American Cinematographer Magazine October 2010

OCTOBER 2010
M E M B E R P O R T R A I T
John C. Newby, ASC

y first memories of cinema
“M are the downtown

Cleveland film palaces
showing Ben-Hur and Lawrence
of Arabia — incredible 70mm
color imagery projected onto a
huge screen. Later, my brother
took me to an ‘art-film’ theater to
see the black-and-white vision of
Orson Welles’ The Trial. From
then on, I was hooked on
cinematography.
“I remember reading
American Cinematographer
between reel changeovers and
arc trims while working as an
IATSE projectionist in Boston.
What a joy to project The
Godfather and The French
Connection and read the articles
on how those films were made!
“I have never stopped
reading AC, and I believe the
magazine is now the best it’s ever
been. Cinematographers are not
solely technologists, and AC
strikes a healthy balance between
©photo by Owen Roizman, ASC
artistic and technical dialogues.

That’s the joy of cinematography:
the blending of mechanical
knowledge with the creative eye
to form an illusory world.”
— John C. Newby, ASC
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O C T O B E R 2 0 1 0 V O L . 9 1 N O . 1 0
The International Journal of Motion Imaging
On Our Cover: Mark Zuckerberg ( Jesse Eisenberg) helps Facebook become a phenomenon
in The Social Network, shot by Jeff Cronenweth, ASC. (Photo by Frank Ockenfels, courtesy
of Sony Pictures.)
FEATURES
28 With Friends Like These…
Jeff Cronenweth, ASC “friends” David Fincher on the Facebook saga
The Social Network
42 Zero-Sum Game
Rodrigo Prieto, ASC, AMC and Oliver Stone manipulate
the stock market for Wall Street 2: Money Never Sleeps
54 Bloody Valentine
Greig Fraser and Matt Reeves lend macabre ambience to
the vampire drama Let Me In 42
66 Welcome to the Jungle
Adam Arkapaw creates simmering tension for the Australian
crime drama Animal Kingdom
DEPARTMENTS
54
8 Editor’s Note
10 President’s Desk
12 Short Takes: “Lakairomania”
18 Production Slate: Enter the Void • Indie 3-D
72 Post Focus: Advanced Digital Services
78 New Products & Services
86 International Marketplace
66
88 Classified Ads
88 Ad Index
90 Clubhouse News
92 ASC Close-Up: Jim Denault
— VISIT WWW.THEASC.COM TO ENJOY THESE WEB EXCLUSIVES —

ASC Conversations on Cinematography: Richard Crudo, ASC interviews Victor J. Kemper, ASC
about The Friends of Eddie Coyle
DVD Playback: The Ghost Writer • The Secret in Their Eyes • Red Riding trilogy
O c t o b e r 2 0 1 0 V o l . 9 1 , N o . 1 0
The International Journal of Motion Imaging
Visit us online at
www.theasc.com
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PUBLISHER Martha Winterhalter
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EDITORIAL
EXECUTIVE EDITOR Stephen Pizzello
SENIOR EDITOR Rachael K. Bosley
ASSOCIATE EDITOR Jon D. Witmer
TECHNICAL EDITOR Jay Holben
CONTRIBUTING WRITERS
Stephanie Argy, Benjamin B, Douglas Bankston, Robert S. Birchard,
John Calhoun, Bob Fisher, Simon Gray, Jim Hemphill, David Heuring,
Jay Holben, Mark Hope-Jones, Noah Kadner, Jean Oppenheimer,
John Pavlus, Chris Pizzello, Jon Silberg, Iain Stasukevich,
Kenneth Sweeney, Patricia Thomson
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6
Editor’s Note
If you’re a member of Facebook — and most of you
probably are — you’ve already heard about The Social
Network, David Fincher’s movie about the creation of the
enormously popular website. Shot by Jeff Cronenweth,
ASC, the drama focuses on the site’s young, Harvard-
educated architects, who learned that the hard realities of
business can turn friends into “frenemies,” especially when
billions of dollars are at stake.
As Fincher tells Michael Goldman (“With Friends
Like These…,” page 28), the filmmakers sought to create
“a righteous workflow” by outfitting Red One digital
cameras with the new Mysterium-X 4K sensor. Cronenweth
submits, “I was confident that the Red would allow us to
work light, move fast, handle low light and still get rich visu-
als. We could still monitor and regulate exposures, if you will, but our footprint was very small
— we didn’t even have a DIT [digital-imaging technician]. We had a video-playback tech to
record data, and one camera assistant managing data and sending everything to editorial.”
Another movie about the vicissitudes of business, Wall Street 2: Money Never Sleeps,
continues the saga of Machiavellian stock trader Gordon Gekko (Michael Douglas), an icon of
the ’80s who summed up that decade’s financial excesses with the classic phrase “Greed is
good.” To put a contemporary spin on Gekko’s market maneuvers, director Oliver Stone
teamed with Rodrigo Prieto, ASC, AMC, whose first task was to formulate visual strategies that
would distinguish the sequel from the original (shot by Robert Richardson, ASC). “Our theory
was that if color means information and information is power, we’d introduce more intense
color whenever a character had more power, and less intense color when he had less,” Prieto
tells New York correspondent Iain Stasukevich (“Zero-Sum Game,” page 42). “That allowed me
to visualize the emotional arc of the characters and their positions within this world.”
Let Me In, the stylish U.S. remake of the Swedish vampire film Let the Right One In
(2008), manages the tricky task of staking out new ground for a story that drew widespread
acclaim. In another article by Stasukevich (“Bloody Valentine,” page 54), Greig Fraser, a bright
new star in the cinematography universe, says he and director Matt Reeves took steps that
would help them avoid making a carbon copy of the original film. “I loved the script Matt sent
me, and from that point on, I knew I couldn’t see the original until I finished our film,” says
Fraser. “Matt encouraged everyone else on the crew who hadn’t seen it not to watch it,
because he wanted all of us to bring our own take on the story.”
The Australian crime drama Animal Kingdom, recently released in U.S. theaters, offers a
master class in suspense. Aussie correspondent Simon Gray analyzes this intense picture with
cinematographer Adam Arkapaw (“Welcome to the Jungle,” page 66), who defined the film’s
characters in revealing close-ups. “It’s an old adage that that’s where a cinematographer earns
his money,” he says, “but in this film, the faces are really where the heart of the story lies.”
Photo by Owen Roizman, ASC.
Stephen Pizzello
Executive Editor
8
INTRODUCING
www.prg.com
motionpicturelighting@prg.com
President’s Desk
I am really looking forward to the day that my cinematography career gets started. I’m seri-
ous. I’ve shot more than 50 features and television shows, won awards, and established
myself as an industry leader on a number of fronts, but I feel like a beginner.
Every time I sit in a movie theater and watch extraordinary work by another cine-
matographer, I feel a sense of pride that I’m in the same profession, and hope that someday
I’ll be a professional cinematographer. Right now, I’m in the experimenting stage. I’ll try
different things, and I constantly pick up new ideas and new techniques from just about
anywhere — a visit to the art museum, an edgy fashion magazine, a particularly well-writ-
ten passage in a book, a jazz piece I’m hearing for the first time. All these things and more
contribute to the toolbox of visual inspiration that I test on everyday filming jobs so I can be
ready when I turn professional.
When will I turn pro? That’s a hard question to answer. Right now, I’m having too
much fun playing with the possibilities of what cinematography can bring to a project. And
because each project is a unique and different entity, I can’t really apply the same techniques
I used on another project. I have to do something different every time so I can see if there’s
any limit to the extent of my imagination.
There’s an exercise I practice on every project: I never go with my first idea for lighting
a scene. The first idea is going to be the most obvious way to shoot it, and you’ve probably done it before and were success-
ful at it, which is why you feel compelled to do it again. Throw out that idea and look for the second idea. I guarantee it
will be much harder to find, but also more interesting to watch.
Sometimes that second idea comes from the pressure of the moment, from the need to get something done no
matter what. When Conrad L. Hall, ASC was filming Jennifer 8, the production was days behind schedule, and they were
about to start lighting a complex night sequence in which Andy Garcia explores corridors in a building with a flashlight. The
producers asked Conrad how much time it would take to light the scene. Recognizing the responsibility they were putting
on him to help get the production back on schedule, Conrad called his gaffer over and asked to see the flashlight Garcia
would be holding. He took out his light meter, read the intensity of the beam from a few feet away, and told the produc-
ers “We’re lit.” Conrad taped reflective material on his body and instructed Garcia to point the flashlight at him occasion-
ally as he walked down the hallway so the light would kick back into his face. Conrad danced around the camera just out
of shot to vary the angles of the reflection. Just like that, Conrad brought the production back on schedule, and the light-
ing effect was perfect for the scene.
When we come to the set ready to play, leaving our minds open to new possibilities, we expand the visual texture of
the movie and free ourselves from the shackles of it becoming a job.
My parents were placed in internment camps during World War II, despite the fact that they were American citizens
born in the United States, and they were subsequently denied the kind of educational opportunities they wanted. They
always told me, “Never have a job. Do what you love to do, but be the best at it, and somebody will pay you for it.” It was
a bold statement coming from people who were denied the right to do it themselves, but I took it to heart. Though money
was very tight when I was growing up, I was encouraged to dream, and I dreamed big. I loved making movies with the
neighborhood kids. It was a lot of work, but it was all play. When I declared at age 8 that I wanted to go to Hollywood and
make movies, my parents told me, “Then that’s what you should do.”
When will I turn pro and make all this playing around into a career? With any luck, never.
Photo by Owen Roizman, ASC.
Michael Goi, ASC

President
10 October 2010 American Cinematographer

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Short Takes
For their entry
in this year’s
Transworld
Skateboarding
“Skate and
Create” video
competition,
director
Ty Evans and
cinematographer
Marc Ritzema
fashioned a
post-apocalyptic
junkyard filled
with ramps and
obstacles and lit
with practical
fire effects.
Photos by Sam Muller and Mike O’Meally. Photos and frame grabs courtesy of Transworld Skateboarding and the filmmakers.
I A Blazing Skate Video
By Iain Stasukevich
His reel gained him admission to the American Film Institute
in 2002, and two years later, on a shoot for St. Vincent’s “Jesus
Saves, I Spend,” he met Colin Kennedy, the staff director/videogra-
Shooting skate videos is a lot harder than it looks. For starters, pher for skate company DVS. Kennedy invited Ritzema to join him
it’s helpful to know how to ride a skateboard. The person with the in the 2008 Transworld Skateboarding “Skate and Create” video
camera often rides around after the skater, capturing difficult tricks competition. “I was able to go back to my roots and combine my
while speeding down a steep hill or through a parking lot or play- knowledge of cinematography with skateboarding to help Colin
ground. To frame a trick, you have to get the takeoff, the trick and win the competition,” says Ritzema.
the landing all in one shot. Between takeoff and landing, no editing Ritzema’s winning collaboration with Kennedy, along with
is allowed. their 2009 entry, caught Evans’ attention. “Marc has an eye,” Evans
Patience is key. On a bad day (or night), the skater might not says. “He really knows how to design a shot.”
land a single trick. The younger ones are easily distracted and less Collaboration between a director and cinematographer is
interested in what’s good for the camera than they are in having fun. rare in skate videos, notes Ritzema. “Each company tends to use
For these reasons and many others, the “go, go, go” method of one guy, a director who shoots and edits his own stuff,” he explains.
shooting skate videos isn’t particularly suited to the “hurry up and “And some professional skateboarders only allow one
wait” of Hollywood filmmaking, but that hasn’t stopped cinematog- director/cameraman to shoot them.”
rapher Marc Ritzema and director Ty Evans from trying. “Lakairomania” (referring to sponsor Lakai), Ritzema and
After making his mark as a skate-video director in the mid- Evans’ entry in Transworld’s competition this year, won the top prize.
1990s, Evans hooked up with Spike Jonze’s Girl Skateboards The concept sounds like a scene out of The Warriors: A gang of
company. He and Jonze co-directed two well-known skate videos, skaters in a post-apocalyptic world finds itself in a bombed-out junk-
Yeah Right! and Fully Flared, sandwiching clever visual effects and yard filled with ramps and obstacles. They throw Molotov cocktails
explosive action sequences (shot on film) between more traditionally at the ramps, lighting them on fire, and then skateboard through
shot scenes. the flames.
Ritzema skated for Vans while studying film and communica- The budget didn’t allow for a full crew, generator and studio
tion at Biola University, but when he injured a knee ligament, his lights, so the filmmakers lit using flame bars, flame cubes and fire-
athletic career came to an end. “I had to concentrate more on my balls, in addition to six narrow-beam Par cans gelled with Full CTB
filmmaking,” he recalls. “I worked for a couple of years as a projec- to provide contrasting color and highlight parts of the set. “This was
tionist and a grip and an electrician while doing everything I could to the first time I’ve used a special-effects team as my primary lighting
put together a cinematography reel.” designers,” says Ritzema. “We placed the flame bars and cubes in

rolling, the filmmakers were feeling the
heat. Each team usually gets nine days to
complete a project, but because of the
subject matter, fire marshals had to be on
set at all times. The set was an industrial
warehouse in Carlsbad, Calif. The fire
permit only allowed eight-hour days, and
weekend work was prohibited. Once the
schedule was worked out, Ritzema and
Evans had just four days to shoot.
Setups took place around one obsta-
cle or ramp, and once it was lit on fire (using
a flammable viscous paste called “burn
butter”), six skaters sometimes had just two
minutes to perform a trick. Ritzema
describes the set as “total chaos. We’d have
the skaters do their trick over and over. If
they didn’t land it, they’d run around the
camera and try it again until the burn butter
went out. Often we shot for two minutes
with every skater and wouldn’t land a single
trick.”
The pyrotechnics group monitored
the heat in the warehouse ceiling to make
sure the emergency sprinklers wouldn’t
activate. After a few applications of burn
butter, they’d shut the set down and open
up the warehouse to let the smoke and
heat evaporate. It took about 30 minutes to
reapply the burn butter, turn on the lights,
and get the skaters back into the ware-
house to do it all again. “We only got one
or two setups a day, about 10 tricks,
because it was such painstaking work,”
notes Ritzema.
For each scene, Ritzema set up as
Top and middle:
The skaters light
many as six cameras to capture the tricks
up the bombed- from different angles. He used a Red One
out landscape with (shooting 100 fps with the Mysterium-X
Molotov cocktails
and proceed to
chip), a Canon EOS 5D MKII (at 24 fps), two
skate through the Canon EOS 7Ds (at 60 fps), a Rebel T2i (vari-
burning wreckage. able fps), and a Panasonic AG-HVX200
Bottom: Evans (in
white shirt) shows
(variable fps), shooting coverage from
Ritzema (wearing different angles. Using flames as keylight
leg brace) and made it difficult to judge exposure during
company the
proper technique
setup time, so Ritzema had to wait until a
for throwing an given scene was blocked and the pyrotech-
incendiary bottle. nics were ready to go. Once the skaters
started their first run, he’d roll camera and
check the Red’s onboard waveform to make
specific areas where we needed a fire light as possible.” The Par cans were used to sure the exposure was proper, then run to
element to silhouette the skater at the add detail and help the skaters see where the HDSLRs to match the look. By the time
climax of the trick. From there, we’d fill the they were taking off and landing when the the athletes were ready for their second try,
frame with other flame bars, sparks and set wasn’t lit by fire. all the cameras were dialed in.
pools of water to obtain as many layers of Even before the cameras started “On the very first shot, I exposed

more for the mid-tones and the detail in the
ramps with the edging from the Par cans,”
recalls the cinematographer. “Once the
flames burst, they were completely blown
out. There was no detail in the flames, and
you could see everything in the warehouse
that you didn’t want to see.”
With the Red’s sensor set to daylight-
balanced 800 ASA, the shutter set to 90
degrees (“which makes the flames nice and
crispy”), and a Cooke 18-100mm T3 zoom
at T4/5.6, Ritzema found he could actually
underexpose the image by as many as 3
stops. “It maintains the flames, and they
were really nice and orange,” he says. “I
knew there was a ton of information in the
R3D files that we could bring up later on —
the little edgelights and things I did with the
Par cans. We’d take the shot over to our DIT
cart, which had a Red Rocket card, and start
playing with it. The MX sensor has a lot of
information in the tail of the curve, so we
just lifted up the signal until we saw what
we wanted.”
Ritzema used the Canon 7Ds and 5D
as secondary cameras. Although 80 percent
of “Lakairomania” is Red footage, the
HDSLR content ended up informing the
final look of the video. “Because the
Mysterium sensor has a much wider
dynamic range, if we intercut it with the
footage from the Canon cameras, we’d
have to really compress it down,” he notes.
“But we nailed those 5D and 7D exposures
to the point where we weren’t really limited
in what we could do with the Red.”
When he spoke to AC, Evans was still
editing the video, prepping it for a 4:4:4
online at Bandito Bros. in Los Angeles. “I
don’t even care if we win,” he remarks. “It
was such a great experience that I’m glad I
got the chance to do it at all.
“This competition really helps [skate-
video] directors see the value in working
with a cinematographer,” he adds. “I’d like
to see that collaboration happen more
often.”
The video is posted online at
http://skateboarding.transworld.net/. ●
Top and middle: A crane captures some of the skating action. Bottom: In addition to the flame effects,
Ritzema employed narrow-beam Par cans gelled with Full CTB to highlight parts of the set.

