions
Luminator 1 is easily handheld even while NEW: intelligent, wireless column control
turned on, and it can be controlled wire- NEW: multifunctional platform system
lessly. NEW: all terrain “Big Wheels”
BriteShot’s Space Light Wrap utilizes
For further information www.g-f-m.net
a special flame-retardant material that
doesn’t fray to wrap around space lights,
replacing duvetyn. The long-lasting, light-
weight Space Light Wrap snaps on and off
easily.
The weatherproof Thermal Rain
Blanket has been tested to tolerate the heat Battery connection Wireless “One touch” central Multifunctional
emitted from an 18 or 20K fixture even “drop and go” radio control steering selection turnstile mount
when in direct contact. Each blanket Grip Factory Munich GmbH, Fürholzener Str. 1, 85386 Eching / Munich, Germany
Tel.: +49 (0)89 / 31 90 12 90, Fax: +49 (0)89 / 31 90 12 99, E-Mail: info@g-f-m.net, Internet: www.g-f-m.net
features 8 sensibly spaced grommets for Matthews Shines with Hot Flags hi-temp flags.”
suspending the cover over a light, or to tie Matthews Studio Equipment has Hot Flags come in four sizes:
the blanket to the light or a frame. introduced Hot Flags. Designed as an alter- 18"x24", 24"x26", 48"x48" and 24"x72".
BriteShot also offers a special tie-down cord native to previous high-temperature flags, For additional information, visit
designed to withstand temperatures up to Hot Flags allow precise cutting of light at www.msegrip.com.
1,000°F. Measuring 4'x5' and weighing less relatively close distance to large, heat-
than 7 pounds, the Thermal Rain Blanket producing HMI and tungsten fixtures.
can be easily folded for storage and trans- “Metal gets very hot, retains heat
portation. and takes a long time to cool off,” says Ed
For additional information, visit Phillips, owner of MSE. “Not Hot Flags.
www.briteshotinc.com. Made of a special, patented, thermal-resis-
tant fabric, they not only dissipate heat
Steadicam Tango Cuts a Rug rapidly, allowing for easier handling and
The Tiffen Co. has introduced the faster tear-down of the lighting setup, they
lightweight Steadicam Tango, providing weigh about one-half the weight of metal
floor-to-ceiling boom range with lateral
reach, full stability, intuitive control and P+S Technik Goes Freestyle can carry a wide range of professional
simple construction for use with today’s P+S Technik has expanded its 3D lenses and cameras weighing up to 15.4
small-form-factor HD cameras. Stereo Rig product family to include the pounds per camera. A range of ergonomic
The Steadicam Tango balances and Freestyle Rig, designed in collaboration with mounting accessories are available to
feels like a single sled carrying all compo- camera operator and stereography expert prepare the rig for shoulder, crane and
nents. It provides a comfortable, centered Philippe Bordelais. dolly use.
operating position even at full up/down The Freestyle Rig incorporates For additional information, visit
boom. The Tango incorporates rugged, all- patented Carbon Formula One technology www.pstechnik.de.
mechanical construction and uses a to deliver an ideal combination of load
conventional Steadicam sled with the 6- Woods Hole Shares
pound Tiffen Tango extension. “There are 3-D Camera Systems
no electronics, gyros, wiring, connectors or The Advanced Imaging and Visual-
power-hungry components,” says ASC ization Laboratory at the Woods Hole
associate member Garrett Brown, inventor Oceanographic Institution — the world’s
of the Steadicam. “It also has a large-aper- largest private, nonprofit ocean research,
ture interior cable path for camera/CCU engineering and education organization —
interconnection. With your eyes closed, it is expanding its Woods Hole Imaging
feels like a normal Steadicam.” Systems 3-D HD production services,
Features of the Steadicam Tango making its 3-D camera rigs available to
include 9' of continuous elevation and outside groups.
traverse with back-pan and back-tilt; 360- The custom 3-D rigs have been
degree pan and +/-90-degree tilt through- specially designed for natural history,
out the boom range; optimum pan and tilt science, documentary and sports applica-
inertia at all times; the ability to fit the tions where image quality, reliability and
camera into small openings with full overall equipment size are critical. Woods
angular control; rapid conversion Hole Imaging has a proven track record of
from Tango mode to capacity, stability, form and weight. The constructing ultra-small, low-power, high-
conventional Steadicam; Freestyle Rig’s construction offers maximum resolution mini 3-D camera systems capa-
stability when walking, stiffness and dimensional stability even ble of performing from 14,000' below sea
running and climbing under heat; a lightweight, slim and
stairs; silent operation compact design for mobility and portability;
with no servo motor integrated motorization for optimal
noise; and ultra-rapid balance; and great ease of use with
traverse, elevation, pan complete adjustability.
and tilt. Integrated motors for the stereo
For more information, base and convergence adjustment optimize
visit www.tiffen.com. weight distribution and balance and are
compatible with a number of wireless
remote-control systems. The Freestyle Rig

level to the reaches of outer space.
