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I N T E R N A T I O N A L

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BEST PICTURE

BEST CINEMATOGRAPHY ROGER DEAKINS, ASC, BSC

SERIOUSLY.

a serious man
####.
ONE OF THE COEN BROTHERS BEST AND MOST PERSONAL FILMS.
BEAUTIFULLY PHOTOGRAPHED BY ROGER DEAKINS. ITS A MOVIE MITZVAH.
-LOU LUMENICK, NEW YORK POST

For up-to-the-minute screening information go to: Awards.FilmInFocus.com

2009 Focus Features. All Rights Reserved.

is the first-ever stop-motion animated

feature to be conceived and shot entirely in Stereoscopic 3-D.

A VISUAL MARVEL.

For Your Consideration In All Categories Including

Gorgeous to watch in all its dazzling

stop-motion animation splendor.
Coralines exquisite images have
an undeniable whimsical appeal,
and director Henry Selicks
imagination is indisputable.

Claudia Puig, USAToday

BEST

ANIMATED
FEATURE
Directed By Henry Selick

BEST CINEMATOGRAPHY
Pete Kozachik, ASC

For up-to-the-minute screening information go to: Awards.FilmInFocus.com

Photo of Randall Einhorn by Joel Lipton

exclusively for Schneider Optics

On The Office, our shots must

appear real documentary style as
if we are capturing the moment. That
real feel grounds the subject matter for
our audience. But real implies an
imperfect look like blown-out windows.
And, when youre working in HD,
blow out can look horrible. Thats
where Schneider HD Classic Softs are
my go-to tool. They turn a blow out
into a nice bloom.
And because HD is so unforgiving,
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I use filters to help with things I
cant control so I choose the matchless
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Schneider filters make the
good things great and
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Director and Cinematographer Randall Einhorn

is a two-time Emmy nominee for his work on
the series Survivor. He has shot and/or directed
over 113 episodes of The Office and directed

episodes of series including Modern Family,

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It Starts with the Glass tm

The International Journal of Film & Digital Production Techniques

On Our Cover: Carla Albanese (Penlope Cruz) gets into the swing of things during an elaborate dance
number in the musical Nine, shot by Dion Beebe, ASC, ACS. (Photo by David James, SMPSP, courtesy of
The Weinstein Co.)

Features

36
48
60
70

Departments

8
10
12
18
22
82
86
90
98
100
101
108
110
112

Remixing Fellini
Dion Beebe, ASC trips the light fantastic with the
musical extravaganza Nine

A Tapestry of Textures
Rodrigo Prieto, ASC, AMC combines three formats
on Broken Embraces

48

Healing a Family
Fred Elmes, ASC captures sibling rivalry in Brothers

An Exceptionally Sly Fox

Tristan Oliver illuminates Fantastic Mr. Fox

Editors Note
Presidents Desk
Short Takes: We Are ODST
Tomorrows Technology
Production Slate: Red Cliff

60

The Loss of a Teardrop Diamond

Post Focus: Virtual Sets for V
Filmmakers Forum: David Stump, ASC

New Products & Services

International Marketplace
Classified Ads/Ad Index
2009 AC Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Paul Ryan

70

V i s i t u s o n l i n e a t w w w. t h e a s c . c o m

D e c e m b e r

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The International Journal of Film & Digital Production Techniques Since 1920

Visit us online at

www.theasc.com

PUBLISHER Martha Winterhalter

EDITORIAL
EXECUTIVE EDITOR Stephen Pizzello
SENIOR EDITOR Rachael K. Bosley
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Stephanie Argy, Benjamin B, Douglas Bankston, Robert S. Birchard,
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Gorgeous. An Achievement. Shot in the Most Pristine Black and White

with a Camera Whose Stillness Casts an Ominous Air of Judgment, the Movie
Looks a Series of Gelatin-Tin Photographs from the Start of the 19th Century.
- Wesley Morris, THE BOSTON GLOBE

Photographed in Brilliant, Silvery Monochrome, The White Ribbon is the

Work of Someone Whose Sense of Craft and Sense of Filmmaking Self are Bone-Deep.
- Michael Phillips, CHICAGO TRIBUNE

WINNER

CINEMATOGRAPHER OF THE YEAR

Hamilton Behind the Camera Award

THE WHITE RIBBON

BEST CINEMATOGRAPHY
Christian Berger, AAC

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American Society of Cinematographers

The ASC is not a labor union or a guild, but
an educational, cultural and professional
organization. Membership is by invitation
to those who are actively engaged as
directors of photography and have
demonstrated outstanding ability. ASC
membership has become one of the highest
honors that can be bestowed upon a
professional cinematographer a mark
of prestige and excellence.