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Production Slate
In Enter the Void,
a young man
(Nathaniel Brown)
relives key
memories
following his
death, often
appearing
silhouetted in
the frame.
Cinematographer
Benoît Debie shot
this scene on
location in
Tokyo with
available light at
T1.3, using a
daylight-balanced
negative. Selective
defocusing was
done in post.
I Contemplating a Colorful Afterlife despair and hope. In a spectacular sequence, Oscar sees Linda make
Enter the Void frame grabs courtesy of IFC Films and Wild Bunch. Benoît Debie photo courtesy of Debie.
By Benjamin B love at a “Love Hotel” that is full of rooms with luminous, mating
couples.
Gaspar Noé’s Enter the Void is an unabashedly strange film. AC met up with Debie at Cannes in 2009, right after the
Some might consider it avant-garde fare, but its beautiful imagery — world premiere of Enter the Void, and recently continued the
including dark apartments featuring halos of warm light, bright conversation by phone. We met separately with Noé in Paris.
Tokyo night exteriors, and nightclubs full of vibrant, pulsating lights Noé says the details of Enter the Void’s dream are grounded
— is accessible to all. The film was shot by Benoît Debie, who previ- in his analysis of his own perception. For example, he wanted to
ously collaborated with Noé on Irreversible (AC April ’03). avoid the color blue because that color is absent from his own
Enter the Void starts as a POV film, with the camera standing dreams, and he sees himself in silhouette in his memories and
in for the eyes of the invisible hero, Oscar (Nathaniel Brown). A dreams. For verisimilitude’s sake, Noé also added a “blinking effect,”
young American living in Tokyo, Oscar makes a living selling psyche- one or two recurring black frames, to Oscar’s POV in post.
delic drugs, while his sister, Linda (Paz de la Huerta), works as a strip- The director explains that he dislikes using professional light-
per. The film begins with Oscar smoking DMT, which triggers a long, ing instruments. “I have a phobia of movie lights,” says Noé. “I don’t
vivid hallucination. He then stumbles off to sell some drugs in a dark like having equipment on the set that would prevent me from turn-
bar. When the police rush in to arrest him, he takes refuge in the ing the camera around. Benoît and I had an agreement on Irre-
toilet, where he is shot. Oscar dies on the spot and becomes a kind versible and on this film that there would be no movie lights on the
of ghost. set.” He concedes, however, that exceptions were made on Void in
The movie then combines Oscar’s astral hovering with flash- order to create the strobe lighting in the nightclub, and to allow for
backs of his life. The astral projection, very loosely inspired by The some impressionistic washes of changing colors.
Tibetan Book of the Dead, involves the camera soaring above Tokyo In keeping with the director’s request, Debie achieved most
streets, swooping over walls and hovering on ceilings, watching of the film’s lighting practically, with in-frame lamps or fluorescent
those closest to Oscar, mostly Linda. Oscar’s memories are presented tubes. The bulbs were often on dimmers to allow for speedy light
in an unusual way: we see the darkened silhouette of his back on the changes, with the added benefit of warming the color. Apartment
side of the frame, or sometimes smack in the middle. These views are interiors were mostly lit with practicals, and the strip club’s dressing
blended to recall the siblings’ traumatic childhood, and their recent room set was keyed with a frame of 30-watt bulbs around the
adventures in Tokyo. Oscar’s ghost sees his own ashes go down a makeup mirror. Oscar’s death in the bathroom is harshly lit with a
drain, witnesses Linda’s mourning, and watches as she struggles with single bare bulb, as is the twice-repeated image of him in a bath-

room mirror, which is the only time we actu-
ally see his face. To create the portrait’s
lugubrious hue, Debie had the tube above
the mirror gelled with Plus Green and Straw.
The rest of the effect was, he says, a matter
of dimming and exposure.
Debie explains that the script called
for color changes in the middle of some
scenes to reflect the ghost’s mental state. To
add such touches of color, the cinematogra-
pher used Japanese programmable LED
panels designed for discos, which allowed
him to make changes on the spot. By vary-
ing the red, green and blue diodes, Debie
could get a full rainbow of hues. “We were
able to get beautiful purples, which are diffi-
cult to get on film,” he notes. “What’s more,
the panels were very light and easy to hide,
and very fast to set up.” LED panels were
also used to simulate flashing neons outside
Oscar’s apartment windows, and to add a
touch of red to the dressing-room scenes.
For scenes in the strip club, Debie
used Mac 700s and Mac 2000s to program
strobing, beam sweeps and color changes.
“The problem with strobes is that it’s difficult
to synchronize with the shutter; with these
automated lights, we could control both the
speed and the length of the flash,” he says.
Linda dances on a translucent platform,
beneath which Debie placed Mac 700s
bouncing off a white surface or shining
directly up, creating a pulsating box of light.
For the surreal Love Hotel sequence, Debie
combined LEDs, Mac 2000s and 700s, and
small bulbs placed between the numerous
lovers. “For the small bulbs, I used a dimmer
to simulate the pulse of the heart during the
take,” says the cinematographer. “The
effect was finished as CGI.”
Color is an essential part of Enter the
Void’s look, and Debie helped to define the
palette by shooting mostly with Kodak’s
Vision3 250D negative. Tungsten sources
In the top two frames, appear warm on a daylight-balanced nega-
Oscar’s sister, Linda (Paz de la tive, so Debie’s choice heightened the
Huerta), strips at a Tokyo
nightclub. Programmable Mac
orange tones of the dimmed practicals.
700s and 2000s were key Noting that Tokyo’s streetlights are close to
sources for these scenes. In daylight, he says he also shot the night exte-
the third frame, 30-watt riors on 250D, keeping the urban light
practicals illuminate Linda’s
dressing-room tryst with her
sources relatively white, often with a touch
boyfriend. Right: Debie on of green. “And I avoided blue,” he adds
location in Thailand for with a smile.
another project. “The danger when you are doing a
very colorful film,” he continues, “is that it

the editing table,” explains Noé.
Irreversible is made up of a reverse
chronology of 13 one-shot scenes, and
Enter the Void also contains many such
uninterrupted scenes. “I had this movie in
mind when I shot Irreversible, so both
movies are filmed in similar ways,” says
Noé. “I decided to shoot one-shot scenes
because I wanted the whole trip to look like
one continuous movement of the mind.”
The director confesses to cheating a couple
of times when he needed to use different
portions of different takes. For example,
when Linda learns that her brother has
died, Noé had the image blurred so as to
hide a dissolve to another take. In another
scene, the movements from two cranes,
one swooping up the façade of a nightclub
and the other coming down on the other
side of the building, were blended to create
Above: A single the illusion of a single shot.
bare bulb “I try to come home with 10 or 15
illuminates takes that are very different,” says Noé. “At
Oscar’s POV of
the editing table, I exclude all those that
his own body.
Right: Oscar don’t work. Sometimes you hesitate
glimpses between two or three very different possi-
himself in the bilities. Sometimes you end up choosing the
bathroom
scene according to the emotion of the
mirror, the film’s
only close shot previous scene. It’s like seating people at a
of his face. dinner: it depends on who is in the next
chair. You can also notice when you go to
the editing room that the scene has gone
very far from what you initially intended,
can become a little gaudy. I wanted us to in post. (The extensive visual-effects work, but mostly that’s a good thing, because it’s
stay in a restrained color palette — the including selective defocusing of many like real life coming in.”
range is more or less between purple and scenes, was supervised by Pierre Buffin at “One of Gaspar’s great qualities is
orange or yellow. We tried to keep a unity Buf Compagnie, a co-producer of the film.) that he pushes you to experiment,”
to the colors.” Occasionally going to fluo- Debie shot most of the film wide observes Debie. “If, for whatever reason,
rescent green, he adds, “was a way of open, at T1.3. “When you’re using small something doesn’t work out as he hoped,
allowing you to rediscover the color that the bulbs, like we were, you have to do that,” he will never reproach you. He tells you,
rest of the film is bathed in. It’s good to put he says. “We didn’t add any lighting to the ‘Let’s try it, and if it’s not good, tomorrow
in another color; otherwise, your eye does a Tokyo streets at night. I’d just do a little stop we’ll do something else.’ That allows you to
sort of white-balance so that you don’t see change if I saw a light that was too bright. I take a lot of risks. He is searching, and he
the colors anymore.” preferred to underexpose to keep some therefore pushes others to do the same.”
The opening of Enter the Void, detail in the highlights.”
before Oscar’s death, was shot in Super Most of the movie was shot with a TECHNICAL SPECS
35mm, with an Arricam Lite and Arri Master 9.5mm lens in Super 16; a 16mm lens was
Primes, and the rest of the film was shot in often used for the 35mm opening. To shoot 2.40:1
Super 16mm with an Aaton XTR-Prod and the astral view, the filmmakers used a Pega- Super 16mm and Super 35mm
Zeiss Ultra 16 primes. Noé explains that the sus or a Technocrane, depending on the Aaton XTR-Prod; Arricam Lite
idea was to heighten the visual realism room they had on set. Noé was the camera Zeiss and Arri lenses
when Oscar is alive. He notes, however, that operator for most of the film, with Debie Kodak Vision3 250D 7207/5207,
the 16mm was so good that it was some- doing some of the handheld work. “Oper- 500T 7219/5219
times difficult to see the difference, and ating was the best place to be in order to Digital Intermediate
grain was therefore added to some scenes have the control of what would end up on Printed on Kodak Vision 2383 ➣

I 3-D on a Shoestring
By Jay Holben
There’s no doubt that Hollywood is

in the midst of a 3-D craze. What was once
a curiosity or an Imax specialty is now the
new hot button for the industry. You might
say 3-D is the new HD.
As filmmakers scramble to create
content for 3-D features, 3-D cable channels
and 3-D HDTVs, they are discovering and
fine-tuning workflows and methods. Cine-
matographer Andrew Shulkind is at the
forefront of this activity, only he’s focusing
on the low-budget side of the spectrum,
working alongside Los Angeles production
company World War Seven. “Our dive into
3-D started on a project for Lionsgate,” says
Shulkind. “We were making five mixed-
martial arts movies for a total budget of $20
million, and [World War Seven co-founder]
David Shafei, who was directing one of the
films, In the Gravest Extreme, came to me
and said, ‘Can we do this in 3-D?’ I said,
‘Why not?’”
The rule of thumb for an action film
budgeted at $4 million is to move fast and
be agile, which is not common in the 3-D
Top: Working world. “We needed to make 3-D work
with production
within the existing 2-D infrastructure that
company World
War Seven, we know and rely upon — bulky rigs were
cinematographer out,” continues Shulkind. “I did some
Andrew research and talked to [3-D experts] Vince
Shulkind has
Pace and Lenny Lipton before I started
helped fine-tune
low-budget working on coming up with our own rig.
stereoscopic We partnered with Stereoscope, who’d
workflows, been working on rigs for Cunima HD
incorporating
cameras, which can accept PL-mount and
such cameras as
Canon’s Vixia C-mount lenses. They’re small enough to fit
consumer HD wonderfully in a parallel rig and get a very
camcorders. close interocular distance. Their small size
Middle:
keeps the rigs light, so you can easily put
Shulkind also
collaborated them on a Steadicam or use them hand-
with held.”
Stereoscope to In order to prove that budget-
create 3-D rigs
conscious 3-D was possible, Shulkind and
for small Cunima
HD cameras. World War Seven partners Shafei and Josh
Photos courtesy of Andrew Shulkind.
Bottom: Ferrazzano shot a test action scene, a night

Shulkind on set. exterior. “We tested six different rigs that
night,” says Shulkind. “We had the Cunima
rig, an Iconix rig and a Red One rig. We had
both parallel and beam-splitter rigs for all
three cameras. We also had some rigs that
we threw together quickly on cheese plates.
The idea was to test everything we could to

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see what worked and how far we could made shooting a lot faster and allowed us
push things.” to push the stereo further on each shot.”
Shulkind has experimented with “Really, you’re going to be making To see results like that
other cameras for 3-D, including the Silicon convergence adjustments in post anyway use a lens like this.
Imaging SI2K Mini, the Canon EOS 5D MKII — that’s the nature of the beast,” notes
and the new Panasonic AG-3DA1. He says Ferrazzano. “You can take your time with a
he was especially surprised by the results he 70-inch monitor and really fine-tune the
got with Canon’s consumer Vixia HD HF effect. It does require that you sacrifice a
S200 and HF M32 camcorders on another few pixels of resolution, but the trade-off in
project. “I was very skeptical about the what you get in time and creative control far
Canon Vixias in a professional setting, but outweighs the minute loss in resolution.
when I saw the results, I was quite Also, because you can get all kinds of
impressed. In low light, they performed keystoning artifacts by converging on set,
better than the Red because of their sensi- you’re often sacrificing more resolution by
tivity. With the double resolution you get correcting those than you would from
from left eye and right eye in converging in post.”
3-D, the image is so sharp that sometimes World War Seven carefully struc-
you can’t distinguish between the Red, the tured its workflow, and although Ferraz-
SI2K and even the Vixias. It’s about finding zano won’t reveal all the ingredients of the
the most appropriate tool for the job.” “secret sauce,” he notes, “There’s a lot of
“When we use the Vixias together, software coming online every day and
parallel, on a cheese-plate rig, we can get an making things easier. We’ve streamlined the
interocular distance of 2.75 inches, which is process so that we’re muxing [multiplexing]
good for subjects 6 to 10 feet from the stereo masters on set and then sending a
camera,” says Ferrazzano. “Utilizing the 2-D proxy to the editors. We cut everything
Lanc [Local Application Control Bus system], in 2-D and then conform that back to 3-D
we could actually slave the two Vixias and do our convergence pass.”
together. They don’t actually have a Lanc “With tools like the Cinedeck,
port, so we had to hack into the hot shoe you’re basically getting a three-in-one box,
and formulate a workaround, but once we monitor, SATA storage and a device that
did, it worked great. Focus, zoom, iris are all automatically locks the two clips together in
slaved together. We don’t get perfect real time,” says Shulkind. “From there,
genlock, but we do get it within a couple of you’ve got a standard tapeless workflow,
milliseconds, which all stereographers will and it doesn’t matter that you’re shooting
sign off on.” 3-D.”
The team also discovered it could use “Producers love 3-D because of the
less expensive and less cumbersome rigs to versioning it offers,” attests Ferrazzano.
shoot their stereoscopic images. “There are “We’re shooting 3-D, of course, but with
two schools of thought in doing 3-D: do the click of a button, we can offer an HD
convergence on set, or do convergence in 3-D master for 3-D TVs, we can create an
The Canon EF 70-200mm f/2.8L IS II USM.
post,” says Ferrazzano. “We found there anaglyph version for the Web or release on
One fluorite and five UD elements to
was almost no difference between the two. DVD, and we can, of course, create a 2-D
increase optical quality, next generation
In fact, it’s almost more desirable to do it in version. It all comes from one master.” (At
Optical Image Stabilizer allowing you four
post because you don’t have the lens distor- press time, the company was midway
stops of correction at all focal lengths,
tion that can come from toeing in on set; through shooting the five Lionsgate films,
plus dust and moisture-resistant for
that takes a lot more time and is pretty and exhibition details were unavailable.)
rigorous environments. Imagine what it can
expensive to correct in post. One of the “3-D isn’t just for the big projects,”
see beyond the still. Inspired. By Canon.
things on set that takes the longest is setting says Shulkind. “Is it right for every project?
your convergence. Why take the time to do No, but it’s possible.” ●
it there, when you have more time and
more freedom to do it later?”
“That’s really our big secret,” adds
Shulkind. “We made the decision to shoot
everything parallel on set, and then do our
convergence and 3-D effects in post. It
With Friends
LikeThese...
David Fincher and
D
irector David Fincher declares that his team employed
“a righteous workflow” for The Social Network, a digi-
Jeff Cronenweth, ASC help tally captured feature that details the development of
beta-test Red’s Mysterium-X the Facebook website by Harvard University students
chip on The Social Network, in 2003. According to Fincher, his team, which included
cinematographer Jeff Cronenweth, ASC, managed to
which chronicles the founding simplify while significantly advancing the data-based work-
of Facebook. flow methods employed on Fincher’s The Curious Case of
Benjamin Button (shot on high-definition video and 35mm;
AC Jan. ’09) and Zodiac (shot on HD video; AC April ’07).
By Michael Goldman Fincher had used Thomson’s Viper on Zodiac, and the
Viper and Sony’s F23 on Benjamin Button, but when he
started prepping The Social Network, he made an early
•|• decision to adopt Red One cameras and data-management
techniques for the project. Friend and fellow filmmaker
Steven Soderbergh offered Fincher the use of Soderbergh’s
own Red cameras, and around that time, Red was
preparing to introduce its new Mysterium-X 4K sensor.

Opposite (from left):
Eduardo Saverin
(Andrew Garfield),
Dustin Moskowitz
(Joseph Mazzello),
Mark Zuckerberg
(Jesse Eisenberg) and
Chris Hughes (Patrick
Mapel) experiment
with computerized
social networking at
Harvard University.
This page, from top:
Zuckerberg and
Saverin strategize;
Saverin works out a
crucial equation that
speeds up the
Facebook program;
cinematographer Jeff
Cronenweth, ASC
(foreground) and key
grip Jerry Deats line
up a shot with the
Red camera.
Fincher persuaded Red to upgrade

Soderbergh’s cameras with beta-
version MX sensors, and he and
Cronenweth shot The Social Network
with them, recording mainly to 16-
gigabyte CF cards.
“Viper technology was a few
years old by the time we started this
project,” explains Fincher. “I was
comfortable with it and liked the
bandwidth and the pictures I got, but
… Steven [Soderbergh] let me use his
Red Ones on some Nike commercials,
and I just felt the Red was future-
Unit photography by Merrick Morton, SMPSP, courtesy of Sony Pictures.
compatible. It’s light and small, and I

could walk away from the set at the end
of the day with a wallet full of CF
cards, take them to the editorial
department, download them, and go
back and use them again. I call it a
righteous workflow.
“Red’s new chip was in the beta
stage when I started prepping Social
Network, and I felt that if the company
could guarantee the chip’s stability
throughout our shoot, it was a risk
worth taking,” continues the director.
“[Red CEO] Jim Jannard did that, so
the decision was easy. When I brought
Jeff Cronenweth in, I said, ‘If you don’t
like the tests, we can discuss making a
change, but otherwise, this is how I
want to go.’ We went into a digital-
www.theasc.com October 2010 29

◗ With Friends Like These...
Right: As part of
an initiation
ritual in the
freezing cold, a
“grand
inquisitor”
throws some
tough questions
at Harvard
students, who
must remove a
piece of clothing
after each
wrong answer.
Below: Director
David Fincher
(right) works out
a scene with
Eisenberg on
location.
the Red, Thomson’s Viper and Sony’s

F35. Cronenweth says he quickly
became comfortable with the MX chip
after testing, and he believes the Red
suited the “reality-based” aesthetic of
the project at hand. He also felt the
Red would help the production work
around the fact that it had no access to
the Harvard campus, where much of
the story takes place. “We had to tread
lightly when shooting near Harvard,
while at the same time maintain high
standards,” says Cronenweth. “I was
confident that the Red would allow us
to work light, move fast, handle low
light and still get rich visuals. We could
still monitor and regulate exposures, if
you will, but our footprint was very
small — we didn’t even have a DIT
[digital-imaging technician]. We had a
intermediate suite, and the 4K images Seven (AC Oct. ’95) and The Game (AC video-playback tech to record data, and
we saw made Jeff happy.” Sept. ’97). When Fincher offered to one camera assistant managing data
Cronenweth had previously shot bring him aboard Social Network, and sending everything to editorial.
music videos and the feature Fight Club Cronenweth had not used the Red The video-playback tech received the
(AC Nov. ’99) for Fincher, and had also One with the new chip, though he had normal 720 out signal for video assist
shot second unit for the director’s films digitally captured commercials with via normal cabling.”