“Our smallest 3-D camera rigs weigh
in at approximately 4 pounds and can be
operated by a single individual,” says
William N. Lange, AIVL research specialist.
“When we put a camera system in a
submarine, once that sub goes down, the
system just has to work. That mentality is in
everything we do.”
In the past five years alone, AIVL has
developed over 30 ultra-small, high-resolu-
tion 3-D systems. While they have mainly
been used for underwater applications,
AIVL recently developed a new line of
terrestrial 3-D rigs, including ones that
support high-end Sony, Red and Phantom
cameras.
www.whoi.edu.
Panther Strikes with U-Bangi II

Specialty Products
Panther has introduced the
U-Bangi II, a multi-purpose horizontal track-
for Film, Video, & HD
ing system for use on dollies, tripods, stands Oppenheimer Camera Products’
or any flat surface. current offerings include the OppCam
The U-Bangi II includes a double Panhandle System, LCD Monitor Yoke Mounts,
Euromount and a counterweight bar, and it Arriflex 235 On-Board System, Handheld
features newly designed end pieces with an GripSets, Macro & Ultra Wide Lenses and our
80mm connector. Compatible with all Angenieux & Fujinon Carry Handle Systems.
Panther accessories, the U-Bangi II is avail- We are currently developing a series of on-camera
able in 2' 11", 4' 7", 6' 7" and 9' 10" LCD Viewfinder Brackets, Support & Shoulder
lengths. Mount Systems for Canon DSLR cameras, and
For additional information, visit Universal Monitor Yokes. We also create custom
www.panther.tv. products for our clients.
Oppenheimer Camera Products has been an inno-
Miller’s Compass Leads the Way vator of elegant, practical, reliable camera accessories
Miller Camera Support’s range of since 1992. Our products are used by rental houses,
Compass premium fluid heads now production companies and cameramen around the
includes the Compass 25 model with globe. We welcome your suggestions and input!
100mm ball leveling, capable of supporting
camera payloads from 8 to 30 pounds.
The stylish, operator-friendly design
of the Compact 25 incorporates selectable
pan-and-tilt drag settings and an illumi-
PDUW\#RSSFDPFRP 6HDWWOH
MYT Works Rolls Out 3 in 1 Dolly own shop in Brooklyn, NY, complete with a
MYT Works has released the MYT 3 state-of-the-art CNC milling machine. The
in 1, a patent-pending dolly system deliver- MYT 3 in 1 is a made-to-order dolly glider,
ing ease-of-use, versatility and near-limitless custom designed to fit the needs of any
mounting options.
Considerably reducing setup time,
the 3 in 1 allows for impromptu dolly moves
and static shots. Users can dolly the camera
on the MYT Glide, switch to a static shot
nated bubble level while maintaining a low with the MYT Hi-Hat and revert back to
profile and light weight. The Compass 25 tracking using the MYT Skate without ever
incorporates five pan-and-tilt fluid-drag having to dismount the camera.
settings combined with a four-position MYT Works owns and operates its production. Etienne Sauret, CEO of MYT
selectable counterbalance system. A quick Works, says, “The MYT family of Gliders
release camera-mounting system utilizing was designed and built strictly from a film-
the standard Euro camera plate — common maker’s point of view, and every facet and
to Miller’s Arrow range of fluid heads — function reflects a desire to build one multi-
allows the Compass 25 to integrate easily purpose integrated system that [can] satisfy
into existing camera-support inventories. the most demanding of professionals.”
“Both of our Compass 15 and 20 The MYT 3 in 1 sells for a base price
fluid-head models have been strong of $950 with the option to upgrade and
performers during their first year on the customize additional features. For more
market,” says Grant Clementson, manag- information, visit www.mytworks.com.
ing director of Miller. “With such a positive
reaction for the performance and design of
the new Compass range, we are pleased to payload, making them ideal for a variety of Petrol’s Cambio Supports,
now offer users with larger camera config- camera systems, from heavily accessorized Protects
urations the option of using our Compass newsgathering camcorders to lightweight Petrol Bags has introduced the
25 fluid head.” DSLRs. Cambio convertible equipment bag/camera-
For additional information, visit The Video 18 S1 and Video 20 S1 support system. A carry-on sized smooth-
www.millertripods.com. offer expanded 16-step counterbalance to rolling camera carrier, the Cambio trans-
enable extremely fine center-of-gravity forms into a lightweight support system for
adjustment for a wide range of camera small video camcorders, allowing users to
payloads. Both heads can accommodate travel lighter and set up quickly.
cameras as lightweight as 4.4 pounds, and The Cambio features an ultra-wide
both feature a Boost Button that instantly U-shaped opening for quick and easy
expands the payload range upward when access. The main compartment offers ample
working with heavier systems; the Video 18
S1 can handle up to 33 pounds regularly
and 39.6 pounds in Boost mode, while the
20 S1 can handle up to 39 pounds regularly
and 55 pounds in Boost mode.