OFFICERS - 2009/2010
Michael Goi
President

Richard Crudo
Vice President

Owen Roizman
Vice President

Victor J. Kemper
Vice President

Matthew Leonetti
Treasurer

Rodney Taylor
Secretary

John C. Flinn III

Sergeant At Arms

MEMBERS OF THE BOARD

Curtis Clark
Richard Crudo
George Spiro Dibie
Richard Edlund
John C. Flinn III
John Hora
Victor J. Kemper
Matthew Leonetti
Stephen Lighthill
Isidore Mankofsky
Daryn Okada
Owen Roizman
Nancy Schreiber
Haskell Wexler
Vilmos Zsigmond

ALTERNATES
Fred Elmes
Steven Fierberg
Ron Garcia
Michael D. OShea
Michael Negrin
MUSEUM CURATOR

Steve Gainer
6

BEST CINEMATOGRAPHY

TOM STERN, ASC, AFC

F O R YO U R C O N S I D E R AT I O N

Editors Note
he musical is back, ladies and gentlemen! So
declared an effusive Hugh Jackman during his
duties as host at this years Academy Awards,
which he kicked off by singing and dancing his way
through an exuberant production number. While
Jackmans prophecy has yet to unleash a stampede
of hoofers, Nine will undoubtedly excite the base.
A lavish extravaganza based on a Broadway show
that salutes Fellinis 8 , the film reteamed Dion
Beebe, ASC, ACS with director Rob Marshall the
gents behind Chicago, which won the 2002 Oscar for
Best Picture. Most of the movies big numbers were
shot on the massive H Stage at Englands Shepperton Studios, where Beebe and his
collaborators strove to create a variety of diverse settings and looks. As Beebe tells
AC contributing writer Noah Kadner (Remixing Fellini, page 36), We found ways
to change the architecture of the space by adding specific set pieces for specific
songs, building the choreography around certain parts of the set and creating multiple lighting changes. The many resulting moods help to convey the existential
angst of Guido Contini (Daniel Day-Lewis), a movie director who has lost touch with
his muse.
Filmmaking is also the main theme of Broken Embraces, which paired
Rodrigo Prieto, ASC, AMC with Pedro Almodvar. In Patricia Thomsons detailed
account of the production, Prieto explains his strategy for mixing three formats:
35mm anamorphic, standard 35mm and Super 16mm. I had ideas about using
lighting and film stocks to establish certain visual styles for each character, his or
her environment and the different time periods, Prieto recalls. There are so many
layers in this movie, and I found that interesting to play with. I presented Pedro with
various ideas, mainly as a starting point of discussion so I could hear his vision.
Fred Elmes, ASC lent his support to director Jim Sheridan on Brothers, a
drama in which sibling rivalry threatens to tear a marriage apart. In David Heurings
article (Healing a Family, page 60), Elmes notes that Sheridans reputation as an
actors director is well founded: Jims focus is on the evolution of the characters,
and all of our discussions and decisions grew out of that. He works very instinctually. Whenever an issue comes up on set, whether it concerns story or design or
character, he spontaneously finds the creative solution; he has so fully internalized
the lives of the characters, he is able to do that.
Cinematographer Tristan Oliver and director Wes Anderson faced a very
different set of parameters on Fantastic Mr. Fox, a stop-motion comedy that found
them coaxing memorable performances from handcrafted puppets. In a comprehensive discussion with London correspondent Mark Hope-Jones (An Exceptionally Sly Fox, page 70), Oliver notes that Andersons unique sensibilities and preferences impacted every frame: Wes didnt want any live-action elements in the
film at all. For example, instead of shooting a live-action smoke element against
black and then dropping it in, we made cotton-wool smoke by hand. It became quite
an interesting challenge. The result of all this meticulous labor is a droll, fleetfooted caper that fascinates the eye.

Stephen Pizzello
Executive Editor

Photo by Douglas Kirkland.