Left: Harvard’s
crew team rows
down the Charles
River in Boston.
Below: The crew
films a scene in
which two of the
team’s members
work out at the
university’s
practice facility.
The production carried two of

Soderbergh’s Red Ones (Build 21)
upgraded with MX chips and outfitted
with Arri Master Prime lenses. Keslow
Camera supplied the team with the
Master Primes and a third Red One.
(A second unit, which focused on
crew-race footage, was outfitted with
two lightweight Kevlar Red bodies
that Red made specifically for the film-
makers.) Soderbergh’s cameras were
run most of the time, with Peter
Rosenfeld operating the A camera and
Cronenweth on the B. The production
utilized the Redcode 42 compression
scheme, but Red also upgraded soft-
ware so the production could go as
high as 36 fps and still stay within
Redcode 42. The movie was shot 2:1
(4096 x 2048) for a final aspect ratio of
2.40:1.
Most of the time, the 4K images
were recorded directly to CF cards. For
long dialogue scenes or data-eating BT-LH 1760 HD focus monitors. rial each day and offloaded, with an
speed-change sequences, however, the Rather than calibrating the monitors editorial assistant backing up each card
team also used Red-Ram and Red- with a variety of look-up tables, they to two separate hard drives and LTO
Raid drives. The filmmakers visualized relied on the basic Redcolor default tape before returning the cards to set.
what they shot “rather simply,” accord- LUT, saving their fine-tuning for the No physical media were used for
ing to Fincher, on a pair of Panasonic digital grade. Cards were sent to edito- dailies; instead, the production relied

Clockwise
from top: Sean
Parker (Justin
Timberlake), the
flashy co-founder
of the Napster file-
sharing service,
offers to join
forces with the
Facebook team;
Saverin and
Zuckerberg find
themselves at
odds; Zuckerberg
ponders a
problem.
on the Pix System online media plat- extending the toe area — those things camera,” says the operator. “It’s a digi-
form, staying in the data realm were beautiful,” he enumerates. “Most tal movie, but there were no laptops in
throughout. of this picture, like many of David’s the camera department, no DIT, and
Cronenweth says there were movies, takes place in low-light situa- we were never burdened with having to
several advantages to having MX- tions, so those things were helpful to dub or copy cards on set. We rarely
configured cameras at his disposal. us.” viewed playback through the camera,
“Dynamic color range, improvement Rosenfeld also enjoyed his first as the video-assist operator handled
in latitude, highlights not vanishing as encounter with the Red. “We pretty shot evaluation in a traditional fashion.
quickly into clipping areas, and actually much used it as if it were a film The only cables were the traditional

Clockwise from top:
Hijinks ensue at
the house that
serves as Facebook
headquarters; coeds
take a big hit; Parker
and his cohorts
celebrate their
success.
ones used on any video-assist tap; they the MX chip, there is a little
ran to David’s HD monitor. lookaround built into the format. This
“Also, I liked the eyepiece, was the first digital-cinema system I’ve
because with the bigger chip, I could used where the eyepiece monitor was
really sign off on focus, which is hard sharp enough for me to actually see
to do with digital cameras,” continues focus.”
Rosenfeld. “There’s an area operators Cronenweth notes, however,
call the ‘lookaround,’ an area that isn’t that manipulating depth-of-field
recorded in the aspect ratio. It’s useful remains a challenge. “If filmmakers
for spotting intrusions or violations, shooting digitally choose to use depth-
like tracks or booms or stands. With of-field as a storytelling tool, then it’s
most other camera systems, if you see it imperative to control the exposure to
in the eyepiece, it’s too late, but with control focus,” he explains. “We shot

Right: Eisenberg
exchanges
dialogue with
actress Brenda
Song in a
car scene
photographed on
stage. Below:
Zuckerberg finds
his idol, Parker,
devilishly
seductive when
the two meet for
drinks in a
nightclub.
Fincher’s goal was straightfor-

ward photography in real-world light.
“What David wanted was evident
right away,” recalls Rosenfeld. “He
likes symmetry — balanced composi-
tions, strong lines, level frames, zero
keystone effects. He favors [dolly]
track and avoids cranes as much as
possible. I believe there is only one
handheld shot in the entire movie.
David was so clear on what he wanted
visually that camera placements and
focal-length choices were easy to
make.”
Because the production couldn’t
shoot on Harvard property, the univer-
sity facilities were re-created onstage in
Los Angeles. Great care was taken to
ensure that all of the set lighting was
motivated practically, according to
Cronenweth. There was a heavy
with the [T1.3] Master Primes wide tivities of the chip or sensor and what reliance on fluorescents and small
open most of the time. When we went the effect of those filters might be. We tungsten lights hidden in ceilings, a
outside, which was rare, we had to used IR neutral-density filters to general favoring of small units to create
really stack ND filters to get the expo- control the warm effects that the NDs little pockets of light and shadow
sure down and achieve a comfortable inherently bring, and to give our blue- throughout the old buildings depicted
amount of depth-of-field. When light-sensitive chip a better chance at in the movie. “Much of it was practi-
shooting digitally and stacking filters, capturing the images the way we cals and simple lights, basic Fresnel
one must always remember the sensi- wanted them.” and Kino Flo fixtures,” says gaffer

A CLEAR PATH THROUGH POST
Format SxS cards Direct to Edit workflow
Format HD Tape Tape-based workflow
Format HD On-board recorder File-based workflow
Format On-board recorder ARRIRAW workflow
ALEXA gives you a choice of ultra fast workflows. give you instant access to dailies and the freedom
Whichever of the ALEXA output options you go to start an off-line edit immediately. If you choose
for, our Direct to Edit feature will speed up your an HD workflow, the Apple ProRes codecs will
workflow. When recording uncompressed HD or allow you to begin your on-line edit simply by
ARRIRAW, the Apple QuickTime proxy that is removing the memory card from ALEXA and
simultaneously recorded to onboard SxS cards will slotting it into a laptop: nothing could be easier.
More details on www.arridigital.com

Right: Saverin’s
mercurial
girlfriend, Christy
(Brenda Song),
burns one of his
gifts as her
jealousy grows.
Below: Erica
(Rooney Mara)
breaks up with
Zuckerberg, an
emotional blow
that sets him on
the path toward
social
networking.
light. In the scene, Napster co-founder

Sean Parker ( Justin Timberlake) tries
to educate Mark Zuckerberg ( Jesse
Eisenberg) about business strategies in
the online world. Cronenweth says he
started with a complex Technocrane
shot that looked 180 degrees from the
bottom floor of the club to a second-
floor VIP area. Fincher wanted to
enhance the chaos of the club around
the two men while making Parker’s
lecture sound sinister.
The notion of lighting the two
actors from their tabletop was
proposed, and it was expanded to cue
light and color changes to the beat of
the ambient music. Skinner’s team
devised a solution by using LED
media panels to splash colorful
QuickTime movies onto the actors’
Harold Skinner. “We also used 250-watt ECAs, 500-watt ECTs, and faces. “A dance-floor lighting rig and a
Lightcraft 4-foot 2Ks and soft-light so on. We also used little clip-on lights few other moving lights were interact-
rigs I call ‘covered wagons,’ which are that we called ‘budget busters.’” ing in the background, but the table
basically lamps in a 4-foot cylinder The inclination to keep things was the only keylight in the scene,”
with protective grids approximately 12 simple pervaded the shoot. As an says Skinner. “We had LED media
inches in diameter. Inside each are example, Skinner points to a scene that panels built into the tables, and the
common globes, 75-watt PH211s, takes place in a Bay Area club in low light emanating from them was a series

Left: Zuckerberg
testifies at a
deposition during
the legal battle
for Facebook.
Below: Priming
himself for a
meeting with a
group of “money
men” who burned
Parker, Zuckerberg
dons defiantly
insouciant attire.
of QuickTime movies as fractals

animated on the LED screen, coming
through the screen below a diffused
surface. We used 11mm LED tiles
from PRG and controlled everything
from a Virtuoso DX2 console and an
Mbox Extreme Media Server.”
The Social Network’s first shot, a
night exterior that plays during the
opening titles, was perhaps the most
complicated piece of the movie to
capture. The sequence depicts
Zuckerberg racing through Harvard
Square and the university gates.
Capturing the sweeping panoramic
night exterior required all three Red
Ones; images from the cameras were
later tiled together into a single image
to create an establishing view of
Harvard Square, with the university in
the background. The obstacle was the vapor feel for the entire two-block separate Jesse out from the dark bricks
fact that most of the property pictured area,” says Cronenweth. “Then, we hid of the campus.”
in the sequence was owned by our own globes [on dimmers] on the Cronenweth’s crew also set up
Harvard, and therefore off-limits. back side of the same streetlights to some moving lights to play as
“Fortunately, we had the support of the create bigger pools of light under Eisenberg passed certain locations on
city of Cambridge, and their workers them. We also used various parking the street. But the team still faced the
replaced all streetlight globes that spots to create as many edges as possi- problem of how to properly backlight
wouldn’t give us our desired mercury- ble with tungsten 10Ks and 5Ks to edges of the iconic brick arches at

Diagrams provided by gaffer Harold Skinner, on this page and the next, detail the crew’s lighting strategies for a two sequences. The path shown
above was laid out to follow Zuckerberg as he races through Harvard Square and onto the university’s campus (visible at upper right).
Harvard Square that serve as a campus make two different actors appear as Lola Digital. “Armie looked the most
entrance. The shot, as designed, needed identical twins, Cameron and Tyler like the real brothers, so I wanted to use
the backlight, but the filmmakers Winklevoss. The brothers were cham- his face,” says Fincher. “I realized we
weren’t allowed on campus. Fincher’s pion rowers who crewed at Harvard could use a lot of split screen, even
solution was to hire a street performer and later sued Zuckerberg over moving split screens. As long as we had
to set up his performance cart inside Facebook’s creation. Fincher couldn’t a plate I liked and enough data around
the gate, and to have Cronenweth’s find a set of identical twins who satis- the second take, we could just rack the
crew place in that cart a portable, fied his requirements, so instead, he background of the second take. As long
battery-powered light source — two hired one actor, Armie Hammer, to as the actor didn’t go out of frame, we
500-watt ECT Photo Floods hooked play Cameron, and another, Josh could split-screen it back in. We did
up to an 1,800-watt inverter/battery Pence, to supply the body and body that a lot; the actor would go out the A
pack — designed to fire up only when movements for Tyler. The filmmakers side and back in the B side, and then
the filmmakers were shooting. used a combination of split-screen we would track the plate on the B side
The most specialized lighting, shots and digital face replacements to an A plate, and rotoscope it all back
however, was required for the movie’s whenever the brothers interacted, espe- in and track it to the plate. But when
most complicated visual effect: about cially during rowing sequences. For they were rowing, we had to do facial
15 face replacement-shots used to those shots, the production turned to replacement.”

This diagram shows the crew’s approach to the streets just south of Harvard Square, where they shot sequence that leads to a club.
Lola’s visual-effects supervisor, science pioneered by Paul Debevic, the scanlines don’t sync with the
Edson Williams, says the idea was not but instead of using Debevic’s movable pulses. So instead we went with 12
to build an all-CG head of the actor, as light stage, Lola simplified things. [Litepanels] Bi-Color LED panels,
in Benjamin Button, but to shoot “Paul has a clever technique to mimic which don’t use pulse-width modula-
multiple cameras on Hammer and real-world lighting on a stage, but tion, and change brightness without
project that imagery onto Pence’s face. we had two problems: the immense flicker. We controlled the panels
“We put tracking dots on Josh’s face, amount of data processing required, with programmable DMX lighting
and then he and Armie would interact and the Red One’s rolling shutter,” controls, and we’d visually match our
as if they were two different people in Williams explains. “We used Reds, but set lighting to the lighting on Armie’s
the scene,” says Williams. “After prin- Debevic’s system works with pulse- face that was recorded on location.”
cipal photography was done, we’d width modulation, which is an As Hammer delivered his lines
capture that photography and analyze energy-efficient way to control LED in the DMX-controlled environment,
it to find the body double’s lighting brightness using a fixed frequency [up Lola would capture his facial move-
patterns. We would then re-create that to 3,000 hertz], with only the duration ments with four Reds, and then the
lighting on a stage and project it onto of each pulse changing. But with the team would project that footage to a
Armie as he sat stationary in a chair.” Red’s rolling shutter, pulse-width CG model of his face, tracked to
The approach is based on modulation can cause flickers because Pence’s movements with Boujou and

PF Track software. CG tweaks to
the face were done in Maya, and
everything was composited using
Autodesk’s Flame, which was impor-
tant, according to Williams. “What we
learned on Benjamin Button was that
projecting faces is really about shadows
and light,” he says. “This way, we had a
lot of control over shadows and light
before the projection, and could adjust
lighting on the footage we shot of
Armie before we projected it to the
geometry tracked onto Josh. It’s sort of
a 2-D process with 3-D assistance.
You’re not creating a CG face, you’re
projecting real skin onto geometry.”
The crewing sequences, shot by
the second unit aboard two-man
racing sculls, posed another problem:
the cameras were too heavy for the
boats. Fincher asked Red if there was a
way to somehow lighten the load. “The
Tracking dots were applied to the face of actor Josh Pence to help facilitate visual-effects techniques Empacher boats are fragile and flex a
that would replace his features with those of co-star Armie Hammer (left), allowing the two actors to lot, so we needed lightweight camera
play identical-twin athletes Cameron and Tyler Winklevoss.
mounts and bodies,” explains
40
Cronenweth. “Red stripped the Ones The finalized files were filmed out at TECHNICAL SPECS
down and gave them carbon-fiber 2K at Technicolor, where David Orr
bodies; they weighed less than 6 timed the answer print. (Technicolor 2.40:1
pounds each. That freed us to place and Deluxe Laboratories did the
them wherever we needed without release printing. LightIron Digital Digital Capture
interfering with the integrity of the created the DCDM master.)
boats or compromising the athletes’ “I think the MX chip made a Red One
performances.” huge difference in the DI,” says
Red’s close partnership with Vertovec. “With digital cameras, you Arri Master Primes
Fincher continued through post: Red often fight the signal-to-noise ratio in
invited the filmmakers to do the entire shadows. You often get a lot of conta- Digital Intermediate
DI process on Red Studios’ Stage 4 in mination in colors down there, because
Hollywood. There, a 20'x40' theatrical you try to boost the signal, but you also Printed on
screen and a Sony SRX T420 4K push it down to avoid a lot of dancing Fuji Eterna-CP 3513DI
projector were available for colorist Ian in shadows. With the MX sensor,
Vertovec of LightIron Digital, who when stuff goes dark, it just goes dark.
graded the picture on Quantel’s Pablo When you look at your waveform
Neo. (The movie’s assembly work was monitor, blacks are almost a solid line
handled by Fincher’s editorial team, because there is almost no noise. David
which sent media to Vertovec as DPX- wanted the picture to be dark and
sequence equivalents of reels on hard moody, and they didn’t overlight it on
drives.) After the color timing was set and then ask me to push it down.
complete, the picture underwent a We could move things around,
noise-and-grain-reduction sweep at certainly, but still stay at the low light
Reliance MediaWorks’ Lowry Digital. level they wanted.” ●
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Rodrigo Prieto, ASC,
AMC helps Oliver
Stone manipulate
stocks on Wall Street:
Money Never Sleeps.
By Iain Stasukevich
•|•
A Zero-Sum
I
Game
n Wall Street: Money Never Sleeps, the ostensibly reformed
corporate raider Gordon Gekko (Michael Douglas) is
released from jail and quickly gets caught up in another web
of professional and personal intrigue. This time the key
( Josh Brolin), who double-crosses Jacob’s mentor, Lewis
Zabel (Frank Langella), ruining Zabel’s life and prompting
Jacob to seek revenge.
When director Oliver Stone offered the project to
players are Jacob Moore (Shia LaBeouf ), an up-and-coming Rodrigo Prieto, ASC, AMC (Alexander; AC Nov. ’04), the
trader who is engaged to Gekko’s daughter, Winnie (Carey cinematographer embraced it as “a great opportunity to learn
Mulligan), and an evil hedge-fund manager, Bretton James more about this particular world, especially how it looks,” he

says. “My visual references for the stock
market are mostly what I see on the
news, as well as Oliver’s first Wall Street
[shot by Robert Richardson, ASC; AC Opposite:
Dec. ’87]. I knew it would be important Cinematographer
to get firsthand experience with this Rodrigo Prieto,
ASC, AMC used
world of trading and high-flying society in-camera tricks
before I tried to photograph it.” to achieve this
The first thing Prieto did was shot of stock
figures scrolling
Unit photography by Barry Wetcher, SMPSP. Photos courtesy of 20th Century Fox.
travel to New York City to scout across the face

locations and meet with a number of of trader Jacob
people working in the stock market. He Moore (Shia
LeBeouf).
discovered that many traders Moore’s This page, top
age had to mop up after their mentors to bottom: Fresh
in the wake of the financial meltdown, out of prison,
Gordon Gekko
and consequently found themselves (Michael
“suddenly handling hundreds of Douglas) goes
millions of dollars each day. This was back to
scheming; Moore
critical to understanding what was and Gekko flank
going on for someone like Jacob.” malevolent
Another interesting discovery hedge-fund
manager Bretton
had to do with how information is James (Josh
discussed and shared. “In that world, Brolin); Moore
information is called ‘color,’” notes helps his
fiancée, Gekko’s
Prieto. “When you’re exchanging infor- daughter, Winnie
mation, you say, ‘I have color.’ For the (Carey Mulligan),
cinematographer, of course, that’s an with the
groceries.
important concept. I decided to explore
different ways of using color that would
be realistic and also enhance the drama.”
He singled out the dominant colors of