The S1 heads feature Sachtler’s
Speedbalance technology, an ergonomically
designed counterbalance knob, storage
positions for spare camera screws and
Sachtler Updates Video Heads seven steps of drag for both pan and tilt. A
with S1 Models newly designed self-illuminating Touch
Sachtler, a Vitec Group brand, has Bubble requires only one battery, and the
introduced the Video 18 S1 and Video 20 Touch & Go camera-attachment plate
S1 100mm fluid heads. Based on the field- features tap holes for the viewfinder exten-
proven robustness and technology of sion adapter.
Sachtler’s Video 18 and Video 20 ENG/EFP For additional information, visit
heads, the S1 models provide a wider www.sachtler.us.
payload range and lower minimum

room for a camera, tripod head and impor-
tant accessories, and twin straps of hook-
and-loop material anchor the bag’s front
flap in an open position when inserting and
removing the camera or converting to the
support system. Additionally, Petrol’s propri-
etary sliding pipe system (SPS) secures the
camera and keeps it in place within the
bag’s interior, which is fully padded for
maximum protection.
Within the Cambio is an expandable
(up to 56"), rigid, nickel-plated center steel
column, which can accommodate cameras
weighing up to 9.9 pounds. Cast magne-
sium lever clamps ensure fast and secure
column adjustment. The bag is also
equipped with a patent-pending frame and
axle support trolley with integral handle and
camera platform, which features a 75mm
ball head-mount adapter. An optional light-
weight micro fluid head allows for quick
attachment and conventional pan and tilt
movements.
The freestanding Cambio is braced
by a self-latching extendable aluminum
double-bar tube leg; the leg expands and
retracts quickly and easily with just the
touch of the leg’s latch paddle. When using
the support system, Cambio’s patented
heavy-duty jitter-free wheels and axle can
be chocked to prevent rotation, adding
extra stability.
Additional features include an open
side pocket, front and side pockets, an exte-
rior zippered front pocket with a personal
organizer, removable grid internal dividers
for custom configuration and polypropy-
lene-injected legs that lift and safeguard the
bottom of the bag from damage and
adverse elements such as dirt and water.
The suggested list price for the
Cambio is $699 for the bag alone or $799
for the full system, which includes the CMH
Cambio Micro Head. For more information,
visit www.petrolbags.com.
K-Tek Intros Norbert

K-Tek has introduced the Norbert
Camera Mounting System, a solid founda-
tion for the latest generation of video-capa-
ble DSLRs and HD video cameras. The flexi-
ble system has mounting options for both
tripod and handheld use, and its light-
weight, machined-aluminum base frame
can be used to mount a variety of produc-
professional-grade camcorders and
HDSLRs, the Stereoscope incorporates two
15mm rails over which the camera mounts
smoothly glide. The system boasts
extremely durable, lightweight, anodized-
aluminum construction, and it can be
mounted to tripods and jib arms or oper-
ated handheld via other Elements compo-
nents. Additionally, the Stereoscope weighs
only 3 pounds, making it extremely easy to
transport.
tion tools, including external viewfinders The Stereoscope sells for a recom-
and monitors, light sources, audio recorders mended price of $399. For more informa-
and microphones. tion, visit www.ikancorp.com.
At the core of the Norbert is the
machined-aluminum base frame, with 23 16x9 Supports Noga Griffin Arm
standard-dimension hot-shoe mounts and 16x9 Inc. has unveiled the Noga Grif-
numerous drill holes throughout for near- fin Arm, which is designed to hold lights,
limitless flexibility when mounting acces- small cameras or monitors, and any other
sories. The base includes a 1⁄4-20 tripod production accessory requiring an extended
screw mount with quick-release plate, articulation mount.
making camera-battery changes fast and At the heart of the Griffin Arm is the
simple. Flip-lever safety catch, which quickly and
To accommodate numerous camera easily locks and releases all three of the
types, including DSLRs with attached arm’s articulated joints at once. The arm
battery grips, K-Tek offers an offset base features variable-friction load adjustment,
plate. Mounting to the base frame via its and when locked, there is no play in either
own quick-release plate, the offset base the lever or any of the arm joints.
plate effectively moves the camera back Made up of two equal-length arms
from the frame. K-Tek also offers a dual- and three articulating joints, the Griffin
handle kit for smooth and comfortable Arm’s overall length is 22"; at full extension,
handheld shooting. The handle can be the arm can support up to 10 pounds. The
mounted in two orientations, holding the versatile arm can be mounted on a light
Norbert either from the bottom or the top. stand or anywhere else with a grip clamp.
For more information, visit Each arm has an industry-standard 5⁄8 pin
www.ktekbooms.com. threaded at one end in 1⁄4-20 and at the
other in 3⁄8-16 for additional mounting
Ikan Takes Elements into options.
3rd Dimension The Noga Griffin Arm has a recom-
Ikan has expanded its Elements line mended price of $190. For more informa-
with the Stereoscope configuration, a light- tion, visit www.16x9inc.com.
weight, portable solution for those needing
a 3-D camera setup. The Stereoscope is Anton/Bauer Powers Dionic
upgradable, customizable and collaborative HCX Batteries
with other Ikan Elements products. Anton/Bauer, a Vitec Group brand,
Designed for use with prosumer and has introduced the Dionic HCX battery. The
latest addition to the company’s successful
Dionic series of high-current batteries, the
Dionic HCX offers a 120 watt-hour capacity
and a brand-new motion-detection sensor
that protects against capacity loss.