FOR YOUR CONSIDERATION

Please visit
www.twcawards.com
for more information

Presidents Desk
n this industry, we are constantly asked about the best (and worst) projects weve worked
on. Usually, the best is the most artistically satisfying. The worst tends to center around
a bad relationship with someone on a production.
I have a best project. It wasnt an especially great piece of cinematography; it wasnt
a groundbreaking script; it didnt have hugely famous actors or an exotic location. But it
remains the best experience in my career as a cinematographer.
In the summer of 2000, I got a call from a producer with whom I had done a few
feature films in the past. She had a $750,000 project that would be shot in Vega, Texas, a
town of 800 people. It was called What Matters Most, and it appeared to be a fairly conventional Romeo-and-Juliet-type love story about a rich boy and a poor girl who fall in love
despite their parents objections. Salaries for everyone involved would be rather low, and
the closest accommodations to the filming location had only one telephone outside by
the motel office.
I had already agreed to shoot another film before I got this call, so it was easy to say no. The producer pleaded with me to
meet with Jane Cusumano, the writer/director, and at least talk about the project. I met with Jane later that same day. She
explained that the film was a labor of love for her entire family; her daughter, Polly, would be the star, and her husband, Jim, would
be the executive producer. Jim had liquidated a couple of his companies to get the money, and they would start shooting in three
weeks. As the line producer had been hired just two days earlier, this seemed like quite a short amount of prep for a film shooting on a remote location.
Jane went on to explain that she had advanced breast cancer. She was undergoing chemotherapy, but her condition was
worsening, and it was estimated that she only had several more months to live. What Matters Most was the legacy of love and
hope that she wanted to leave her family. She needed a cinematographer who would be comfortable taking the reins and guiding the production on days when she was disoriented from treatment, a cinematographer who would be tolerant of the fact that
she would not be able to understand even simple things on some days. And she needed someone to protect her vision of the film.
Jane said the producer had told her I was the right person, and she had no intention of disputing that opinion, nor did she have
the time to start looking at a hundred reels.
That night, I did what I never do: I backed out of a job I had committed to. The next morning, I got on a plane to Texas.
What Matters Most was the biggest thing to hit Vega, Texas, since the opening of Route 66. The entire town turned out to
watch us shoot. For the Cusumano family, production was a mix of professionalism and a visit to Disneyland. One day, Jane asked
me if Jim could have a ride on the crane because he had always wanted to see what it was like. We gave him a seat and boomed
him up over a massive field of cows, and he snapped pictures like a happy kid.
Jane and I had a wonderful collaboration. It wasnt always easy. At times I could sense her frustration when she didnt
comprehend what I was saying, even though I would repeat it slowly and simply. But she always focused on my every word, and
she had great, creative ideas for the film. On her chemotherapy days, the assistant director and I would schedule fewer scenes
so that Jane would miss as little of the experience as possible.
I gave my color-timing notes for the answer print just before I left to shoot a movie in Morocco. A week later, I got a call
from Jim saying that Jane had passed away three days after seeing the final answer print. He said she laughed at the humorous
scenes and gazed in wonder at the sweeping shots of the Texas landscape at sunrise. And she was so proud of her daughters
performance. When the film was over, she told Jim, Tell Michael thank you.
A happy holiday season to you and yours, and may the coming year be filled with many of your own best experiences.

Michael Goi, ASC

President

10 December 2009

F O R

Y O U R

C O N S I D E R A T I O N

Philippe Rousselot, AFC, ASC

Short Takes
An Ambitious Trailer for Halo

The trailer for

Halo: We Are
ODST follows a
soldier through
his years with
the United
Nations Space
Commands
Orbital Drop
Shock Trooper
Squad,
examining what
compels him to
battle the alien
race known as
the Covenant.

12 December 2009

ar is hell, but for a soldier its a way

of life. In the Halo: We Are ODST
trailer, director Rupert Sanders and
cinematographer Greig Fraser attempt to
imbue a video game about war with
some of the hell of realistic battle. War
films are a favorite subject for Sanders,
who also directed 2008s Halo: Believe
ad. Believe was about fighting alongside a hero, he says. With ODST I
wanted to examine what compels a
soldier to fight.