◗ A Zero-Sum Game
Right: To add
emphasis to
Gekko’s
momentous
release from
prison, Prieto
captured the
scene with a
remote head
mounted on a
telescoping
crane. Below:
After emerging
from captivity,
Gekko finds
himself behind
the times with
some catching
up to do.
he is essentially powerless because he

has been imprisoned for more than 20
years. As he regains power, stronger
colors start coming back into his world.
By contrast, Bretton James’ world is
initially portrayed with intense colors,
deep shadows and strong highlights, but
as his fortunes take a turn for the worse,
that look becomes more muted.
The depiction of some characters’
worlds doesn’t change, adds Prieto. “All
of Lewis Zabel’s environments feature a
low level of color saturation, and we
kept Jacob’s world in the middle range.”
To determine how to best carry
out his color theory, Prieto did extensive
testing in prep. He initially considered
mixing Fuji and Kodak film stocks, but
he eventually determined that Fuji
stocks were his best bet. “Fuji [Eterna]
the financial world: green for stocks on information is power, we’d introduce 400 [8583] is grainier than the other
the rise, and red when they’re in decline. more intense color whenever a charac- Fuji stocks, and it’s less contrasty and
“The effects of the stocks correlate to ter had more power, and less intense has decidedly muted color saturation, so
the performance of traders, so there’s a color when he had less,” he says. “That it was a good choice for all of Zabel’s
lot at stake where those colors are allowed me to visualize the emotional scenes, Gekko’s release from prison, and
concerned,” he points out. arc of the characters and their positions James’ downfall,” he explains. “The new
Prieto also started thinking in within this world.” For example, when Eterna Vivid 500 [8547] has strong
terms of color saturation. “Our theory the film begins, Gekko’s world is contrast and intense color saturation,
was that if color means information and rendered in muted colors to reflect that which helped to convey the sense of

Gekko and his
future son-in-law
get down to
business in
Moore‘s
luxurious
apartment in
midtown
Manhattan,
which Prieto
lit with a
combination of
natural light,
skirted helium
units and
strategically
placed smaller
fixtures.
power and energy I was looking for to

represent James’ world at the peak of
his power, as well as Gekko’s later
scenes, when he has regained his verve.”
For the “middle range” look of Moore’s
scenes, as well as scenes showing
Gekko starting to regain his footing, he
used Eterna 500 8573 and Eterna 250
8563, which “reproduce color accurately
and have good grain structure.”
Prieto carried over his color
theory into his lighting, working with
gaffer Bill O’Leary to find LED units
with independently controlled RGB
bulbs that would allow them to
mix colors without using gels. They
ended up choosing Color Kinetics
ColorBlaze and ColorBlast fixtures,
which they used for situations ranging
from posh society dinners to hip night-
clubs. “We mostly used the ColorBlaze
48,” says Prieto. “For some applica-
tions — to uplight slim columns, for
example — we used the ColorBlast TR
LED spotlight.”
One scene that relies on the
LEDs’ customizable abilities depicts a
charity event at the Metropolitan
Museum of Art. It’s a long scene, and

•|• Reflecting on a Creative Partnership •|•
“Through time and

experience, Rodrigo
has gained my
absolute trust.”
P rior to Wall Street: Money Never Sleeps, I

worked with Rodrigo on Alexander [AC
Nov.’ 04], where he did an elegant job
When we had spontaneous eruptions of
weather, I always found Rodrigo to be very
practical, and he would make adjustments
film. In the 1980s, the color of greed was
yellow, and it all seemed so new, shiny and
decadent. By the 2000s, that decadence
under very difficult conditions around the accordingly. If worse came to worst, we was acceptable and ordinary; there was no
world, and on the documentaries knew we could “save” a scene in the DI, but novelty in it. As a result, this film has a
Comandante [2003], Persona Non Grata there were not many to save. In fact, it was harder surface where the richness and the
[2004] and Looking for Fidel [2004], which an economically shot film; I only shot decadence are ingrained. It’s not necessary
were shot on the fly with digital cameras. about 350,000', whereas in the past, I to highlight it; it’s part of the atmosphere.
Through time and experience, Rodrigo would have shot more film to protect I think it represents a new generation of
has gained my absolute trust, and not only myself. We knew we’d have a very short visual ruthlessness, if you want to call it
that, but also my liking. I find him to be a post period — we were finishing the film that.
gentleman on set at all times, even under in early December, and at that time, the In the opening title sequence, there’s
the most difficult conditions. He is an studio wanted to release it in April — and a wonderful shot we got with a Spydercam
elegant man with great dignity and style. the more footage we had, the more we’d that climbed, in a corkscrew motion, the
He’s able to share his innermost thoughts, have to cut. So knowing what we wanted entire side of a skyscraper to reveal
as well as assuage my own doubts. He has with the camera was very helpful towards Manhattan in a way that has never quite
become a good friend. And we share the making a quicker edit. Even though we been seen before. It ends with a digital
travails of having daughters of a young and ended up with a later release, I was very move through a window to get into the
rebellious age. happy with the film the way it was, and I story and the dialogue inside an office. It
Our preproduction conversations on don’t feel that we shortchanged ourselves. was an amazing shot done in-camera.
Wall Street were always squeezed in Modern technology is everywhere Another favorite scene in terms of cine-
between other things, but we’d got through in the film. One event that particularly matography is the MoMA ball, where we
the whole script by the time we shot. Of influenced us was a ballgame at Mets lit the walls of a cavernous hall with LED
course, the script changed, but the general stadium, where I saw a stunning new laser lights and put very bright, white Kino Flos
format was set. Rodrigo is a highly system for the scoreboards and video play- under the tables, adding a rich visual glow
methodical cinematographer and works back. We got on it right away, and Rodrigo to the entire hall. I also loved the rich, dark
inside a certain framework that he creates began experimenting with ways to create interiors in the Federal Reserve Board.
in advance, but he is also able to improvise. reflections on the actors’ faces at various [Production designer] Kristi Zea made
We were always on the run; we ended up moments in the trading-floor scenes. It’s a sure we found the richest locations with
doing more than 40 locations in 57 days, very interesting effect in the movie and great wood surfaces.
which about matched the speed of the plays powerfully. I suppose it’s a modern I kid Rodrigo and call him
original Wall Street, but on that film, we version of what Bob Richardson [ASC] “Velázquez” when he tortures himself with
shot on a set a lot, whereas on this film, we did back in 1987. self-doubt. He has the profile of a Spanish
worked with existing locations that we The styles of the two Wall Street nobleman, which makes me laugh. I shall
hunted over a period of several months. films reflect the eras in which they were always think of him as one of those
The weather in New York changed shot. When Bob and I did the first film, I Spanish painters of light from the 16th
constantly, and we had to move quite a bit, was in love with a tobacco filter for various century.
sometimes up to three locations a day. reasons, and we carried a lot of that into the — Oliver Stone

Clockwise from
top: Screens and
monitors became
a key visual
element in
scenes on the
trading floor;
Prieto captures
an over-the-
shoulder on
LeBeouf; the
cinematographer
swings a camera
into position as a
pair of helium
units illuminate
the room.
all of the key characters make an magenta” for the pre-dinner cocktails. says Prieto. “We used two cameras to
appearance, beginning with the red- Hidden under acrylic sheets covering get shots of all the tables, so we had to
carpet arrivals. The exteriors were shot the top of each table were the keylights, be able to move around quickly.” Over
on location, but the interior was a set; 10 2' Kino Flo tubes configured in a the whole area, two 30' 24K helium
production designer Kristi Zea mocked wagon-wheel pattern on the main char- balloons skirted with black cloth
up the old Cunard Cruise Line build- acters’ tables, and color-corrected tung- provided a toplight ambient level for
ing in downtown Manhattan to resem- sten fluorescent tubes for everyone else’s fill, around 2½ stops under key.
ble the museum lobby. Prieto used the tables. “We had very little time to shoot, After dessert, when everyone’s
LEDs to uplight the interior walls with and with this approach everything was feeling a bit looser, the lighting washing
relaxing blue hues and “just a pinch of lit no matter which direction we shot,” the walls shifts toward red as Gekko

◗ A Zero-Sum Game
Top and middle:
Exteriors of the
Metropolitan
Museum of Art
were shot at the
actual location,
where Prieto used
green LEDs to
create contrast with
the red carpet
ascending the
steps. Bottom: Kino
Flos (hidden
beneath table
coverings), LEDs
and helium
balloons lend
elegant ambience
to the museum’s
interior, a set built
by production
designer Kristi Zea.
and James butt heads and Moore finds

himself in the middle of it. At the end
of the night, Gekko gets into an argu-
ment with his daughter, and their
confrontation carries outside to the
museum steps. Prieto illuminated the
outside of the building with green
LEDs to contrast with the red carpet.
He explains, “Winnie has a deep
resentment and distrust of her father
and the world of finance, so I wanted
to surround them with the colors of
that world.”
The filmmakers wanted to
incorporate the city into the story-
telling as much as possible, and the
Meatpacking District takes center
stage in a sequence that shows Moore
and his friends out clubbing, weaving a
drunken path through the trendy
neighborhood. “That area has become
very modern,” Prieto notes. “Oliver
wanted to exaggerate the colors, take it
a little beyond what would be consid-
ered a realistic night exterior. We had
to light Jacob and his friends walking
across streets, down sidewalks and past
shops, and we used all sorts of tricks to
hide lights. There were hundreds of
units pre-rigged for this scene.”
The scene starts as the characters
leave one of the clubs, bathed in an

◗ A Zero-Sum Game
Right and below:

Prieto applied
color theory to his
lighting for various
settings, including
posh society
dinners and hip
nightclubs. He and
gaffer Bill O’Leary
sought out LED
units with
independently
controlled RGB
bulbs that would
allow them to mix
colors without
using gels. They
eventually settled
on Color Kinetics
ColorBlaze and
ColorBlast fixtures.
make it happen without breaking a

sweat. Rigging gaffer Richie Ford made
sure that all the lighting would be in
place before we arrived on set, key grip
Tom Prate would take care of every
single crazy idea I had, and with first
AC Zoran Veselic, I knew the camera
was always taken care of.”
Shooting the scene was also a
challenge, given that Stone wanted the
actors to move and interact in long,
fluid takes. On set, Prieto guided
Steadicam/B-camera operator Maceo
Bishop through the side angles, close-
ups and wide shots, with the camera
circling the actors. “Maceo was a great
asset and saved the day constantly,” says
Prieto. “Every time we did an angle, it
intense blue glow cast by a bank of Sourcemaker handheld balloons with wouldn’t be just a piece, it would be the
eight 4' Super Blue Kino tubes. They metal-halide bulbs inside. To heighten whole four minutes. Every time we
walk down the street, through the light the slightly off-kilter vibe of the scene, adjusted the angle, we had to relight.
of a couple of 2K Blondes gelled with ½ Prieto’s crew positioned strips of strob- That was pretty complicated.”
CTO, and cross into an area lit by Super ing orange, red and white LEDs along To create additional ambience
Green Kinos. They continue moving the path of the shot. “It was a lot of fun for the scene, the Standard Hotel,
into the light cast by metal-halide prac- to create 20 or 30 different moments of which looms over the Meatpacking
ticals, then through a stretch lit by eight light, but it was very labor-intensive,” District, was uplit with LED lights that
4' Kino Flo fixtures lamped with stan- Prieto recalls. “I was lucky to have such subtly shifted from blue to red. Other
dard Cool White tubes. Fill was a great crew. No matter how complex nearby buildings were accented with
supplied by small, battery-powered the challenge, I could count on Bill to red-gelled 12-light Maxi-Brutes and

Arri T-24s and T-12 Studio Fresnels execute simpler lighting designs. After fixtures, so he floated a 30' 24K helium
gelled with either Lee 013 Straw Tint the IRS comes calling for Zabel, the balloon, skirting it with Duvetyn to
or 728 Steel Green. embattled CEO holds an emergency keep the walls dark for a chiaroscuro
Sometimes Prieto’s approach to meeting in his private boardroom — effect. He had the camera mounted to
night scenes meant blending in with actually the boardroom of the a 30' Technocrane so he could float it
the cityscape as much as possible. A Metropolitan Life Insurance Co. — a around the room, grabbing shots in
scene set in Moore’s mid-town apart- dark womb of polished wood and every direction.
ment serves as an example. “The view ornate furnishings. Prieto was able to Because technology is a critical
from that location was incredible — uplight the intricately carved wood- component of the stock market’s flow of
you could see all of Manhattan from the work with tiny Dedolights, but there information, the filmmakers strove to
window,” notes Prieto. “We used Dinos was no possibility of rigging other devise ways to depict it creatively. Stone
and 10Ks to uplight the buildings for
several blocks, and we even put our
lights in some of the windows in the
background. In the distance, we had a
couple of Arrimax 18Ks aimed at the
“Every time we
did an angle, it
wouldn’t be just
a piece, it would
be the whole
four minutes. Every
time we adjusted
the angle, we
had to relight.”
Empire State Building from a nearby

rooftop. When it came time to shoot,
Oliver asked me which direction we
wanted to favor, and I said, ‘Well, the
window, because we’ve lit all those
buildings.’ Oliver wasn’t even aware
we’d done it! Carey Mulligan thought I
was joking, so I got on the walkie with
Bill and asked him to have one of our
lights moved. When it moved in the far
distance, everyone was surprised it was
not actual street lighting. For me, that
was a big compliment!”
Prieto also had opportunities to
◗ A Zero-Sum Game
monitor,” says the cinematographer. “I
wanted to be a little more subjective,
punctuating certain key moments by
playing with reflections and projections
of data on the actors’ faces.”
This effect was created totally in-
camera. To achieve it, the actors were
positioned behind a piece of glass that
reflected the graphics of an offscreen
monitor. Other moving numbers and
graphics were projected directly on the
actors’ faces with a 6K digital projector.
The result is like a triple-exposure,
with some numbers floating in the
foreground while green and red
numbers crawl across the actors’ faces.
In the background, computer screens
flicker with activity. “We initially did
this only with Jacob, but Oliver liked it
Moore’s big ambitions are symbolized by this shot of him admiring New York’s ever-evolving skyline. so much that we started doing it with
other characters on the trading floor,”
came up with montages, dubbed “rumor screens and computer monitors into says Prieto. “It shows that they’re living
mills,” that show information being some close-ups of characters on the in the same world. This concept was
delivered via text message or e-mail, and trading floor. “I didn’t want to just have taken further by the visual-effects team
Prieto suggested incorporating TV a shot of a person and then a shot of a at Crazy Horse Effects for other
kezia 50 & 200

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moments of the movie, including the partner in this production. I’d send TECHNICAL SPECS
montages where we see split-screens notes every day, and he’d just nail it.”
of many traders using technology to Prieto supervised the final grade at 2.40:1
spread information.” EFilm in Hollywood, working with
Shooting 3-perf Super 35mm, longtime collaborator Yvan Lucas. 3-perf Super 35mm
Prieto used an Arri package: Arricam Nailing the look early on was Arricam Studio, Lite
Studios and Lites and Arri Master important to Prieto, who strives to
Primes. “This story needed a sharpness accomplish as much as possible in- Arri lenses
and a hardness that I felt we could only camera, despite the advantages
get from the Master Primes,” he presented by the digital intermediate. Fuji Eterna Vivid 500 8547;
Eterna 500 8573, 400 8583,
observes. Throughout the shoot, “When you over-manipulate the image 250 8563
Deluxe New York processed footage in post, when you start adding contrast
and generated HDCam-SR dailies, and shifting color information, you’re Digital Intermediate
which were graded by Steven Bodner. actually reducing that information, and
The production was able to take the image can start to look like it was Printed on
Fuji Eterna-CP 3521XD
advantage of a new Deluxe LUT called captured with a digital camera,” he
DigiPrint, which renders the HD explains. “That’s why I’m so careful
transfer with film-print emulation; the about choosing film stocks and the
LUT was applied immediately after release-print stock. I want to achieve the
the negative was scanned, before any color and density that I’m going for
images were color corrected. organically.” ●
“Our dailies were very close to
what we’ll be able to achieve in the
final grade,” says Prieto. “Steve Bodner
was a great asset for me and a great
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53
A young boy falls
for a vampire in the
moody and macabre
Let Me In, shot by
Greig Fraser and
directed by
Matt Reeves.
By Iain Stauskevich
•|•
Bloody
Valentine
R
e-imagining the acclaimed Swedish vampire drama Let When he received the script, Fraser knew of the
the Right One In for American audiences, the new film Swedish film (directed by Tomas Alfredson and shot by
Let Me In follows 12-year-olds Owen (Kodi Smit- Hoyte Van Hoytema, FSF, NSC), but hadn’t seen it. “I loved
McPhee) and Abby (Chloe Moritz), whose burgeoning the script, and from that point on, I knew I couldn’t see the
romance is complicated by the fact that he is human and she original until I finished our film,” he says. “Matt encouraged
isn’t. In his search for a cinematographer, director Matt everyone else on the crew who hadn’t seen it not to watch it,
Reeves wanted “someone who could find beauty in the real,” because he wanted all of us to bring our own take on the
and after seeing Jane Campion’s Bright Star (AC Oct. ’09), he story.”
sent the script to cinematographer Greig Fraser. “There’s a During prep, Reeves and Fraser studied Rear Window,
very natural, poetic feel to Greig’s work,” says Reeves. “All of The Shining and The Exorcist to develop ideas about how to
my instincts about this film were borne out and exceeded create a pervasive sense of dread. “When I say we watched
when I met him.” The Shining, I mean we really watched The Shining,” says