After a two-week period without a
load, the Dionic HCX automatically goes
into “deep sleep,” significantly reducing
self-discharge and allowing extended stor-
90
New
age with nearly zero capacity loss. To longer: 8,26 m / 22 ft
“awaken” the battery for normal use, users lighter: 79 kg / 174 lbs
need only move the battery, activating the faster: 1,5 m/s / 5 ft/s
camera max.: 13 kg / 30lbs
motion-detection feature, which signifi-
cantly increases the overall life of the battery
by mitigating lithium-ion battery self-
discharge. Anton/Bauer also plans to inte-
grate the HCX with the Anton/Bauer Battery
Management System, which will allow users buy at:
to program the inactivity time length prior to www.technocrane.com
the battery going to sleep. starting from 78.000 €
“We’ve spent many years innovating
new, powerful and advanced solutions for
our customers, so it’s no surprise that we’re
debuting one of our most exciting product
developments during our 40th-anniversary
year,” says Michael Accardi, president of
Anton/Bauer. “With the addition of the
Dionic HCX, we now have more solutions
than ever for our customers, across many
different battery chemistries. Whether our
users are looking for a powerful NiCad,
lithium-ion or nickel metal hydride solution,
they know they can count on us to equip
them with the best solutions for their needs,
and that we’ll be there to help them make
the smartest choice.”
Weighing 2.4 pounds and measuring
5.47"x4.06"x3", the Dionic HCX is capable
of withstanding high instantaneous current
draws in addition to 10-amp sustained
current draws. The Dionic HCX can power a
40-watt camera with a 20-watt light for
over two hours. The battery also offers an
enhanced LCD RealTime fuel gauge, allow-
ing users to quickly and easily check their
run time, with the display showing up to
nine hours of run time when used under
low-power load conditions. The new LCD
display clearly indicates remaining run time
and battery capacity, showing the number
of hours available with a seven-segment
display surrounded by arcs indicating 15- SeaSun® Litepanels®
minute intervals. A battery “gas gauge”
indicator also shows remaining capacity in brings flexible, controllable lighting
20-percent intervals underneath the remain-
ing run-time indicators.
to any wet situation.
The Dionic HCX registers under the These lightweight LEDs are fully submersible
160-watt capacity prohibited for air travel, and
and can
can be
be battery-operated
battery operated to provide optimum
allowing users to bring up to two HCX adaptability and control in both wet
batteries on board both domestic and inter- and underwater situations.
national airlines.
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Advertiser’s Index
16x9, Inc. 92 Film Gear 89 P+S Technik 14
Abel Cine Tech 7 Filmotechnic 6 Panther Gmbh 51
AC 22, 94 Filmtools 83 PED Denz 41, 93
Aja Video Systems, Inc. 27 FTC West 92 Photon Beard 93
Alan Gordon Enterprises 93 Fuji Motion Picture 47 Pille Film Gmbh 93
Arri 35 Gekko 76 Powermills 39
ASC 1 Gemini 4 Pro8mm 92
AZGrip 92 Glidecam Industries 19 Production Resource Group
Grip Factory Munich/GFM 85 75
Backstage Equipment, Inc. PRO-A 89
83 Hydroflex 91
Band Pro Film & Digital 5 Reel FX 89
Innoventive Software 83 Rag Place, The 77
Barger-Lite 85 Innovision 92
Bron Imaging Group/Kobold Rosco Laboratories, Inc. 70
23 J.L. Fisher 25 Schneider Optics 2
Burrell Enterprises 92 JEM Studio Lighting 90 Service Vision 28
Camera Essentials 93 K5600 15 Shelton Communications 93
Cavision Enterprises 59 Kino Flo 29 Siggraph 73
Chapman/Leonard Studio Koerner Camera 81 Sim Video 69
Equipment Inc. 61 Sony Electronics C2
Laffoux Solutions, Inc. 92 Stanton Video Services 87
Chimera 67 Lee Filters 71
Cine Gear 95 S.Two 21
Lensrentals.com 90 Super16 Inc. 92
Cinematography Lights! Action! Co. 92
Electronics 85 Litegear 6 Technocrane 91
Cinekinetic 92 Los Angeles Film Festival 79 Telescopic, LLC 94
Cinerover 92 Thales Angenieux 37
Clairmont Film & Digital 17 Maine Media Workshops 81 Tiffen C3
Convergent Design 40 Matthews Studio Equipment Transvideo International 62
Cooke Optics 6 93
Mole-Richardson 50, 92, 93 VF Gadgets, Inc. 93
Dell 9 Movie Tech AG 93 Viking Power Systems 94
Deluxe 49 MP&E Mayo Productions 93 Visual Products 77
Denecke 93 MSM 4 Welch Integrated 99
Eastman Kodak 13, C4 Nalpak 93 Willy’s Widgets 92
EFD USA, Inc. 57 New York Film Academy 11 www.theasc.com 76, 91
Nila 63 Zacuto Films 93
Oppenheimer Camera Prod.