We Are ODST tells the story of a

soldier named Tarkov. As a young boy, he
attends a military funeral, which inspires
him to sign up for the United Nations
Space Commands elite Orbital Drop
Shock Trooper Squad. After succeeding
in boot camp, he endures years of
combat against an alien race known as
the Covenant and grows into a battlehardened veteran.
Sanders drew inspiration for
ODST from news footage captured by

journalists and filmmakers embedded in

various areas of Iraq. Not wishing to
appear jingoistic, the filmmakers chose
to shoot in a non-specific setting (actually near Budapest, Hungary), placing
European actors in the most otherworldly locales they could find. Rupert
and I worked hard to find interesting
locations, says Fraser. Halo is set in a
foreign, futuristic world, so we tried to
find oddly futuristic locations. We even
considered filming at Chernobyl! He
found his inspiration for ODST in Russian cinema, specifically the World War II
drama Come and See and the sci-fi
thriller Stalker. He even used a set of
lenses made in St. Petersburg, Optica
Elite primes.
The production shot for three
days, using minimal crew and equipment. The first scene they filmed was
the military funeral, set in an intergalactic cathedral of concrete and steel; in
actuality, it was the base of a cooling
tower for a decommissioned nuclearpower plant in Hungary, dressed with
gravestones (repainted road markers
rigged with Bic lighters) and an open
grave. That place was real its a
concrete funnel that goes 600 feet
straight into the heavens, says Fraser.
Part of the joy of shooting there was
that we had everything we needed, but
if wed pointed the camera in the wrong
direction, we would have given away
the game.
Frasers primary concern was
maintaining balanced compositions, and
he strove to keep extraneous information out of the 1.78:1 frame while retaining a sense of place. There was almost
no lighting to be done. We talked about
bringing in construction cranes with
hundreds of kilowatts of light on them,
but the biggest film crew in the world

Photos by Rob Moggach. Photos and frame grabs courtesy of Asylum Effects and MJZ.

by Iain Stasukevich

for your consideration

INGLOURIOUS BASTERDS, shot by

Robert Richardson, stands as an
expertly crafted and gorgeous
piece of moviemaking.
Rene Rodriguez, MIAMI HERALD

son, ASC
Robert Richard

Please visit www.twcawards.com for more information

Artwork 2009 The Weinstein Company. All Rights Reserved.

Above:
Cinematographer
Greig Fraser
captures the
soldiers
encounter with a
Covenant Brute
with an Arri 235
mounted on an
EasyRig. The Stan
Winston Co.
designed and
built the Brutes
and the ODST
armor. Below: The
ground-combat
sequence was
shot at a coalmine
in a single day
with natural light
and mostly
practical effects.

14 December 2009

couldnt physically light that place, he

says. He ended up using available light,
accentuating it with a silver-and-whitecheckered 12'x12' bounce.
The scene ends with a close-up
of young Tarkovs face, then match-cuts
to an older Tarkov at a recruiting facility
an industrial compound outside
Budapest as a barber shaves his
head. Tarkov is put through a punishing
training regimen, which includes a mock
combat drill in which the soldiers crawl
under barbed wire with a bellowing
instructor firing live rounds over their
heads. This scene was shot at night,
and Fraser looked for a night-vision
effect to heighten its realism. Because

he was shooting on 35mm, he brought

in some strong green LED units and
cobbled together a circular rig that could
be mounted to the camera to shoot light
straight at the actors. The pale, monochromatic image mimics the nightvision look and even picks up some
glints in the eyes. A lot of what we
were doing was improvised, notes
Sanders. Its like cooking with only
what you have in the fridge.
Tarkovs training ends when he is
dropped into a scorched landscape and
armed for battle. His orbital drop pod
hits the ground in the middle of the fray
where ODST soldiers are already
advancing across the alien terrain,