Fraser. “From the word go, you just
know that something terrible is going
to happen in that film.” Reeves adds,
“We used a sort of classical, almost
Hitchcockian style to immerse the
audience in Owen’s point-of-view, or
occasionally another character’s point-
of-view; throughout the film, you see
what Owen sees married with close
shots of him watching. But at certain
moments, we juxtaposed that with
shots that were more distant to create a
feel of inexorable dread, and that was
the Kubrick influence.”
Let Me In opens with a shot
reminiscent of the opening of The
Unit photography by Saeed Adyani; photos and frame grabs courtesy of Overture Films.
Shining: a wide aerial shot of a snowy

mountain road at night. An ambulance
and police escort appear from around a
bend in the road, near the center of the
frame, and the camera begins a slow
push in, but not on the vehicles. “It
zooms straight forward without a pan
or a tilt,” details Fraser. “Throughout
the film, we tried to use a few of those
uninflected zooms to comment on the
mood of a scene rather than the action.
The camera isn’t emotional; it doesn’t
react to things. There are a few shots
that are handheld, but for the most
part, we wanted the camera to be
impartial.”
The idea of a detached, voyeuris-
tic perspective is a key visual motif in
the story. Many of the tale’s characters
are detached emotionally and physi- Opposite: After befriending Abby (Chloe Moritz), Owen (Kodi Smit-McPhee) discovers that she’s
a vampire. This page, from top: Owen demonstrates Rubik’s Cube in a frame grab that shows an
cally. Eye contact between children and artful use of anamorphic lens flare; the crew captures the shot; cinematographer Greig Fraser (at
adults is rare; Owen and his mother, camera) and director Matt Reeves (directly behind Fraser) prepares a close-up of Moritz.
whose face we never really see, almost

◗ Bloody Valentine
In a sequence that
recalls Hitchcock’s
Rear Window, the
troubled Owen
spies on neighbors
through a toy
telescope. A special
lens simulated
the chromatic
aberrations of the
telescope’s cheap
plastic elements.
never share the same frame. The film’s

intense focus on Owen’s perspective is
what draws the audience into the story.
“Without using literal POV shots, we
tell the story mostly through what
Owen sees and experiences,” says
Fraser. “The uninflected zooms are used
sparingly, to briefly remove us from his
world.”
Through testing, the filmmakers
decided that the anamorphic 2.40:1
format would suit the project best, and
Fraser chose to combine Panavision’s
C-Series, E-Series and G-series lenses
in his camera package. Reeves observes,
“You don’t usually see a film this inti-
mate in a widescreen proscenium, but
there’s something amazing about being
in a claustrophobic space and still being
able to take in the width of that frame.
Greig and I also agreed that [anamor-
phic’s] shallow depth-of-field would
help build a sense of mystery, a sense of
the uncanny.” Fraser adds, “With
anamorphic, the actors could move
around the frame without us having to
move with them.”
The production tapped Pana-
vision optical engineer Dan Sasaki to
develop several custom anamorphic
high-speed lenses, as well as some
specialty POV glass. The eight lenses
Sasaki created, some as fast as T1.4,
effectively halved the amount of foot-
candles required by standard anamor-
phic lenses. The specialty glass included

a peephole lens with exaggerated fish-
eye distortion, a lens meant to simulate
the chromatic aberration caused by
cheap plastic elements in a toy tele-
scope, and a fractured diopter for the
POV of a character whose face was
burned with acid. Of the latter device,
Sasaki explains, “At first I thought we
could under-correct the lens and make
it look really ugly with astigmatism and
distortion. Greig was trying to suggest
how things would look to you if some-
one fractured your eye, so I made a lens
attachment that would screw onto the
front of the regular anamorphic lens. It
gave the light a crystallized, faceted
look, but it was very random and
would redirect the light and flare.”
Sasaki designed the lens with a tilt-
shift bellows that allowed Fraser to
compound the effect.
Let Me In is set in the 1980s in
Albuquerque, N.M., and the visuals are
meant to evoke the movies of that era,
when color negatives exhibited more
contrast than they do today. Shooting
on location in Albuquerque in the fall
and winter, Fraser used Kodak Vision2
50D 5201 and Vision3 250D 5207 for
day scenes, and his grip/electric team,
led by key grip Kurt Kornemann and From top: Abby plays with Owen’s puzzle in her shabby apartment; a frame grab
demonstrates Fraser’s strategic use of anamorphic composition; Chloe gets sick after Owen coaxes
gaffer Jay Kemp, relied on the existing her to try a piece of candy on their first date.
cloud cover for diffusion, using the

snow-covered landscape as an enor-

mous bounce. To bolster the bleak-
looking light, 12-light Maxis, 10Ks
and Arri T-12 Studio Fresnels were
softened with Grid Cloth ranging
from ¼ to Full, or bounced off muslin
frames. (Only two scenes were shot in
direct sunlight, which implies “a sense
of merriment and happiness,” says
Fraser.)
The line between day and night
is the line between life and death for
Abby, and the line between misery and
comfort for Owen, who must endure
the daily torment of bullies at school.
The protagonists take refuge in the
night, whose look is defined by fluores-
cent greens and blues, sodium-vapor
oranges and tungsten yellows. “Our
sodium and fluorescent sources were
On a quest for not corrected except in the apartment-
blood to slake courtyard scenes where the tungsten
Abby’s thirst,
the vampire’s sconces were prominent in the back-
guardian ground,” says Kemp. “Initially, the lab
(Richard [Deluxe Hollywood] was doing a slight
Jenkins) hides
in the back seat green reduction, causing the practicals
of a car and on the apartment building to go a bit
attacks one of magenta. We countered with the addi-
its occupants at
a gas station. tion of 1⁄4 Minus Green on the sodi-
The crew ums, to slightly correct, and made the
exploited a appropriate notation for the lab.”
roofless prop
car to capture Owen and Abby’s first meeting
parts of the takes place at night in the apartment
sequence. courtyard, and the pale orange glow of
sodium-vapor practicals lends an
almost monochromatic look to the

scene. Fraser’s crew created the effect the quality of light,” says Fraser. above and the side,” says Fraser. Sewed
with modified industrial sodium-vapor “Tungsten has a familiar feel to it, and up by B-dolly grip Ian Hanna, the
fixtures and custom T Pars built by Los fluorescent feels electric and artificial.” production’s Diving Bells were 15'-tall
Angeles-based gaffer Phil Walker; the Devised by production designer cones of Full Black Grid (or Duvetyn)
T Pars were fitted with 500-watt and Ford Wheeler, the sets for both apart- with a 9'-wide base comprising two
1K sodium-vapor bulbs. Kemp ments were lit with large, round layers of Rosco Cinegel 3004 1⁄2 Soft
controlled the T Pars’ light with Rag sources Kornemann created called Frost diffusion. They can be equipped
Place 8'x8' frames of Light and 1⁄4 Diving Bells. “They’re essentially over- with almost any type of source; 6K
Grid and fabric grids. sized space lights that fill the room space lights were used in Owen’s apart-
In the playground scene, the with a general ambience and can be ment, and Kino Flo Flathead 80s with
light alternately hits the actors directly augmented with additional lights from Cool White bulbs were used in Abby’s
or bounces off the snow. “Direct light
can be harsh and unforgiving, and
there were times when we manipulated
light to make Abby seem less feminine
www.sylvania.com
and Owen more feminine,” says Fraser.
Eyelights were Litepanels Minis or
1x1s corrected to match the sodium
vapors with a mix of Lee 147 Apricot,
“There were
times when we Without OSRAM HMI lamps, it
®
manipulated light would just be a shot in the dark.

to make Abby
seem less feminine
and Owen more
feminine.”
1⁄2 Plus Green and CTO gels. “We

used those Litepanels in nearly every
scene,” notes Kemp.
The neutral tones of the play-
ground represent neutral territory for
the children, but their home lives
couldn’t be more different. Owen
shares a tungsten-dominated apart- In 1967 we made the first HMI lamp. Today we still make the only HMI lamps.
For more information, please go to www.sylvania.com or call toll-free in the U.S. 888-677-2627.
ment with his weary, divorced mother
that, for all its shabbiness, still feels like
a safe haven compared to Abby’s
dwelling, a fluorescent-dominated
space that is sparsely furnished with
© 2010 OSRAM SYLVANIA
second-hand odds and ends. “In addi-

tion to the color temperatures, it’s also
Top:A neighbor
discovers one of
Abby’s victims.
Middle and
bottom: After
being hospitalized,
the victim begins
transforming into a
vampire, but bursts
into flames when
an unwitting nurse
allows daylight
into the room.
(and in other situations where an

untraceable source was needed).
“In Owen’s apartment, we used a
lot of practicals, and we augmented the
Diving Bell with either a 3-Lite or 6-
Lite Barger Baglite with a Lighttools
chimera and fabric grid,” explains
Kemp. “When Owen was alone, we lit
him with a sodium source from the
windows and had the Diving Bell over-
head. By contrast, there were almost no
practical sources anywhere in Abby’s
apartment. Other than her eyelight,
the Diving Bell was our sole source
there; it was just enough to define the
shape of the environment.”
The Diving Bells were primarily
used for stage work, but the crew also
took them on location to illuminate the
arcade where Owen and Abby go on
their first date. Kinos with Cool White
tubes were used inside and out, the
filmmakers’ tribute to the scene in
Klute in which Jane Fonda and Donald
Sutherland make a nighttime trip to a
local market. In both cases, says
Reeves, “You know these two people
shouldn’t be together, but you see in the
way she looks at him that she’s falling
for him.”
Fraser lit the arcade interior with
a bright, slightly green cast, and in the
parking lot, the crew rigged a Diving
Bell with two Cool White Flathead
80s, creating a pool of light that looked

like it was coming from the fixtures woods. In determining how best to used the built-in blades to keep the
inside. Fraser notes, “We didn’t want it create night lighting on a larger scale, light off the snow and on the trees,
to look overly cool, but if we went Fraser and Kemp considered a Musco, crosslighting and backlighting in the
warm, it would have felt forced. We but they “decided it was such a broad foreground and mid-ground clusters.
needed that scene to be as realistic as source that it would have made the It was painstaking but quite effective.”
possible.” snow too bright and the trees too Additionally, T-12s and 12-light
Abby needs blood to live, and dark,” says Fraser. Maxis lit the larger clusters of trees in
slaking her thirst requires her “father” Instead, they used more than 30 the far background, and 1K Fresnels or
(Richard Jenkins) to kill someone in 1K Source Four ellipsoidals. “We’d Lekos served as keylights.
the night, drag him into the woods, shape the light for every tree, or every Another lighting challenge was
hang him upside down and drain his two or three trees,” says Kemp. “We how to create a “no-light” feel for the
blood into a plastic jug. “The most
terrifying part of the script was the
words ‘Ext. Woods-Night,’” Fraser
quips. “This is the first time I’ve shot www.sylvania.com/entertainment
anything in the snow, in the woods, in
the dark.
“This is the first

time I’ve shot
© 2010 OSRAM SYLVANIA OSRAM and KREIOS are registered trademarks of OSRAM GmbH Photo Credit: Image Source / Getty Images
anything in the
snow, in the
woods, in the
dark.”
“Abby’s father is not a vampire

— he’s a human with bad eyesight,” he
continues. “In order to see what he’s
doing, we figured he’d have to use
some kind of work light.” Accordingly,
the filmmakers gave Jenkins a bright KREIOS LED lighting shows true color.
®
camping-light practical that was OSRAM KREIOS lighting solutions render true color and skin tones on
modified by dimmer-board operator
film and video—exactly how the eye sees them. And with precise color
Theo Bott and filled with all the Cool
temperature matching, OSRAM KREIOS LEDs seamlessly integrate with
White compact fluorescents that
would fit. Kemp recalls, “It was a fairly existing traditional lighting. The fact that you can’t tell them apart is
pure source, but if we needed to give what sets them apart. For more information on OSRAM KREIOS LED
just a bit of an edge to something or lighting system solutions, please email entertainment@osram.com
extend the throw of the lamp, we used or call 1-888-677-2627.
small HMI sources gelled with Plus
Green.”
At one point, the father’s grisly
activity is discovered, and he abandons
his tools and lamp and flees into the
Underwater
cameras were used
to capture Owen’s
distress after he’s
thrown into a
swimming pool by
a group of sadistic
bullies.
final scene in Abby’s apartment, a day

interior in which all the windows are
tightly covered. “Realistically, you’d be
looking at a totally black screen,”
muses Fraser. “To make the audience
believe they’re looking at an image that
has no light, you have to pursue a feel-
ing of absolute darkness.” Achieving
the effect involved a good deal of test-
ing with Kodak’s Vision3 500T 5219,
and Fraser eventually decided to over-
expose it by one full stop.
Lighting the set called for the
subtlest of approaches, with no
perceptible key or fill, just a shallow-
focus image on the verge of darkness.
The trick was to source the light from
above without directly hitting the
walls. Kemp used several Octopuses, a
small version of the Diving Bell that
features eight Duvetyn flaps hanging
off the side like tentacles; each held a
1K or 1.5K tungsten JEM Ball (going
through a secondary diffusion ring, as
with the Diving Bell), and Fraser
could direct the light or change the
illumination levels by raising or lower-
ing the flaps.
Throughout the production, the
filmmakers strove to avoid strong
colors. In the digital grade, which was
carried out at 2K at Company 3 in

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This page:
Another of the
guardian’s
blood-
gathering
missions was lit
by a camping-
light practical
modified with
Cool White
compact
fluorescents.
Opposite:
The victim
is drained.
Santa Monica, Fraser worked with “If we show the audience a 1980s day exteriors, we tried to give skin
colorist Shane Harris to desaturate the school or arcade that isn’t fluorescent- tones and shadows a silvery look,
image a bit further, but little else was lit, they’ll know we’re having them on.” which we did by adding blue to those
done to change what was on the nega- “The most saturated scenes are areas.” Referencing stills Fraser took on
tive. “In a film like this, there has to be in the apartment courtyard, under the set (with a Panasonic Lumix DMC-
a level of honesty about the color in sodium-vapor lamps,” says Harris, who GH1), the colorist also fine-tuned the
each scene,” says the cinematographer. worked on a DaVinci Resolve. “For the 1980s look, lifting the blacks and
64
TECHNICAL SPECS
2.40:1
Anamorphic 35mm
Panaflex Platinum,
Millennium XL
Panavision lenses
Kodak Vision3 250D 5207,

500T 5219; Vision2 50D 5201
Digital Intermediate
Printed on
Fuji Eterna-CP 3513DI
suppressing the mid-tones. beautiful, but at the end of the day, it
“Greig made the movie look will mean nothing if the drama isn’t
exactly the way I hoped it would,” there.’ I’ve never had a cinematogra-
marvels Reeves. “He told me at one pher say that to me. His respect for the
point, ‘The most important thing I can actors, the schedule, and my job as the
do is give you as much time as you director affected the film profoundly.”
need. I can light this to make it look ●
.LQR)OR $/D&DUWH

ZZZNLQRIORFRP 1RUWK+ROO\ZRRG:D\%XUEDQN&$86$YRLFH

65
Welcome
to the
Jungle
A “sinewy aesthetic” defines family’s alpha male, an armed robber who is in hiding from
the Australian crime drama the authorities; Craig (Sullivan Stapleton), an unstable
drug addict; and Darren (Luke Ford), the youngest.
Animal Kingdom, shot by Complications arise when Pope’s friend and partner, Baz
Adam Arkapaw. ( Joel Edgerton), decides he wants to go straight while the
family are relentlessly pursued by the police, personified
By Simon Gray chiefly by Sgt. Nathan Leckie (Guy Pearce) of the homi-
cide squad. After falling in with the Codys’ renegade way
•|• of life, Jay quickly finds himself linked to the murder of
two policemen. While in police custody, he is urged by
Leckie to turn in his newfound family, and whether he will
T
he winner of this year’s Sundance Film Festival Grand constitutes much of the story’s drama.
Jury Prize in World Cinema was the hard-hitting Arkapaw and Michôd met in 2008, when Arkapaw
Australian crime drama Animal Kingdom, which was shot a short film the director had co-written. They became
recently released in the United States by Sony Pictures reacquainted while attending a talent-development
Classics. Written and directed by David Michôd and shot program at the Melbourne International Film Festival, and
by Adam Arkapaw, the film follows the criminal exploits of Michôd subsequently sent Arkapaw the script for Animal
the Cody family as seen through the eyes of a young rela- Kingdom. “When I read the script, I knew the film would
tive, Joshua “Jay” Cody ( James Frecheville). After the be a dream opportunity,” says the cinematographer. “David
death of his mother from a drug overdose, Jay moves in has a commitment to concise storytelling and what I would
with his maternal grandmother, Janine ( Jacki Weaver), describe as a ‘sinewy’ aesthetic. The simmering, brooding
matriarch of the Cody boys: Pope (Ben Mendelsohn), the tone of the script gave me goosebumps, and the cast read

like a Who’s Who of contemporary
Australian film.”
Although Animal Kingdom Opposite: Police
focuses on violent criminals, Michôd officer Nathan
and Arkapaw agreed that it was Leckie (Guy
Pearce, right)
essential to present all the characters pays a surprise
as real people. “One of the most visit to Jay
important aspects of my job on this (James
Frecheville) in
film was the close-ups,” notes his new and
Arkapaw. “It’s an old adage that that’s dangerous
where a cinematographer earns his home. This page
(top to bottom):
money, but in this film, the faces are Cody family
really where the heart of the story matriarch Janine
lies.” (Jacki Weaver)
reassures her
Commenting on the film’s son Craig
minimalistic style, he continues, “The (Sullivan
tension in the story increases gradu- Stapleton) as her
youngest son,
ally and constantly, and we didn’t Darren (Luke
want that to be broken by flights of Ford), listens;
cinematic fancy. We decided the best cinematographer
Adam Arkapaw
way to achieve this was to develop a (at camera)
shooting style that allowed the actors observes as
as much freedom as possible. Animal director David
Michôd preps a
Kingdom is an ensemble piece told, for scene with
the most part, from Jay’s point of Weaver and
view. We worked hard to find his Laura
Wheelwright,
perspective and configured the who plays Jay’s
photography accordingly. Another girlfriend;
consideration [in terms of the style] Janine, Baz (Joel
Edgerton) and
was that a lot of scenes have up to
Photos by Tony Mott, Narelle Sheean and Adam Arkapaw, courtesy of Sony Pictures Classics.
the family
eight characters inhabiting the same depart the
space, so wherever possible, we had no restaurant.
lighting or grip hardware inside; this
allowed the actors to explore and use
the space.
“David and I decided that every
shot in the film should have a begin-
ning, middle and end. By that I mean
that we might start on a close-up of
Ben with James in the background,
and that then becomes a two-shot as
Ben moves out of frame and Sullivan
joins James in the background, and
then it would become a close-up
again, but this time of Jacki as she
comes into shot at the end of the
scene. This approach allowed the
actors to get into a flow with their
performances.”
Arkapaw also strove to tailor his
camerawork to the characters. “A
simple example of this approach is
that the rock-solid Leckie character
was primarily shot in static frames,