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June 4-5, Expo and Premier Seminars
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The Studios at Paramount, Hollywood, CA
phone: 310.472.0809
fax: 310.471.8973
email: info@cinegearexpo.com
www.cinegearexpo.com
American Society of Cinematographers Roster
OFFICERS – 2009-’10 ACTIVE MEMBERS Jan DeBont Andrew Jackson Don McCuaig
Michael Goi, Thomas Ackerman Thomas Del Ruth Peter James Seamus McGarvey
President Lance Acord Bruno Delbonnel Johnny E. Jensen Robert McLachlan
Lloyd Ahern II Peter Deming Torben Johnke Geary McLeod
Richard Crudo, Herbert Alpert Jim Denault Frank Johnson Greg McMurry
Vice President Russ Alsobrook Caleb Deschanel Shelly Johnson Steve McNutt
Owen Roizman, Howard A. Anderson III Ron Dexter Jeffrey Jur Terry K. Meade
Vice President Howard A. Anderson Jr. Craig Di Bona William K. Jurgensen Suki Medencevic
James Anderson George Spiro Dibie Adam Kane Chris Menges
Victor J. Kemper, Ernest Dickerson Stephen M. Katz Rexford Metz
Peter Anderson
Vice President Tony Askins Billy Dickson Ken Kelsch Anastas Michos
Matthew Leonetti, Charles Austin Bill Dill Victor J. Kemper Douglas Milsome
Treasurer Christopher Baffa Stuart Dryburgh Wayne Kennan Dan Mindel
Rodney Taylor, James Bagdonas Bert Dunk Francis Kenny Charles Minsky
King Baggot Lex DuPont Glenn Kershaw Claudio Miranda
Secretary
John Bailey John Dykstra Darius Khondji Donald A. Morgan
John C. Flinn III, Michael Ballhaus Richard Edlund Gary Kibbe Donald M. Morgan
Sergeant-at-Arms Andrzej Bartkowiak Frederick Elmes Jan Kiesser Kramer Morgenthau
John Bartley Robert Elswit Jeffrey L. Kimball M. David Mullen
MEMBERS Bojan Bazelli Geoffrey Erb Adam Kimmel Dennis Muren
OF THE BOARD Frank Beascoechea Scott Farrar Alar Kivilo Fred Murphy
Curtis Clark Affonso Beato Jon Fauer David Klein Hiro Narita
Richard Crudo Mat Beck Don E. FauntLeRoy Richard Kline Guillermo Navarro
Dion Beebe Gerald Feil George Koblasa Michael B. Negrin
George Spiro Dibie
Bill Bennett Steven Fierberg Fred J. Koenekamp Sol Negrin
Richard Edlund Gerald Perry Finnerman Bill Neil
Andres Berenguer Lajos Koltai
John C. Flinn III Carl Berger Mauro Fiore Pete Kozachik Alex Nepomniaschy
John Hora Gabriel Beristain John C. Flinn III Neil Krepela John Newby
Victor J. Kemper Steven Bernstein Ron Fortunato Willy Kurant Yuri Neyman
Matthew Leonetti Ross Berryman William A. Fraker Ellen M. Kuras Sam Nicholson
Stephen Lighthill Michael Bonvillain Tak Fujimoto George La Fountaine Crescenzo Notarile
Isidore Mankofsky Richard Bowen Alex Funke Edward Lachman David B. Nowell
David Boyd Steve Gainer Ken Lamkin Rene Ohashi
Daryn Okada
Russell Boyd Ron Garcia Jacek Laskus Daryn Okada
Owen Roizman Dejan Georgevich Andrew Laszlo Thomas Olgeirsson
Jonathan Brown
Nancy Schreiber Don Burgess Michael Goi Denis Lenoir Woody Omens
Haskell Wexler Stephen H. Burum Stephen Goldblatt John R. Leonetti Miroslav Ondricek
Vilmos Zsigmond Bill Butler Paul Goldsmith Matthew Leonetti Michael D. O’Shea
Frank B. Byers Frederic Goodich Andrew Lesnie Anthony Palmieri
ALTERNATES Bobby Byrne Victor Goss Peter Levy Phedon Papamichael
Antonio Calvache Jack Green Matthew Libatique Daniel Pearl
Fred Elmes
Paul Cameron Adam Greenberg Charlie Lieberman Edward J. Pei
Steven Fierberg Robbie Greenberg Stephen Lighthill James Pergola
Russell P. Carpenter
Ron Garcia James L. Carter Xavier Perez Grobet Karl Walter Lindenlaub Don Peterman
Michael D. O’Shea Alan Caso Alexander Gruszynski John Lindley Lowell Peterson
Michael Negrin Michael Chapman Changwei Gu Robert F. Liu Wally Pfister
Rodney Charters Rick Gunter Walt Lloyd Gene Polito
James A. Chressanthis Rob Hahn Bruce Logan Bill Pope
Joan Churchill Gerald Hirschfeld Gordon Lonsdale Steven Poster
Curtis Clark Henner Hofmann Emmanuel Lubezki Tom Priestley Jr.