dodging explosions and engaging

monstrous enemy combatants. Fraser
and Sanders had a single day to stage
the ambitious scenario, so they
employed guerilla tactics: shooting
handheld with no filtration and using
natural light and mostly practical
effects. For the alien world, the production dug out pits in a coalmine location
and filled them with water and orange
dye. The explosions and fires are all
real, as are the alien Brutes (designed by
the Stan Winston Co., which also built
the ODST armor). We tried to keep the
camera moving convincingly with
Tarkov, either behind him or alongside in
a tracking vehicle, Fraser explains.
When film crews went out with American soldiers, they stayed behind the
soldiers the whole way. They were
never in front of them.
The battle was covered with two
Arri 235s, with Fraser following the
action from behind with an EasyRig
while Hungarian Martin Szecsanov
operated the second camera from a
tracking vehicle. I wanted to make the
camera one of them, says Fraser, referring to the embedded photographers. If
Id hung back and used longer lenses,
the viewer would feel more distant from
the subject, so I used wider lenses close
up, anywhere from a 40mm to a 25mm
prime. The tracking camera used something a bit longer. (He shot the trailer on
three Kodak stocks, Vision2 50D 5201
and 250D 5205 and Vision3 500T 5219.)
The battles climax arrives when
Tarkov is stopped in his tracks by a hulking Covenant Brute. It knocks the soldier
down and looms over him, ready to kill.
To sell the terror of the moment,
Sanders had the Brute slathered with
mud and K-Y jelly and had Fraser shoot
it tight and aggressively.
Tarkovs life is spared when an
alien ship swoops out of the sky and
fires a missile that fells the giant beast.
CGI was created by Asylum Effects
under the direction of visual-effects
supervisor Rob Moggach. We knew
from the beginning that we were going
to do CG ships, laser blasts, muzzle
flashes, explosion enhancement and
environment
extensions,
says

RAW AND EXUBERANT.

THE FILM IS A VISUAL AND
EMOTIONAL TOUR DE FORCE
CREATED BY THE DIRECTOR
and HIS GIFTED TEAM,
INCLUDING HANDHELD-CAMERA MASTER

LANCE ACORD.
Peter Travers

Rolling Stone

FOR YOUR CONSIDERATION

BEST CINEMATOGRAPHY

Right: ODST
begins with a
military funeral
in an
intergalactic
cathedral. The
location was
actually the base
of a cooling
tower for a
decommissioned
nuclear-power
plant. Below:
The trailer ends
with a soldiers
funeral on an
anonymous
planet. Fraser
scattered flame
bars across the
set, leaving
some to play in
the frame.

16 December 2009

Moggach. Were really just making the

image complete.
From the moment he received the
2K plates, Moggach had less than three
weeks to finish work on ODST. In that
time, he had a few conversations with
Sanders, but because time was so
limited, he and his team found themselves working pretty much on their
own. This one was just brute-force
visual effects, he says. We handtracked every shot frame by frame,
which doesnt happen a lot. We usually
have elaborate workflows, but in this
case we just rolled up our sleeves and
got it done.
Tarkovs story comes full circle
when, years later, he becomes a worldweary soldier in charge of his own ODST
squad. He and his young soldiers stand
in the shell of a bombed-out building, at
the foot of a fallen comrades grave. The
filmmakers used blocking and framing
that were similar to those in the first
scene to visually link the scenes. The
lighting and setting are totally different,
but its the same strong visual image,
says Fraser. Its the most complex lighting in the whole film. He scattered
flame bars across the set, leaving one or
two in the frame. For a slight edge light
in the wide shot, he used a couple of 5K
Fresnels with Full Grid diffusion and two
layers of CTO. Close up, he used Dedolights for eyelights and 1K Fresnels with
two layers of CTO into foamcore bounce
for fill.
The trailer was graded at MPC in
Santa Monica, Calif., under the supervision of colorist Mark Gethin. Mark did a
great job, notes Fraser. The story
spans a long period of time, so each
setup needed to look distinct.
ODST proves that a big-budget
look can be achieved inexpensively and
with an emotionally driven narrative. I
like grand cinema, but I like it to be
immediate and immersive at the same
time, says Sanders. Its not about
doing things on a grand scale; its about
telling a big, emotional, action-packed
story in two-and-a-half minutes.
I

A stunningly odd world of gorgeous landscapes, bizarre creatures, and no shortage

of plain old strangeness- its so gorgeous to look at it almost damaged my eyes.
-Scott Weinberg, CINEMATICAL