◗ Welcome to the Jungle
whereas the unpredictable Pope was
filmed more from-the-hip to suggest
that he could do anything, and the
camera would have to react as best it
could.”
Animal Kingdom was shot in 3-
perf Super 35mm for a final aspect
ratio of 2.40:1. “That aspect ratio is
usually reserved for very polished, big-
budget films, so we decided it would
be an interesting stylistic choice, given
that our production design and light-
ing were so raw,” says Arkapaw. He
used three Kodak Vision2 stocks,
500T 5218, 50D 5201 and 250D
5205. “Because our lighting aesthetic
was pretty raw, we were often strug-
gling to shoot around the T2.8-T4
mark I was aiming for,” he recalls.
“We used 5218 for all night scenes,
because we were trying to get as much
Top to bottom: ambient exposure as possible on exte-
Darren and Pope riors and wanted to limit film lights
Cody (Ben
Mendelsohn)
on interiors; I tried to rate it at 320
consult in their ASA where possible. 5201 came in
home; Pope handy because we shot in summer,
develops strong
suspicions about
and the sun was often high in the sky,
Jay following a creating strong contrast. I love how
consultation with 5201 performs in that situation; in the
the family lawyer;
Craig has a
digital grade, you can dig right into
meltdown with the blacks without grain issues, and
the police in the highlight control is terrific. We
hot pursuit.
used 5205 for interior day scenes and
exterior dusk scenes.”
Arkapaw does his own operat-
ing, and he chose a Panaflex
Millennium XL. “I love that camera,”
he notes. “It’s so comfortable on the
shoulder, and it can easily and quickly
be transformed into such a solid
production-mode camera. As a bonus,
you look really cool in on-set photos!”
Animal Kingdom was a mixture
of handheld and static shots, with the
final decisions often being made on
set. “David and I would watch a
rehearsal and then finalize what sort
of camera move would augment the
energy of the scene,” recalls Arkapaw.
“The actors all gave so much that we
were mindful of responding organi-
cally to what they brought to each
scene.”
The basic lighting kit supplied

by gaffer Karl Engeler comprised
mainly 4K to 6K HMI Pars, Kino Top (from left):
Flos and LED lights. “I love the way 1st AD Phil
Jones, 1st AC
tungsten stock responds to Cool Jem Rayner, key
White tubes, so we used those exten- grip Glenn
sively throughout the film, especially Arrowsmith,
Michôd and
in the background to help create Arkapaw
depth,” explains Arkapaw. “I also prepare to
used them throughout the police shoot. Middle:
The Codys don’t
station to create a sterile-looking like the latest
environment. Our goal was a sort of news from their
‘unlit’ look. [Production designer] attorney.
Bottom: Janine
Joey Ford and I spent a lot of time in listens keenly as
prep finding appropriate practicals the lawyers
for the locations from which I could question Jay.
motivate all the lighting — all the
way down to the lights in the Codys’
fish tank!”
The cinematographer notes
that Animal Kingdom’s almost docu-
mentary-style visuals run counter to
the way such subject matter is usually
approached by filmmakers. “In many
of the films David and I looked at in
prep, it was apparent that there can
be a tendency to light such brooding,
violent subject matter in a very dark
and stylized way, but David felt very
strongly about establishing a distinct,
tangible Melbourne as the backdrop
to our story,” he says. “His determi-
nation to avoid showing off in favor
of a naturalistic look influenced the
choice of locations as well as how the
sets were lit.”
One memorable scene for
Arkapaw was a day exterior/interior
in which Leckie turns up at the
Codys’ front door just as Pope is
chasing Jay around the house with
the intention of beating him to a
pulp. “This was the first scene we
shot with Guy Pearce, and we were
all dead keen to give a good account
of ourselves on that day,” recalls the
cinematographer. “I was freaking out,
thinking, ‘Why did this scene have to
be in a tiny doorway, stuffed with
four actors and containing two pages
of dialogue?!’ In prep, David and I
had talked about the Leckie-Pope
duel as a White Knight vs. Black
Prince type of engagement, and
through our blocking of the scene,

◗ Welcome to the Jungle
Left: After ramming Jay’s vehicle, Pope moves in for the kill. Right: Arkapaw goes handheld to capture the scene.
we found a lovely, almost poetic way running down her face, and immedi- officers are called into an ominously
to squeeze everyone into the doorway. ately sets about manipulating the situ- empty street to check out an aban-
Jay was sandwiched between Leckie ation to her own advantage. The scene doned stolen car, which has been
and Pope, with Leckie glowing in the says so much about all the characters planted there by the Codys. To re-
hot Melbourne summer sun, and in such a short time, and in such a create the effect of street lamps lining
Pope hiding himself away in the dark cramped space.” the road, Engeler and his team placed
interior. Then Janine swaggers in, Arkapaw’s biggest setup was a three 60' boom arms that each
looking amazing with her mascara night sequence in which two police supported two 4K HMI Pars,
70
“We desperately hoped for a street
with a beautiful vignette of leaves to
light through, but the Victorian
summer had been so hot that almost
all the trees in Melbourne had lost
their leaves before autumn had even
begun!” ●
TECHNICAL SPECS
2.40:1
3-perf Super 35mm
Panaflex Millennium XL
Panavision lenses
Arkapaw lines up a shot with Rayner assisting. Kodak Vision2 50D 5201,
250D 5205, 500T 5218
complete with diffusion and mercury- ends of the street. “Around the car, we
Digital Intermediate
vapor gel packs (1⁄2 CTO and White used LED light panels and Kino
Flame Green). 2.5K HMIs and a 10K tubes, and fill was provided by a [Kino Printed on
MoleBeam were positioned at both Flo] Blanket-Lite,” adds Arkapaw. Kodak Vision Premier 2393
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
Advanced Digital
Services’
Hollywood
facility includes a
Digital
Operations
Center, which
houses multiple
stations for
encoding and
quality-checking
library content
for studios and
independent
producers.
I ADS Advances a Different Side of Post

By Jon D. Witmer
ADS was founded in 1994 by Andy McIntyre, the company’s
chairman, president and CEO. For a number of years, the company
split its services between two facilities — one in Hollywood and one
In traversing the postproduction landscape, any project will in North Hollywood — but in 2002, ADS consolidated its operation.
pass through varied terrains, all of which are critical in delivering the Weyl notes, “We designed this facility with multiple work areas in
finished content to viewers and preserving the final project for future mind so that we can separate different types of jobs. One of our
generations. HD and SD duplication, SD standards conversion, philosophies is to provide the proper tools to accomplish the job in
up/down/cross conversion, electronic file encoding and delivery, DVD a timely and efficient manner while building quality and integrity
authoring, tape restoration — these are the types of offerings in into the product as we go. Throughout the facility, everything is inte-
which Advanced Digital Services specializes. “ADS provides a variety grated into a system that allows the operators to continuously moni-
of digital services, including digital file encoding and transcoding, as tor the quality of the workflow, from checking signal performance
well as multiple distribution platforms,” says Brad Weyl, the and integrity on scopes and monitors to critical listening on high-
company’s chief operating officer. “We believe our mission is to be a performance speakers and the like as they do their jobs.
mastering and sub-mastering facility and a distribution company for “We also offer 100-percent QC for HD and SD in both tape
motion-picture studios, independent producers and broadcasters.” and file formats,” Weyl continues. The facility’s ground floor houses
Weyl recently guided AC through the company’s 28,000- a dedicated tape QC area, with multiple stations set up for both HD
square-foot facility in Hollywood, highlighting its many services and and dual-SD (NTSC and PAL) work. Weyl details, “We support all of
underscoring the core tenets of ADS’ philosophy: quality, security the various tape formats for HD and SD. We view the material from
and reliability. “Though we have a huge facility and the ability to deal head to tail and do a computer-generated report on it. We live and
with a large volume of material, we’re small enough that the specific breathe by the spec books and spec sheets from the studios and
details of our customers’ orders never get lost,” says Weyl. “A large broadcasters to make sure that what’s sent to our customers meets
percentage of the material we process here — advertising, publicity broadcast, FCC and studio requirements.”
and short-format material — needs to be turned around in 24 hours The ground floor also houses ADS’ shipping and receiving
or less. We are detail-oriented, and we have operational staff in the area. Everything that is delivered is bar-coded and entered into the
building 24 hours a day, 7 days a week.” company’s Xytech-based tracking system, which is used to track

At the heart of ADS’ duplication, standards conversion and up/down/cross-conversion
services, the machine room is equipped to handle tape- and file-based SD (NTSC and PAL)
and HD content.
orders and manage the inventory. Through- stations where, Weyl explains, “we’re
out every step of the pipeline, security is of taking HD content from a studio library and
paramount concern. Weyl notes, “The encoding it to whatever format the
facility has undergone multiple MPAA site customer requires, such as a JPEG2000 file,
surveys, and some of the studios have 100-percent QC’ing it and sending it back
brought in their own security teams and out as a file for our customers to store in
done site surveys. We make sure our multiple locations so they have safety
customers feel comfortable and confident copies. We’re also doing a lot of library-type
that we’re taking good care of their work that’s pushed out to end users such as
assets.” Amazon, Netflix, Hulu and iTunes.”
A large media area and an online For file-based deliverables, he
edit room — capable of linear tape-based continues, “we can push the files off to our
and nonlinear file-based work — sit at the customers via a few different methods. One
heart of the ground floor. Weyl explains, “In is across SohoNet, a closed-loop fiber-optic
the media area, we capture material from network. We also have multiple 100-
HD or SD tape and create files for DVD megabit connections in and out of the
authoring, for posting to FTP sites, or for building, along with 270-megabit fiber-
proprietary file distribution via platforms like optic connectivity in and out of the build-
SmartJog. From file-based material, we ing, so we can do a real-time HD or SD play-
export out to videotape; an independent out or receive.”
production that doesn’t have the infrastruc- Another key aspect of ADS’ services
ture to export to tape can send a drive to is tape-based restoration work utilizing
us, and we can then export either a final Snell & Wilcox Archangel and the DRS Digi-
product or work files. We’re running multi- tal Restoration System. When working with
ple Final Cut Pro HD systems, multiple Digi- old 1" or 2" tape, Weyl explains, “we’ll
tal Rapids encoders, two Sonic Solutions’ determine whether it needs to be baked or
Scenarist DVD-authoring systems and a dehumidified, after which we can do a pass
variety of tape and computer equipment.” and bump it up to a digital-tape format.”
In broad strokes, the ground floor is Then, working from the digital tape, the SD
focused on short-format material requiring Archangel workflow “takes out film dirt,
fast turnaround, while the second story is film weave, grain, noise and video drop
set up to tackle more time-intensive outs in a real-time process,” Weyl details.
projects. For example, the Digital Opera- “We do a QC to identify any large things
tions Center houses multiple encode the Archangel didn’t remove, and then we
73
can go back in frame-by-frame using DRS
to remove those.
“After that, we take a pass through
our audio department to remove hiss, pops
and crackle. We’re set up in here for linear
tape-based work, as well as file-based work
utilizing Pro Tools.” Services handled by the
audio department also include layback of
foreign audio tracks for foreign distribution,
Dolby encoding and final audio conforming
for independent features.
In recent years, ADS has become
actively engaged in digital-cinema packag-
ing, utilizing Clipster to deliver content.
Additionally, the facility already offers some
3-D services for both tape- and file-based
workflows. The next step the company
foresees is the creation of a state-of-the-art
Web-based file-delivery platform, which will
enable customers to stream or download
(in various file formats) works in process and
finished content.
“We’re partners with our
customers,” says Weyl. “We instill in our
staff the question, ‘If this were your project,
how would you deal with it and make it
better?’”
ADS, 948 N. Cahuenga Blvd., Los
Angeles, Calif., 90038. For more informa-
tion, visit www.adshollywood.com.
Oasis Imagery Opens

Hollywood Facility
Oasis Imagery has opened the doors
of its on-set production and post facility.
The company delivers services to both
studio and independent communities,
Oasis Imagery photos by Michael Rueter, courtesy of Oasis Imagery.

supporting feature film, episodic television,
commercial and trailer projects.
“In building our facility, we thought
about tomorrow’s technology,” says Scot
Barbour, chief visionary officer of Oasis
Imagery. “For example, the recent resur-
gence of 3-D has provided a gamut of new
technologies from acquisition to delivery.
We have positioned ourselves to provide
services for these and other new develop-
ments on the horizon.”
Oasis Imagery specializes in techno-
logically advanced and cost-effective file-
based workflows. The company’s 27,000-
square-foot facility includes a 5.1 audio
mixing suite, an 1,800-square-foot sound-
Oasis Imagery’s recently opened facility includes (from top) a 5.1 audio-mixing suite, multiple
3-D-capable editorial and color-timing bays, and a 50-seat 2-D/3-D DI theater.
stage, and a THX-, Dolby- and DTS-certified
50-seat 2-D/3-D theater capable of RealD,