Peter L. Collister Adam Holender Julio G. Macat Rodrigo Prieto
Jack Cooperman Ernie Holzman Glen MacPherson Robert Primes
Jack Couffer John C. Hora Constantine Makris Frank Prinzi
Vincent G. Cox Tom Houghton Denis Maloney Richard Quinlan
Jeff Cronenweth Gil Hubbs Isidore Mankofsky Declan Quinn
Richard Crudo Michel Hugo Christopher Manley Earl Rath
Dean R. Cundey Shane Hurlbut Michael D. Margulies Richard Rawlings Jr.
Stefan Czapsky Tom Hurwitz Barry Markowitz Frank Raymond
David Darby Judy Irola Steve Mason Tami Reiker
Allen Daviau Mark Irwin Clark Mathis Robert Richardson
Roger Deakins Levie Isaacks Don McAlpine Anthony B. Richmond

J U N E 2 0 1 0
Bill Roe Mark Vargo Cyril Drabinsky Otto Nemenz HONORARY MEMBERS
Owen Roizman Amelia Vincent Jesse Dylan Ernst Nettmann Col. Edwin E. Aldrin Jr.
Pete Romano William Wages Jonathan Erland Tony Ngai Neil A. Armstrong
Charles Rosher Jr. Roy H. Wagner John Farrand Mickel Niehenke Col. Michael Collins
Giuseppe Rotunno Ric Waite Ray Feeney Marty Oppenheimer Bob Fisher
Philippe Rousselot Michael Watkins William Feightner Walt Ordway David MacDonald
Juan Ruiz-Anchia Jonathan West Phil Feiner Michael Parker Cpt. Bruce McCandless II
Marvin Rush Haskell Wexler Jimmy Fisher Warren Parker Larry Parker
Paul Ryan Jack Whitman Scott Fleischer Doug Pentek D. Brian Spruill
Eric Saarinen Gordon Willis Thomas Fletcher Kristin Petrovich
Alik Sakharov Dariusz Wolski Salvatore Giarratano Ed Phillips
Mikael Salomon Ralph Woolsey Richard B. Glickman Nick Phillips
Harris Savides Peter Wunstorf John A. Gresch Jerry Pierce
Roberto Schaefer Robert Yeoman Jim Hannafin Joshua Pines
Tobias Schliessler Richard Yuricich William Hansard Carl Porcello
Aaron Schneider Jerzy Zielinski Bill Hansard, Jr. Howard Preston
Nancy Schreiber Vilmos Zsigmond Richard Hart David Pringle
Fred Schuler Kenneth Zunder Robert Harvey Phil Radin
John Schwartzman Charles Herzfeld Christopher Reyna
John Seale ASSOCIATE MEMBERS Larry Hezzelwood Colin Ritchie
Christian Sebaldt Alan Albert Frieder Hochheim Eric G. Rodli
Dean Semler Richard Aschman Bob Hoffman Daniel Rosen
Eduardo Serra Volker Bahnemann Vinny Hogan Dana Ross
Steven Shaw Kay Baker Cliff Hsui Bill Russell
Richard Shore Joseph J. Ball Robert C. Hummel Kish Sadhvani
Newton Thomas Sigel Amnon Band Roy Isaia David Samuelson
John Simmons Carly M. Barber George Joblove Peter K. Schnitzler
Sandi Sissel Craig Barron Joel Johnson Walter Schonfeld
Bradley B. Six Thomas M. Barron John Johnston Juergen Schwinzer
Dennis L. Smith Larry Barton Marker Karahadian Ronald Scott
Roland “Ozzie” Smith Bob Beitcher Frank Kay Steven Scott
Reed Smoot Mark Bender Debbie Kennard Don Shapiro
Bing Sokolsky Bruce Berke Milton Keslow Milton R. Shefter
Peter Sova Bob Bianco Robert Keslow Leon Silverman
Dante Spinotti John Bickford Larry Kingen Garrett Smith
Terry Stacey Steven A. Blakely Douglas Kirkland Stefan Sonnenfeld
Robert Steadman Mitchell Bogdanowicz Timothy J. Knapp John L. Sprung
Ueli Steiger Jack Bonura Ron Koch Joseph N. Tawil
Peter Stein Michael Bravin Karl Kresser Ira Tiffen
Robert M. Stevens William Brodersen Doug Leighton Arthur Tostado
Tom Stern Garrett Brown Lou Levinson Bill Turner
Rogier Stoffers Ronald D. Burdett Suzanne Lezotte Stephan Ukas-Bradley
Vittorio Storaro Reid Burns Grant Loucks Mark Van Horne
Harry Stradling Jr. Vincent Carabello Howard Lukk Richard Vetter
David Stump Jim Carter Andy Maltz Joe Violante
Tim Suhrstedt Leonard Chapman Steven E. Manios Dedo Weigert
Peter Suschitzky Mark Chiolis Robert Mastronardi Franz Weiser
Alfred Taylor Denny Clairmont Joe Matza Evans Wetmore
Jonathan Taylor Adam Clark Albert Mayer, Jr. Beverly Wood
Rodney Taylor Cary Clayton Bill McDonald Jan Yarbrough
William Taylor Sean Coughlin Andy McIntyre Hoyt Yeatman
Don Thorin Robert B. Creamer Stan Miller Irwin M. Young
John Toll Grover Crisp Walter H. Mills Michael Zacharia