BEST CINEMATOGRAPHY
Nicola Pecorini

The Imaginarium
of Dr. Parnassus
a Terry Gilliam film

Tomorrows Technology
ASC Technology Committee Looks Ahead to 2010
by Stephanie Argy
or the ASC Technology Committee,
the year 2009 was dominated by the
Camera-Assessment Series, an
exhaustive test of seven digital motionpicture cameras that compared each of
them to 35mm film reference to explore
their performance characteristics. The
CAS required the combined expertise of
many ASC Technology Committee
subcommittees, as well as cooperation
with several outside organizations, most
notably the Producers Guild of America
and Revelations Entertainment, which
funded the tests (AC June and Sept.
09).
The CAS also demonstrated the
extent to which the Technology Committees focus has evolved over the seven
years of its existence. Committee Chairman Curtis Clark, ASC notes that the
mission statement he drafted for the
committee in 2002 made no reference to
digital cameras. They werent on the
horizon as a serious contender to
replace motion-picture film, he recalls.
In many ways, the ASC Technology
Committee has been a barometer of the
sea change thats taken place in the
industry since then. When the committee was formed, he continues, the digital-intermediate process was new
enough that only 15-20 percent of
feature films were using it. Five years
later, that ratio had inverted, says
Clark. I dont think anybody thought the
transition would be that rapid. If you add
how quickly digital cameras are being
adopted, particularly for television
production, you can begin to sense the
intensity with which this is evolving.
In late September, the Technology Committee met to review its agenda
for the coming year, activities that will
be based in part on the lessons learned

18 December 2009

from the CAS. One major goal, according

to Clark, is to better integrate the work
of the various subcommittees. Its easy
to say that, but there needs to be a
process to facilitate it, he says. The
Camera, Workflow and Metadata
subcommittees all worked together to
design and oversee the CAS, and
members of other subcommittees,
including Advanced Imaging and Digital

The ASC
Technology
Committee has
been a
barometer of
the sea change
thats taken
place in the
industry.
Intermediate, stepped in at critical
moments to contribute guidance and
assistance.
Clark is also eager for the Technology Committee to cultivate affiliations with other organizations. In addition to collaborating with the Producers
Guild on the CAS, the committee collaborated with outside groups on several
other projects this year. One such effort
was the Joint Technology Subcommittee

on Previsualization, which comprised

members of the ASC, the Art Directors
Guild and the Visual Effects Society.
Chaired by David Morin, a consultant
with Autodesk, and Ron Frankel, the
president and co-founder of previs
company Proof, the subcommittee set a
goal of 12 meetings to study the growing craft of previs and begin to develop
some definitions and standards for it.
This work culminated in a panel presentation at the Produced By conference in
June, as well as an article in the June
issue of AC.
Even more important, though,
was the subcommittees recent
announcement of the formation of a
new organization, the Previsualization
Society, which will be devoted exclusively to the advancement of previs
(www.previssociety.com). Additionally,
the subcommittee will begin a new
cycle of meetings soon; this time, they
will focus on the evolving technology of
virtual production, currently epitomized
by James Camerons forthcoming
feature Avatar.
Another important Technology
Committee alliance is with the Science
and Technology Council of the Academy
of Motion Picture Arts and Sciences,
particularly in regard to the Academys
next-generation archiving and mastering format, the Image Interchange
Format. The IIFs Academy Color Encoding Specification and Academy Density
Exchange, with their greater precision
and extended dynamic range and color
gamut, are designed to replace 10-bit
DPX as the new digital source master.
At a recent Technology Committee
meeting, committee member Ray
Feeney, who is also the co-chairman of
the Academys Sci-Tech Council,


 


  

   



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described the latest developments: I

think weve crossed a threshold, and
the effort is gathering speed. It feels
like the nature of where we are has
shifted from figuring it out to executing
it, to supporting a next-generation
ecosystem. The response from manufacturers has been extremely encouraging.
The Technology Committees
Advanced Imaging Subcommittee was
also actively involved with the Academy, mainly in support of the Academys
Digital Motion Picture Camera Assessment project, which is being conducted
on a stage at the Pickford Center for
Motion Picture Study. There, subcommittee members have been assisting
with efforts to objectively and technically characterize cameras and display
devices. As part of the ongoing study of
materials generated by the CAS, the
Advanced Imaging Subcommittee will
be working with the Academy Sci-Tech
Council to process two cameras data
using an IIF/ACES-based post workflow.
The Technology Committees DI
Subcommittee continued its work on
the ASC CDL, publishing v1.2, which
added a Saturation function to the
previously defined Slope, Offset and
Power functions. The ASC CDL also
turned out to be important during post
on the CAS project, when the Power
function was used to bring the DPX files
closer to Cineon print density without
relying upon any proprietary, facilitybased secret sauce conversions. Over
the coming year, the DI Subcommittee
hopes to help coordinate the use of the
ASC CDL within the Academys IIF
project.
The Metadata Subcommittee
also collaborated with the Academy
Sci-Tech Council, with the two groups
continuing their joint effort to devise a
common look-up table format so that
LUTs can be more easily stored and
exchanged. The Metadata Subcommittee also participated in the European
Digital Cinema Forum in Oslo in May.
The
Digital
Preservation
Subcommittee reported some positive
movement, with the industry possibly
beginning to agree on the use of YCM
20