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color correction, creative and online
conform, scanning and recording, visual
effects, sound editorial and mixing, duplica-
tion, transcoding, and digital cinema pack-
Filmmaker Craig Ross aging.
Jr. (right) employed Oasis Imagery, 6500 W. Sunset
Visual Data Media
Services’ full-service,
Blvd., Los Angeles, Calif., 90028. For more
cost-effective information, visit www.oasisimagery.com.
stereoscopic workflow
for the independent
production Jane.
Visual Data Debuts
3-D Workflow
Visual Data Media Services in
Burbank, Calif., has unveiled a 3-D work-
flow for feature films and television that
features unique pipelines for promos, trail-
Dolby 3D and XpanD 3-D projection. Begin- “Most facilities have one or two formats for ers, mobile platforms and display projects.
ning with on-set dailies, Oasis Imagery’s 3-D 3-D viewing, but we chose to install all three The 3-D pipeline is the latest component of
workflows allow the Final Cut Pro or Avid of the most widely used 3-D technologies. Visual Data’s full spectrum of services,
editor to work in 2-D or 3-D at any time This means that a director can view his color which include editorial, color correction,
during the editorial process. Multiple 3-D grade in RealD one minute and switch to subtitling, encoding and digital-cinema
editorial bays also allow editors to work in Dolby 3D or XpanD the next.” packaging.
parallel and check any edit on both local Oasis Imagery’s on-set services allow “Increasingly, we are seeing our
monitors and in the 3-D screening theater. filmmakers greater creative control during clients include 3-D in their plans for every-
“We’re really excited about our production. Streamlined on-set workflows thing from theatrical promos and video
beautiful theater,” notes Adam Green, allow a cost-effective transition to the DI. games to home content and mobile deliv-
Oasis Imagery’s chief technology officer. Additional services include 4K/2K/HD DI, ery,” says Ruben Garcia, vice president of
76
technical services for Visual Data. “For Assimilate, Telairity Collaborate files either in real time with the post facility
major studios and independent filmmakers, for Remote 3-D Post or offline at their convenience.
3-D has become a viable creative, technical Assimilate and Telairity have For offline reviews, clients can select
and business choice, and we’ve set up an announced a remote 3-D post network, from the play list, review, and use the HTML
efficient and cost-effective workflow to which enables the immediate exchange of remote/review/comment capability in
service their needs.” 3-D files for real-time or off-line reviews Scratch 5.1 to update and tag comments to
By providing a full service offering, among clients, talent teams and post artists the content, and return those comments to
Visual Data is able to manage all of the vari- anywhere in the world. The transit of the post facility, where the notes are fed to
ables that 3-D technology entails and massive 3-D files via this remote network and updated in Scratch 5.1. This review
deliver content in any format a client results in significant time and budget process is fast and can be repeated as often
requires, from the initial project through savings while also allowing post teams to as necessary for a production.
3-D stereoscopic digital cinema files for work with clients regardless of geographi- “Via the Telairity encoder, post
theatrical delivery and soon 3-D Blu-ray. cal distance. houses will be streaming the highest quality
John Trautman, president of Visual Data, Post artists working in Assimilate 3-D imagery data to their clients for true
notes, “We understand that there are many Scratch v5.1 send two streams of data files borderless collaboration in a highly secure,
ways that content holders need to use their (one each for the left and right eye) to the broadcast-quality solution,” says Ben Silva,
material in today’s market. A 3-D promo 3ality 3Play Pro stereoscopic display proces- senior vice president, worldwide sales,
can be a 2-D promo in some circumstances, sor, which creates a single multiplex stream Telairity. Jeff Edson, CEO of Assimilate,
and a 2-D broadcast may need to be that is then sent to the Telairity H.264 adds, “The time savings and low cost of this
converted down the line. With the intro- encoder for compressing the imagery. From process will rapidly increase the availability
duction of our new pipeline, we feel we the encoder, an H.264 (MPEG 4) multiplex of 3-D content for theatrical releases and
have created the most effective and afford- stream carries the high-quality imagery over TV productions.”
able way of making great 3-D available to IP to a small set-top box at the client end. For additional information, visit
our clients.” The encoder bit rate can be adjusted at the www.assimilateinc.com and
For additional information, visit post end to accommodate the bandwidth www.telairity.com. ●
www.visualdatainc.com. at the client end; clients can then review the
77
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.
Martin Adds Mac 2000 The Mac 2000 Beam XB is constructed of rugged, modular
Conversion Kit components for easy maintenance. It has an auto-ranging switch
Martin Professional has made it mode for worldwide use.
possible to easily convert two wash lights For additional information, visit www.martin.com.
— the Martin Mac 2000 Wash XB and
Mac 2000 Wash — into a powerful beam Chauvet Launches Legend
fixture with an inexpensive conversion kit Chauvet has introduced the compact
that installs in minutes. Ideal for any event Legend 300E Spot and Legend 300E Beam
where both beam and wash effects are moving fixtures, which boast a bright output
required, the conversion kit gets the most that surpasses that of fixtures with higher
out of existing lighting gear, eliminating power ratings, allowing lighting designers to
the need to invest in a completely new cover a larger area with fewer fixtures.
fixture. The Legend 300E fixtures’ bright
The Mac 2000 Beam XB upgrade kit consists of a new front output is due to a carefully designed optical
lens module with micro-Fresnel lens and a set of four beam-effect path and a powerful Philips MRS Gold 300/2
gobos/apertures. The kit installs in less than 5 minutes; the compo- MiniFastFit lamp. The MiniFastFit socket
nents can be easily uninstalled and the fixture returned to a standard allows for quick and easy lamp changes.
Wash configuration at any time. Both fixtures come with CMY and CTO color-mixing systems,
The 1,500-watt Mac 2000 Beam XB delivers a fat, tight and which feature vector speed for super-smooth color changes. Addi-
amazingly bright, hard-edge beam, perfect for big beam effects and tionally, each fixture has a variable-speed color wheel with seven pure
long throws. Even at very narrow beam angles, output is outstanding colors and white, split/linear colors and rainbow color.
with very high intensity. The fixture is made possible by a combination An advanced control system allows for quiet, fast and precise
of efficient, high-efficacy optics. An electronic ballast offers hot-lamp (16-bit) head movements. Both the Spot and Beam fixtures feature a
re-strike and flicker-free light, and if users require the fixture to match pan range of 540 degrees and a tilt range of 270 degrees. Automatic
the power output of existing 1,200-watt fixtures, a reduced 1,200- pan-and-tilt correction and pan-and-tilt locks are standard features.
watt mode can also be employed, saving energy and increasing lamp The Legend 300E Spot features two variable-speed gobo
life. wheels. One is indexed and has seven rotating “slot-n-lock” glass
Despite a surprisingly compact size, the Mac 2000 Beam XB gobos in addition to open and gobo shake; the other gobo wheel
includes all the proven features of the Mac 2000 Wash XB, including has eight fixed gobos plus open. The fixture also ships with two extra
full color mixing, color wheel, smooth dimming, strobe, variable CTC gobos. Additionally, the Spot fixture features static frost, a three-facet
and zoom; the motorized zoom generates a wash effect instead of a rotating prism, an iris, a shutter with variable speed, focus control, a
hard-edge beam, and can be zoomed from tight to wide. A CMCY wide zoom range of 4 to 20 degrees and a 16-bit dimmer.
color-mixing system offers a broad spectrum of colors, and the unit The Legend 300E Beam projects a bright 3.67-degree beam.
also features an interchangeable, four-position (plus open) color It has seven rotating and shaking gobos plus white, a three-facet
wheel, allowing designers to customize shades and complement rotating prism, and variable frost. Both the Spot and Beam units
perfectly the color-mixing system. Additionally, a continuously variable feature high-efficiency electronic ballasts and power supplies with
color-correction system adds the flexibility to gradually and smoothly power-factor correction for reduced interference and better compli-
increase or decrease color temperature, which is useful for smoothing ance with local utilities.
out color temperature inconsistencies when working alongside older For additional information, visit www.chauvetlighting.com.
lamps.
The fixture allows for smooth fading via a combined Barco Shows New Moves
dimmer/shutter. Mechanical dimming is from 0 to 100 percent, and Barco has announced a broad spectrum of enhancements,
the shutter offers rapid strobe effects up to 10Hz with instant open upgrades and new products geared toward strengthening its digital
and blackout. In addition to mechanical dimming, an optional lighting and moving luminaire product lines. The company has
dimming wheel can replace the color wheel. Additionally, a gobo expanded the capabilities of the DL.3 digital light, the Axon media
wheel with four static beam-effect apertures (plus open) allows for server and the DML-1200 digital light and unveiled two new prod-
wider or tighter beam effects as well as multiple beams or cone looks. ucts, the SDI-DMX Mixer Pro and the 850-watt Intellaspot XT-1.

For the DL.3 digital light and the
Axon media server, Barco has advanced the
core capabilities with version 2.0 software,
providing additional media streams, new
features and additional creative effects.
Included are new digital shutters, improved
blending functionality, new innovative diag-
nostic tools, an increase in the number of
available graphic layers (from three to nine),
and an overall enhancement that enables
more effects to be used simultaneously.
Version 2.0 software also improves legacy
DL.2 fixtures with an additional media layer,
new effects and new system diagnostics.
Each DL.3 fixture now ships with an
improved color space and a significant
increase in brightness. Using a state-of-the-
art QuaDrive optical engine, the DL.3 now
produces higher luminosity with improved
color accuracy and clarity, providing a 20-
percent increase in color space. Exclusive to
the Axon media server, each unit now ships
with dual HD-SDI inputs as standard. For the
DML-1200 digital light, the unit’s latest soft-
ware upgrade expands the system’s func-
tionality with new configuration features
that include settings for high-altitude mode,
lamp modes, default imagery, shutdown
options and selectable aspect ratios (4:3,
16:9 or 5:4). Additionally, the software now
enables the projector toolset while DMX is
connected.
The SDI-DMX Mixer Pro is a hybrid
switcher that offers users the ability to
switch, mix and matrix four video inputs to
four video outputs directly from any DMX
lighting controller. Today’s controllers are
required to interface with an ever-increasing
number of sources and destinations, such as
DL.3s, DML-1200s, Axon media servers,
cameras, projectors and screens. To ease
and simplify the overall control task, the SDI-
DMX Mixer Pro places the power of video
switching and crossfades directly into the
lighting designer’s hands.
Finally, the Intellaspot XT-1 is an
advanced professional moving luminaire,
offering remarkable innovations in optics,
lamp configurations, high lumen output,
energy efficiency, zoom range and overall
feature set, all at a highly economical price
point.
“We are pleased to introduce such a
full range of new products and enhance-
ments,” says Chris Colpaert, vice president
of creative lighting for Barco. “In particular, show file running on the LCE is triggered via DBP Backpack from Dedolight
the XT-1 is destined to amaze the industry a real-time astronomical clock and an inte- Dedolight has expanded its portable
with its efficiency, high output and low price. grated Web server for remote control via a studio line of soft case lighting kits with the
Together, these advances demonstrate our Web browser. DBP Backpack, designed to easily, comfort-
commitment to the technology and our The LCE is designed to work without ably and safely transport classic Dedolight
keen desire to address our customers’ interruption, ensuring permanent installa- fixtures as well as the company’s 200 Series
requests.” tions run smoothly. Additional LCEs can also units.
For additional information, visit be configured to backup the master LCE in The DBP Backpack measures
www.barco.com. the event of a failure. 26"x17"x10.2" and, when empty, weighs
For additional information, visit 13.2 pounds. Top and side handles guaran-
E:cue Provides Lighting Control www.ecue.com and www.traxontechnolo
E:cue Lighting Control, part of the gies.com.
Osram company Traxon Technologies, has
introduced the Lighting Control Engine, a iPad Gets Luminair
high-performance lighting-control server Synthe FX has released the Luminair
that combines the interactivity of the for iPad, a desktop-class, multi-touch, DMX
company’s previous Media Engine 2 and the lighting-control app for Apple’s iPad. Lumi-
optimum performance of the Lighting nair uses the Art-Net protocol to transmit
Control Server. DMX data over Wi-Fi, giving users wireless
Designed to control large and control of color-mixable LED fixtures,
complex projects, the LCE is a high-perfor- dimmers, studio lighting, moving lights,
media servers and any other DMX-enabled
equipment.
Luminair for iPad includes such
features as editable quick-touch cues,
project-based color swatches, pop-up tee maximum portability in any situation,
contextual controls, external keyboard and an additional pouch on the side allows
support and a user-configurable UI. The app for transporting softboxes up to the size of
is also built for future expansion. Dedolight’s 5' Octodome. Inside, the stand
“Luminair for iPad is the result of compartment runs along the middle of the
mance server installed with the E:cue Light- over two and a half years of multi-touch Backpack, with compartments on either
ing Application Suite 5.2. This versatile development,” says Ryan Hisey, founder of side for light heads, ensuring the user’s load
central control unit orchestrates all devices Synthe FX. “The speed at which users can is balanced. Two horizontal belts further
and fixtures within a project and can output now interact with their lighting designs is stabilize the Backpack.
DMX/RDM, e:net, Art-Net, KiNET and other absolutely incredible, directly as a result of Like all other Dedolight portable
protocols; it can also integrate various multi-touch and Luminair’s innovative UI studio soft cases, the Backpack is made of
audio/video, external triggering and other design.” near-indestructible materials and stands up
desired devices and content. The LCE can be Luminair for iPad can be purchased to the rigors of daily work on any produc-
mounted in a 19" rack and controls up to and downloaded directly from the iTunes tion.
65,536 DMX channels. App Store. For more information, visit For additional information, visit
A built-in touch-screen monitor http://synthe-fx.com. www.dedolight.com.
housed on the front panel of the durable
aluminum casing provides user interaction Lightronics Illuminates Par4
with custom graphical user interface Lightronics has introduced the Par4
designs, including pictures, buttons and fixture, which features a durable, die-cast
faders with various colors, shapes and aluminum housing and aluminum reflector.
patterns. The screen can also be used for Rated at 800 watts maximum, the fixture
monitoring lighting installation parameters utilizes a 575- or 750-watt halogen bulb
and status of various devices in a lighting- with a bi-pin G9.5 base. The fixture comes
control system. equipped with four interchangeable lenses
Via RS232, DMX, MIDI, Ethernet (VNSP 15 degrees, NSP 19 degrees, MFL 21-
(UDP), SMPTE time code and digital dry 34 degrees and WFL 30-51 degrees) and a
contact inputs, the LCE can integrate various filter frame.
technologies and devices for triggering and The versatile Par4 produces as much
external control. Additionally, the lighting light as a 1,000-watt Par can with a reduc-

tion in electrical consumption of up to 40
percent. The interchangeable lens allows
users to stock one type of lamp, with the
four lenses available to meet the require-
ments of any mounting location.
The fixture is available in black, silver
or white, and is covered by a two-year
warranty from Lightronics. For more infor-
mation, visit www.lightronics.com.
Ikan Adds to LED Range

Ikan has expanded its LED lighting
range with the introduction of the iLED 155,
Multi-K, ID500 and ID400 LED fixtures.
Measuring 6"x3.25"x1.375" and
weighing only .85 pounds, the iLED 155 is
perfectly suited to on-camera operation. The
5,600°K fixture draws less than 10 watts of
power and operates on 12-24 volts. The
iLED 155 kit, which sells for $349, includes a
choice of DV battery plate (Sony, Panasonic
or Canon), an AC power supply, a shoe
mount, Full CTO Gel, 1⁄2 CTO Gel, Opal Gel,
1⁄4 Minus Green Gel and a soft carrying case.
The Multi-K on-camera LED

measures 4.9"x4.3"x1.6" and weighs .8
pounds. The fixture boasts 144 LED bulbs in
red, white and yellow for an adjustable color
temperature range from 2,800°K to
6,500°K. With an operating range of 12-18
volts, the fixture can run on six AA batteries,
a 12-volt DC input or a D-tap power cable. fixtures: Fire and Ice. Fire features a warm
The Multi-K kit sells for $499 and includes an wash of saturated reds, oranges and ambers
AC adapter, a camera shoe mount and a soft while Ice provides a palette of indigo, blue,
carrying case. cyan and green — and a touch of red. An
The portable, wireless, 5,600°K integral addition to the Selador Vivid lineup,
ID500 weighs 5.8 pounds and measures Fire and Ice offer brightness performance
13.8"x7.5"x2.7". The 30-watt fixture oper- equal to or exceeding that of conventional
ates from 12-14.4 volts and comes with an tungsten Par fixtures while saving dramati-
RF remote control, giving users control over cally on electricity.
feedback system ensures color temperature
remains constant when the light is dimmed,
as ambient conditions change or as the unit
ages.”
Drawing less than 200 watts of
power, the Kezia 200F is comparable in
output intensity with a 1K tungsten fixture
while generating far less heat than tradi-
tional lamps. Interchangeable optics provide
beam angles of 20, 35, 60 or 80 degrees.
According to Gekko, output intensity is
8,300 lux at 1 meter, 1,900 lux at 2 meters
and 900 lux at 3 meters.
The Kezia 200F joins the Kezia 50E,
the fixture’s power and the ability to regulate 50F and 200E. All four models are based on
each of the unit’s four light banks; the Gekko’s Kleer Color LED technology, which
control operates on three separate channels, provides a very broad-spectrum light with Tom Littrell, ETC’s fixtures product
allowing users to control three ID500s from precisely controllable color temperature. The manager, says, “These are truly the tools of a
one remote. The fixture (with power cord Kezia family is supported by a range of new stage-lighting design: super-high-inten-
and remote control) sells for $499. Ikan also reflector options, honeycomb louvers, barn- sity LED color washes bright enough to blend
offers an ID500 three-light kit for $1,699; door accessories and diffusion gratings. seamlessly with your conventional fixtures’
each kit includes three lights, three stands, For additional information, visit output, while slashing power consumption.
three power cords, one bag for the lights www.gekkotechnology.com. Ice, with its bright, rich hues, is up to 90
and one bag for the stands. percent more efficient than conventional Par
The four-bulb ID-400 measures ETC Introduces Hot, Cool LEDs washlights gelled blue.
8.5"x2.5"x5.5" and weighs 3.6 pounds. In Electronic Theatre Controls, Inc. has “Most productions regularly employ
addition to standard AC power, the fixture introduced two bold color-spectrum-specific deep colors in their rigs — keeping blues and
can be powered via a professional battery additions to its line of Selador LED lighting reds in use at all times,” Littrell continues.
plate. Selling for $499, the ID-400 comes
with an AC adapter, a light stand adapter
and an RF remote control offering three Boca Flasher Builds Brick Light output white LEDs per linear foot. The
channels and a range of more than 500'. Boca Flasher has introduced the SBL- weather- and abrasion-resistant unit sports
For additional information, visit WWW Brick Light, which provides homoge- an aluminum housing with a durable
www.ikancorp.com. nous, high-output white light and features powder coat finish and a 180-degree
CLD control technology to ensure smooth adjustable base.
Gekko Spotlights Kezia 200F linear response across the complete For additional information, visit
Gekko Technology has introduced dimming curve (0-100 percent). www.bocaflasher.com.
the Kezia 200F white-optimized spot lamp. The SBL-WWW is available in two
“The Kezia 200F is optimized for use build options — one for DMX512 control
in film production or studio broadcast,” says and one for use with standard dimmers —
David Amphlett, Gekko’s founder and both of which offer a choice of six color
managing director. “It allows precise adjust- temperatures: 2,700°K, 3,000°K, 3,500°K,
ment between 2,900° and 6,500° Kelvin, 4,100°K, 5,000°K and 6,500°K. Addition-
including presets for selection of 2,900, ally, the fixture is available in 1', 2' and 4'
3,200, 4,300, 5,600 and 6,500°K via DMX configurations, with 48 1.2-watt, high-
or an optional rear panel. A built-in color-