Mario Tosi Daniel Curry George Milton Bob Zahn
Salvatore Totino Ross Danielson Mike Mimaki Nazir Zaidi
Luciano Tovoli Carlos D. DeMattos Rami Mina Michael Zakula
Jost Vacano Gary Demos Michael Morelli Les Zellan
Theo Van de Sande Richard Di Bona Dash Morrison
Eric Van Haren Noman Kevin Dillon Nolan Murdock
Kees Van Oostrum David Dodson Dan Muscarella
Ron Vargas Judith Doherty Iain A. Neil

Clubhouse News after which McDonald interviewed Bailey panel “Acting: The View from Behind the
about his work on the picture. The follow- Camera,” moderated by AC contributing
ing week, Bailey screened Mike van Diem’s writer Stephanie Argy. The conversation
Karakter, shot by Rogier Stoffers, ASC, focused on the relationship between actors
NSC, and then discussed the film with Stof- and cinematographers, with the panelists
fers. discussing on-set etiquette, building trust
Also, Bailey has been selected for the with actors and working with actor/directors.
second consecutive year to judge the AC contributing writer Jay Holben
regional entries of the 2010 Kodak Film moderated the “Seeing Red” panel, which
School Competition. The competition is focused on working with the Red One.
designed to recognize the work of current Panelists included cinematographer/AC tech-
students and recent graduates in the Asia nical editor Christopher Probst, cinematogra-
Pacific region, Latin America, United phers Ryan McNeely and Al Satterwhite, Red
States/Canada and Europe. Digital Cinema’s Jon Sagud and Keslow
Camera’s Brad Wilson.
Society Doubles Down at NAB
ASC members participated in a Schreiber Goes Beyond Still
Photo of ASC Clubhouse by Isidore and Chris Mankofsky. Photo of John Bailey, ASC by Bob Primes, ASC. NAB photo courtesy of NAB.
number of panels at this year’s National Nancy Schreiber, ASC has been
Association of Broadcasters conference in selected to lead a series of “Beyond the Still”
Las Vegas. Society President Michael Goi, Canon EOS Moving Image workshops.
ASC joined Curtis Clark, ASC; David Produced by Createasphere in cooperation
Stump, ASC; and producers Michael with Canon’s Live Learning program, the
Manheim and Nick Abdo for “PGA/ASC workshops will enable hands-on learning,
Camera Assessment Series: Illuminating interaction with experts and mentored
Digital Cinema Cameras and Digital Cine- shoots, offering a detailed overview of
matography,” moderated by producer Lori capturing video with Canon’s EOS DSLR
McCreary. Daryn Okada, ASC; visual- cameras. ASC associate member Kristin
effects supervisor Bryan Hirota; colorist Dave Petrovich Kennedy, president of Createas-
Cole; visual-effects editor Mark Herman; phere, notes, “HDSLR technology is part of a
and digital-imaging consultant Mike Incha- growing number of creative conversations
lik participated in “Taming the Wild, Wild for image makers, and as that interest has
West of Digital Filmmaking,” moderated by grown, the need for high-quality, expert
AC associate editor Jon D. Witmer. Rodney training has grown along with it. We are
Top: John Bailey, ASC. Middle, left to right: Daryn Charters, ASC and Steven Poster, ASC looking forward to working with our
Okada, ASC; visual-effects editor Mark Herman; colorist joined producer Jason Clark, digital-imaging colleagues at Canon to present a workshop
Dave Cole; visual-effects supervisor Bryan Hirota;
digital-imaging consultant Mike Inchalik; and AC
technician Lewis Rothenberg and associate that is of real value to students, [and] we are
associate editor Jon D. Witmer. Bottom: Nancy Schreiber, member Andy Romanoff for “The 21st thrilled to have Nancy with us to debut the
ASC and cinematographer Jared Abrams. Century Camera Crew and How it Works,” EOS Moving Image workshop.”
moderated by journalist David Geffner. For additional information, visit
Bailey in Residence at UCLA, Michael Bonvillain, ASC joined director www.usa.canon.com/canonlivelearning.