“Fire and Ice provide those coveted color be purchased as a retrofit kit for Robert
spectrums at brightness levels that are usable Juliat’s 600 Series Tungsten, 400 Series
all over the stage.” Quincy and Figaro luminaires.
Changes in LED technology have also For additional information, visit
prompted ETC to upgrade its Vivid fixture to www.robertjuliatamerica.com.
the Vivid-R, which provides a 50-percent
increase in light output while consuming 10
percent less power than the original Vivid.
Vivid-R combines high-power Luxeon Rebel
LEDs and high-efficiency lenses for its color
production and lighting punch. Because of
the low heat output of all Selador Series LED
fixtures, Vivid-R’s colors can be blazing with-
out overheating the talent.
For additional information, visit
www.etcconnect.com.
K5600 Accessorizes
Joker-Bug with Big-Eye
K5600 has released the Big-Eye
accessory for its Joker-Bug lighting system.
The Big-Eye turns any Joker-Bug into a giant,
focusable Fresnel beauty light.
The 24" Big-Eye converts the Joker-
Bug to a large, hard-light source with natu-
rally defined shadows. The Big-Eye package
weighs 22 pounds (with a Joker-Bug 800), is
foldable for easy transport, and is quick and
easy to set up.
Robert Juliat Profiles Aledin For additional information, visit
Robert Juliat has introduced the www.k5600.com.
Aledin LED Profile Framing Spotlight, which
delivers excellent output, framing and projec- Elation Professional Filters,
tion from an extremely low-powered, 85- Shapes LEDs
watt LED light source. Elation Professional has introduced
Based on Robert Juliat’s 600SX Series the LSF Series of Light Shaping Filters, which
profile, the Aledin benefits from the famed instantly give any LED fixture made by any
double condenser optical system and retains manufacturer a wider, smoother beam
all the features of a standard Robert Juliat angle. The Light Shaping Filters can attach to
profile. Aledin’s low power consumption is of a gel frame or the inside of an LED’s casing
value where power availability is limited, in minutes to add 10, 20 or 30 degrees to
while a choice of color temperature (3,500°K the fixture’s beam, or a linear beam shape
or 5,800°K) makes it a perfect solution for a effect ideal for stage or wall grazing.
variety of environments. Additionally, the “Customers have been asking for
fixture boasts no UV or IR emissions. wider diffused LED lighting fixtures without
Other features of the Aledin include losing a lot of output, and our new Light
built-in framing shutters and compatibility Shaping Filters provide an easy, cost-effective
with metal, glass or plastic gobo materials. way to attain this,” says Eric Loader, director
The fixture includes a built-in, electronic, of sales for Elation Professional. “Using one
flicker-free, dimmable PSU with direct DMX of these filters, you can widen the beam of a
input — no external dimmer is required — narrow-beam-angle LED Par like our Opti Tri
and the color temperature remains consistent 30 and convert it into a fixture suitable for a
throughout the dimming range. The Aledin is stage or wall wash.”
available in three zoom ranges and can also The LSF Series has been designed to
83
equipment. The KF32 displays a smooth output and 57-percent
beam gradient that responds especially well transparency make the F-
to the latest generation of HD cameras. The 37L an ideal solution for
lamps work side by side with traditional massive wide-canvas back-
tungsten sources without corrective filtra- drops, delivering sharp, crisp
tion, while drawing 1⁄10 the power per video images.
lumen compared with incandescent fixtures. Each F-37L panel
For additional information, visit weighs 5.11 pounds and
www.kinoflo.com. measures 11.8" wide,
47.2" high and 0.95" deep.
preserve as much power as possible while Arri Ballasts Enable It is available in either a
dispersing light; the filters provide up to 92 High-Speed Shooting white or black finish and is
percent light transmission. “Our LSF filters Arri’s next generation of 1,000Hz CE and ETL listed. The maximum power draw
are unique in that they give you a wider High-Speed Ballasts promise to set a new per panel is less than 100 watts, with an input
beam angle without sacrificing much bar for flicker-free illumination in digital frequency of 60Hz, a refresh rate greater than
output, and they also smooth out the beam high-speed photography. The new ballasts 240Hz, and an operating temperature range
of any LED fixture that does not have a are available in four different wattage of -4° to 122°F.
perfect field of light,” says Loader. configurations: EB 125/200-watt Digital For additional information, visit
Light Shaping Filters are available in High Speed, EB 400/575-watt Digital High www.pixled.com.
four different beam angles: 10 degrees Speed, EB 575/1,200-watt Digital High
(LSF10-24), 20 degrees (LSF20-22), 30 Speed and EB 2,500/4,000-watt Digital High Shadowstone Introduces
degrees (LSF30-24) and 60 degrees by 1 Speed. LED Bands
degree (LSF601-24). With the first three Arri’s electronic ballasts traditionally Shadowstone has introduced a range
versions, the beam angle is widened both offer a flicker-free mode to supply the lamp of customizable LED Band Lighting Kits. Ideally
vertically and horizontally, while the 60x1 with a 75Hz square wave current; this mode suited to cramped quarters where power and
version broadens the angle 60 degrees hori- works perfectly for high-speed photography heat are major concerns, the LED Band Light-
zontally and only 1 degree vertically, making with analog film cameras shooting up to ing Kits are perfect for close-up lighting or as
it ideal for long, flat wall washes. 150 fps. The new High-Speed Ballasts a supplement to other light sources in a studio
Each LSF filter sells for $139.99 and supply the lamps with a 1,000Hz square or on location.
comes in a large sheet that the user can cut wave current to achieve high-quality flicker- The basic Band Lighting Kit consists of
to the desired size; each sheet measures free images even at frame rates exceeding 16' bands of Warm White (3,000°K), Cool
24"x24", except the 20-degree filter, which 1,000 fps. White (6,000°K) and RGB LEDs. The Kit also
measures 24"x22". For additional information, visit includes a DMX Pocket Console, a DMX Inter-
For additional information, visit www.arri.com. face Module, a local dimming power supply,
www.elationlighting.com. non-dimming power supplies and a variety of
Pixled Flexes LED Mesh accessories such as T and L junctions and
Kino Flo Expands True Match Pixled has introduced the F-37L, a other connectors that allow for customization
Lamp Range 37mm flexible mesh LED video display of band configuration.
Kino Flo has introduced tungsten- designed for both backdrop applications The bands can be cut on site to lengths
balanced, high-lumen, high-color-rendering and creative LED applications. as small as 2" for the white-light LEDs and 4"
True Match 96-watt KF32 Twin Lamps and The F-37L’s ultra-slim, flexible mesh for the RGB band. Multiple adhesives, Velcro
True Match 55-watt KF32 Quad Lamps. The construction offers the perfect combination and other mounting options are also included
KF32 Twin Lamps fit Kino Flo’s VistaBeam of design flexibility and speed of deploy- to further facilitate individual production
and Vista Single fixtures, while the KF32 ment. The F-37L can be formed into any needs. The Band Lighting Kits can be adapted
Quad Lamps are designed for the company’s shape or molded over any object, or it can for waterproof applications, and the kits are
BarFly line. be deployed as a flat LED video screen. With also available in specific kits of only Warm
Like other its ultra-lightweight construction, IP63 rating White, Cool White or RGB arrangements.
lamps in the True and quick roll-out design, the F-37L can be For additional information, visit
Match family, the used in almost any venue, indoors or out, www.shadowstone.com.
KF32’s color (CRI 95) and installed quickly.
is formulated by The F-37L uses Nichia SMD LEDs at a OmniSistem Lights Up Nite
Kino Flo to match pixel pitch of 37.5mm, both vertically and Available in either RGBA or white-only
the spectral sensitiv- horizontally, with viewing angles greater configurations, OmniSistem’s Omni Nite LED
ity curves of HD and than 120 degrees both vertically and hori- Curtain is made of ultra-thin lightweight fabric
digital film imaging zontally. The combination of pixel pitch, light and features wide Velcro straps for secure

microphone mount that allows the fixture highly stable.
to be fitted onto virtually any standard shot- Rotolight has also introduced the
gun microphone. 48 special high-output Rotolight Interview Kit, comprising two
LEDs provide the equivalent of a 50-watt RL48-A Ringlights, a belt pouch, two Roto-
tungsten hot bulb, delivering a widely light Stands and an Add-On Color FX Filter
dispersed light with soft, diffused shadows, Kit; the Filter Kit contains a selection of Lee
resulting in evenly balanced illumination filters. The complete kit weighs less than a
with a long throw. Power is provided by traditional v-lock battery and fits inside the
three AA lithium, alkaline or rechargeable belt pouch, making it incredibly easy to
installation on truss or goalpost rigs. Both the batteries, which typically provide more than transport.
RGBA and white-only configurations are avail- four hours of extended non-stop operation, For additional information, visit
able in two sizes: 10'x20' and 20'x20'. The over which the color temperature remains www.rotolight.com. ●
Omni Nite is controllable via 4 channels of
DMX512.
The Omni Nite comes equipped with a
canvas travel case and a dedicated controller
with eight auto programs. The travel case
features adjustable straps and holds both the
curtain and the controller.
For additional information, visit
www.omnisistem.com.
Rotolight Upgrades Ringlight

Rotolight has introduced the upgraded
RL48-A LED Ringlight and Rotolight Stand.
Featuring soft, natural and “shadow-less”
continuous light output as well as an expanded
operating range of studio-accurate color
temperatures, the RL48-A is ideally suited to
HDSLR cinematography. The fixture can mount
below a mattebox, over a shotgun microphone
or accessory shoe, on a spare tripod or via an
articulated arm.
The revised Rotolight RL48-A is 35-
percent brighter than the previous model and
uses the latest generation pro-grade ultra-
bright LEDs. The fixture boasts a wider color
palette, delivering perfectly calibrated 6,900°,
5,600°, 4,100° and 3,200°K. It can be dimmed
with extreme accuracy using neutral density
filters over a range of 1.5 aperture stops. A
newly designed water-resistant switch keeps
adverse weather out and prevents accidental
operation of the unit, allowing greater opera-
tional flexibility. The fixture also features
completely redesigned opto-electronics and
proprietary circuit boards for enhanced perfor-
mance, along with a new internal cover plate
that incorporates a redesigned battery
compartment to further protect the electronics.
Weighing only 5 ounces, the RL48-A
features a matte black, water resistant,
rubberized outer layer, which effectively elimi-
nates reflectivity and acoustic resonance. The
ring design incorporates a universal 38mm
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Clubhouse News
Deschanel Takes Manhattan Taylor, Anderson Converse
Caleb Deschanel, ASC recently With Vlahos
completed his first foray into theater Peter Anderson, ASC recently
directing with the one-act, one-person joined Paul Vlahos, color scientist and
play Burning in China. Written by Gary image compositor Price Pethel, and Deluxe
Moore, a friend of Deschanel’s since they Laboratories’ David Gray in conversation
were students at Johns Hopkins University, with special-effects pioneer Petro Vlahos
the play was staged at the Fourth Street for a panel discussion presented by the
Theater as part of the New York Interna- Academy of Motion Picture Arts and
tional Fringe Festival. The performance Sciences’ Science and Technology Council.
was bookended by video footage The panel was moderated by Bill Taylor,
Deschanel shot in 1989 while visiting ASC, an Academy governor. Since the
Moore in Shanghai. 1940s, Petro Vlahos has served the motion-
picture industry as a design engineer, field
Members Meet, Greet Student engineer and systems engineer. His wide-
Academy Award Winners ranging patents have covered camera-
The 2010 Student Academy Award crane motor controls, screen-brightness
winners recently spent time with ASC meters, safe squib systems, projection
members Jonathan Erland, Victor J. screens and more. He also created the
Kemper, Michael Goi, Karl Walter analog and digital hardware and software
Lindenlaub, Isidore Mankofsky, Daryn versions of Ultimatte, the first high-quality
Top: Seated (left to right) are ASC members Jonathan Okada and Woody Omens. Thirteen electronic compositing system.
Erland, Karl Walter Lindenlaub, Daryn Okada, Woody students from 11 colleges and universities
Omens, Michael Goi, Victor J. Kemper and Isidore were honored: Varathit Uthaisri won the Kodak Archives “OnFilm”
Mankofsky. Standing (left to right) are Andres Salaff,
Emily Henricks, Rebekah Meredith, Jeremy Casper, gold medal in the Alternative category for Campaign
Ruth Fertig, Maria Royo, Varathit Uthaisri, Jun Oshimi, Surface: Film from Below, Emily Henricks Kodak has launched an online
Bobby Webster, Luke Matheny, Rasto Trizma, Stuart won the Alternative silver medal for Multi- archive of its long-running “OnFilm”
Bury, Lubomir Kocka, Kevin Gordon, Jennifer Bors,
Isaiah Powers, Tanel Toom and Kim Spurlock. Bottom ply, Jennifer Bors won the gold medal in campaign. Begun in 1988, the advertise-
(left to right): Peter Anderson, ASC; Price Pethel; Petro the Animation category for Departure of ments have highlighted the art of film-
Vlahos; Paul Vlahos; David Gray; and Bill Taylor, ASC. Love, Isaiah Powers and Jeremy Casper making through philosophical and inspira-
shared the Animation silver medal for tional remarks from cinematographers and
Kucinsky Becomes Associate Dried Up, Andres Salaff won the Anima- other filmmakers; more than 250 filmmak-
Chet Kucinsky, the chief operating tion bronze medal for Lifeline, Ruth Fertig ers have so far been featured. The archive
officer for Technicolor North America Film, won the Documentary gold medal for currently goes back to 2005, and Kodak
has joined the ASC as an associate member. Yizkor (Remembrance), Maria Royo won plans to eventually include everyone who
He began his management career with RCA the Documentary silver medal for Redis- participated in the campaign.
before joining Pacific Dunlop Automotive covering Pape, Kevin Gordon and Rebekah “The objective of the campaign
Batteries. In 1990, he joined Technicolor’s Meredith shared the Documentary bronze was to interview members across the
parent company, Thomson, where he held medal for Dreams Awake (Suena entire film community,” says ASC associ-
a number of positions as the company tran- Despierto), Luke Matheny won the gold ate member Judy Doherty, Kodak’s
sitioned from consumer electronics to medal in the Narrative category for God of marketing director for the Americas.
Photos by Matt Petit, courtesy of AMPAS.
media and network services. Kucinsky Love, Kim Spurlock won the Narrative “Since the inception of ‘OnFilm,’ that has
became Technicolor North America’s COO silver medal for Down in Number 5, been an ongoing goal: to continue that
in 2005, and he now oversees the activities Lubomir Kocka won the Narrative bronze legacy and to build on this heritage for
of Technicolor’s North Hollywood and medal for The Lunch Box, and Tanel Toom many years to come.”
Mirabel, Quebec, facilities, including front- won the Honorary Foreign Film award for To view the “OnFilm” archive, visit
end services, 35mm and 70mm release The Confession. www.kodak.com/go/onfilm. ●
printing, and preservation and restoration.

Close-up Jim Denault, ASC
When you were a child, what film made the strongest impression How did you get your first break in the business?
on you? My friend Jane hired me to shoot and edit video packages for the
Seeing Mary Poppins (1964) at Radio City Music Hall with my mom made Rochester City School District cable-access channel.
an impression, probably as much because of the
place as the film itself. We had a big family and What has been your most satisfy-
didn’t get out to movie theaters often, so most of ing moment on a project?
my movie watching was Saturday afternoon TV, In Nadja, there’s a shot where the
The Million Dollar Movie. I saw everything from PT- vampire, Nadja (Elina Lowensohn), is
109 (1963) to Attack of the Mushroom People leading her brother, who’s on a
(a.k.a. Matango, 1963). Actually, I am still freaked stretcher, through a doorway. Just
out by Attack of the Mushroom People. before she goes through the door, she
looks back and has a line. I noticed
Which cinematographers, past or present, do where Elina did this and had the idea
you most admire? to set a flag so that as she moved
It’s a long list, and it changes often based on what forward and looked back, her face
I’ve been watching. All of the usual suspects are disappeared into shadow. It was a
there. At this moment, I’m thinking about the chilling effect.
unforced naturalism in the work of Robby Müller,
NSC, BVK, especially in his films with Wim Wenders and Jim Jarmusch. It Have you made any memorable blunders?
made a big impression on me when I was in college and had a lot to do I’ve made too many to remember, most involving me saying some-
with inspiring me to move from still photography to motion pictures. thing I shouldn’t have said rather than anything technical.
What sparked your interest in photography? What is the best professional advice you’ve ever received?
I’ve been fascinated by photography ever since I can remember. My dad From Tim Beiber: ‘Show up early, don’t sit down, and act like you
bought me a camera when I was 7, mostly to keep me from messing give a shit.’ It’s easy to remember and has far-reaching implications.
around with his Kodak Retina Reflex.
What recent books, films or artworks have inspired you?
Where did you train and/or study? I thought Let the Right One In was amazing in terms of creating a
I went to the Rochester Institute of Technology to study Photo Illustration. frightening atmosphere without obtrusive special effects. I really
At the time, I thought I would be a magazine photographer. I admired the appreciated the simple, controlled directing and photography.
work of Duane Michaels and liked the way he was able to slip between
advertising and his own personal work. I hoped to do something like that Do you have any favorite genres, or genres you would like to
when I graduated. Instead, I came across the New York indie films of John try?
Sayles, Jim Jarmusch and Spike Lee — RIT had a good film society, and I think Attack of the Mushroom People is due for a remake.
Rochester has a great art house, The Little Theater. RIT didn’t offer a major
in film at that time, but I was able to take a few courses in basic film- If you weren’t a cinematographer, what might you be doing
making and film history. instead?
I would probably be some sort of engineer, automotive or aeronau-
Who were your early teachers or mentors? tical, or I might own a bike shop. I am fascinated by machines.
Martin Rennalls, Erik Timmerman and Malcolm Spaull were film instruc-
tors at RIT. When I was first starting out as an electrician, Denis Maloney, Which ASC cinematographers recommended you for
ASC and his gaffer, Tom Trovato, taught me a lot about how to make a membership?
feature film. Director Michael Almereyda taught me a lot about the Sol Negrin, Owen Roizman and Nancy Schreiber.
process behind creating compelling frames and expressive camera move-
ment. On the set, I feel like I am mentored every day by the crew and How has ASC membership impacted your life and career?
Photo by Cate Wilson.
directors I work with; there’s always something new to learn, and most of It’s a little early to tell because I’ve been pretty busy since I got in last
the people I work with have seen and done more than I have. August. When I meet another ASC member for the first time at an
event, it gives us another thing in common, which helps break the
What are some of your key artistic influences? ice. I’m still waiting to learn the secret handshake, though ….
The photography in Life magazine, and Realist and Romantic paintings. ●

ONFILM
RO D N E Y TAY LO R , A S C
“I really believe in the power of cinema. The age of

silent movies is behind us, but we still experience
stories by watching images projected on a
screen. My goal is to help make films I believe
in by using cameras, lighting and lenses to tell
stories in ways that go beyond spoken words.
We made That Evening Sun using the 35 mm
anamorphic format with a photochemical finish.
The director, Scott Teems, wanted an organic
feeling that I believe you can only achieve using
film. Audiences can feel the difference, which
evokes emotional responses that pulls them
deeper into stories. I believe the cinema can
play an important role in our world if we give
talented filmmakers the freedom to tell stories.”
Rodney Taylor, ASC launched his career as

a cameraman for ESPN. He transitioned
to shooting IMAX® documentary and
narrative films, including Alaska: Spirit
of the Wild, Wildfire: Feel the Heat, The
Legend of Loch Lomond and Wired to Win.
In 2003, he received a Kodak Vision Award
for his accomplishments in large format
cinematography. His narrative film credits
include Swimmers, Save Me, Home of the Giants
and That Evening Sun starring Hal Holbrook.
For an extended interview with Rodney Taylor, ASC,

visit www.kodak.com/go/onfilm
To order Kodak motion picture film,

call (800) 621-film.
© Eastman Kodak Company, 2010.
Photography: © 2010 Douglas Kirkland

American Cinematographer Magazine October 2010

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OCTOBER 2010

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