Judges Student Competition Ruben Fleischer, production designer Maher
John Bailey, ASC has been named Ahmad and visual-effects supervisor Paul Canon Salutes Explorers of Light
the Kodak Cinematographer-in-Residence Linden to discuss “Big Idea, Small Budget: Canon U.S.A. Inc. has named Society
for the spring quarter at the University of Zombieland’s Production Innovations,” members Russell Carpenter, Rodney
California-Los Angeles’ School of Theater, moderated by journalist Josh Dickey. Charters, Shane Hurlbut and Crescenzo
Film and Television. With Kodak’s support, Notarile “Explorers of Light.” The program
the residency program was inaugurated 11 ASC, AC at ShowBiz Expo recognizes imaging professionals who serve
years ago by UCLA professor and ASC asso- At the recent ShowBiz Expo in Los as ambassadors for Canon products. Cine-
ciate member William McDonald. Bailey’s Angeles, Society members Frederic Good- matographer Alex Buono and still photogra-
program began with a screening of Paul ich, Francis Kenny, Geary McLeod and pher Damian Strohmeyer were also added to
Schrader’s Mishima: A Life in Four Chapters, George Mooradian participated in the the group. ●

Rafael Puentes, Rafael Mayoral-Parracia,
Christopher Graham and Tim Hardy at the
RED production workshop in NYC
Hands-On Workshops and Networking Events

New Two-Day RED Production Workshop with Jon Firestone
• July 24-25, 2010 in New York City • August 21-22, 2010 in London, UK
For Program Details and Registration, visit: www.studentfilmmakers.com/workshops
Never Stop Learning. Never Stop Networking.

Close-up John Schwartzman, ASC
When you were a child, what film made the strongest impres- The result was an unmemorable film, but it was the start of a career
sion on you? for a young cinematographer.
I grew up in Hollywood, and my father was one of the first enter-
tainment attorneys in the business during the 1960s and 1970s — a What has been your most satisfying moment on a project?
very exciting time in American cinema. As a high-school student, I Getting hired! Every film has its satisfying moments; they’re usually
worked for Hal Ashby during the summer, and he showed me a things that are very personal or little things that worked that you
rough cut of Coming Home (1978). It was an epiphany; it opened my weren’t sure would work. One of my favorites: Running out of the
eyes to the power of film. dugout with Dennis Quaid and a Steadicam during a real Texas
Rangers baseball game in front of 40,000 people
Which cinematographers, past or present, do (for The Rookie). Even Dennis was nervous.
you most admire?
ASC members Gregg Toland, Vittorio Storaro, Have you made any memorable blunders?
Gordon Willis and Robert Richardson, and a thousand My career is made of memorable blunders. Fortu-
others. nately, a ‘blunder’ in 1997 is a ‘style’ in 2001 and a
‘work of genius’ in 2010.
What sparked your interest in photography?
My first experience in a black-and-white darkroom at What is the best professional advice you’ve
Talking Tree Ranch summer camp in Malibu Canyon, ever received?
1965, and riding on a Titan Crane with Laszlo Kovacs, From my grandfather, Carmine Coppola: What you
ASC, as a 10-year-old. do with your non-working time is more important
than what you do with your working time.
Where did you train and/or study?
I studied fine art at the Oakwood School, which led What recent books, films or artworks have
to work-study for high-school students at Art Center College of inspired you?
Design. The most profound experiences were with a Chinese Art At 50, I can barely remember if I had oatmeal or bacon and eggs for
teacher while on ‘Semester at Sea’ during college, and, of course, at breakfast, but, seriously, I was inspired by the Mark Rothko Chapel
USC film school. at the Tate Modern, and the National Air and Space Museum at the
Smithsonian, which I had the fortune of shooting.
Who were your early teachers or mentors?
The man who taught me to believe in my own work was Vittorio Do you have any favorite genres, or genres you would like to
Storaro, whom I pestered throughout the making of Tucker: A Man try?
and His Dream. I was hired to shoot EPK footage but used the job The next one I get to try. I am a cinematographer, and I would like
to get unique access to one of the most important cinematographers to think I can do them all.
in the history of cinema.
If you weren’t a cinematographer, what might you be doing
What are some of your key artistic influences? instead?
As a kid, Norman Rockwell; as a teenager, Eugene Smith and Ernst A sommelier. Being a wine expert has its perks.
Haas; in my 20s, Gregg Toland and James Wong Howe, ASC. And,
of course, Caravaggio, Rembrandt, Vermeer, Russell Chatham and all Which ASC cinematographers recommended you for
the other great painters in museums around the world. membership?
Allen Daviau, John Toll and Caleb Deschanel.
How did you get your first break in the business?
After film school, I shot a short film for a writer who wanted to direct, How has ASC membership impacted your life and career?
Photo by Deana Newcomb.
and he promised me that if the short became a feature, he would It’s a great honor to be selected to become a member of the oldest
hire me to shoot it. When it became a feature, the completion-bond fraternal organization in Hollywood. Winning the ASC Award from
company wouldn’t approve a first-time director and a first-time direc- my peers, people who understand the daily rigors of cinematogra-
tor of photography. I asked Peter Collister, who wasn’t in the ASC at phy, is the highest honor a cinematographer can get. Also, the ASC
the time, to co-shoot the movie with me because he was ‘bondable.’ is the only place where we cinematographers get to see each other.
He did the most altruistic thing anyone has done for me and said yes. ●

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JUNE 2010

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    B+W • Century • Schneider

The International Journal of Motion Imaging

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