separation masters to preserve theatrically released features. The question of

what to do with all the footage not used
in the final cut remains open, however.
With CRT monitors quickly
disappearing, there is still no clear
replacement, according to the Digital
Display Subcommittee. The choice
between plasma or LCD is still an open
question, and the subcommittee will
continue to investigate options, including the LED monitors that appear to be
on the horizon. The subcommittee also
supported the CAS project, helping to
define the DI pipeline and the deliverables, specifically DCP and film prints.
Another upcoming issue for the Digital
Display Subcommittee is 3-D monitoring, which will create challenges in
post and mastering, and which also
overlaps the territory of the 3-D
Subcommittee.
According to the 3-D Subcommittees investigation into stereoscopic
delivery for TV, there is still no industry
consensus about how to deliver, so various manufacturers are developing their
own solutions and readying them for
presentation to and evaluation by the
cinematography community.
In the coming year, some key
issues that the Technology Committee
plans to address will include raw vs.
HD signal processing; increasing bit
depth from 10-bit to 12-bit, 14-bit or
16-bit; management of image data in a
consistent, non-proprietary way; on-set
look management; improved workflows
in both 2K and 4K; enhancements of
the ASC CDL; further development of
metadata that can convey image and
data characteristics from camera to
post to visual effects to editorial; the
transition from 2K to 4K digital projection, and the exploration of the virtual
camera/production space.
Now that the ASC Clubhouse
renovations are close to complete, the
Technology Committee can look
forward to returning to a regular meeting schedule. Information about meetings and events can be found on the
ASC Web site: www.theasc.com. I

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Production Slate

Above: Gen.
Zhao Yun (Hu
Jun) charges
into battle
against Cao
Caos forces in
Red Cliff,
directed by John
Woo and
photographed by
Lu Yue and
Zhang Li. Below:
Liu Bei and Sun
Quans troops
gather at Red
Cliff before
facing Cao Caos
army.

22 December 2009

A Clash of Titans
by Jon D. Witmer
In the year 208, bolstered by a
string of military successes, Gen. Cao
Cao of Chinas Han Dynasty led his
troops against the warlords Liu Bei and
Sun Quan. It was a bold play to unify
China under one tyrannical flag, but in an

explosive battle on both land and water

near Sun Quans camp at Red Cliff, the
two warlords defeated Cao and held
onto their lands.
This historical account was first
popularized throughout China with the
13th-century publication of Luo
Guanzhongs novel Romance of the
Three Kingdoms. I grew up with this

story, says director John Woo, speaking with AC from Shanghai. I wanted
to make it into a film about 25 years
ago, after I made A Better Tomorrow,
but its a very challenging project. It has
such a big scale, such great war scenes,
and at the time we couldnt get much
support financially or technically. I put it
aside, but I kept in mind that when the
time came, I would have to make it.
The time finally did come in
2007. With support from the Chinese
government, Woo secured approximately $80 million, the biggest budget
of any Asian-financed film to date. For
Asian audiences, he crafted a two-part,
five-hour picture; the first part opened in
July 2008 and broke the national boxoffice record previously held by Titanic.
For international distribution, Woo
trimmed the running time down to 2
hours: I wanted the Asian audience to
feel this is the story they knew, but I
also wanted this movie to have international appeal, and I wanted Western
audiences, who werent already familiar with these characters, to be able to
enjoy it.
To help realize the epic, Woo
teamed with cinematographer Lu Yue,
whose credits include Zhang Yimous To
Live and Shanghai Triad (AC June 96),
the latter of which brought Lu an Academy Award nomination. For health
reasons, Lu had to leave Red Cliff in the
midst of its 203-day shooting schedule
(which also included 117 days of
second-unit photography). Zhang Li,
whose cinematography credits include
Red Cherry, A World Without Thieves
and The Banquet, took Lus place. Lu
recently discussed his work on Red Cliff
with AC via e-mail. (Zhang was unavailable for this story.)
American Cinematographer :
Yue, this was your first time work-

Red Cliff photos courtesy of Magnet Releasing.

Epic Action and Period Romance

Stefan Sonnenfeld

. Film
back to film
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testament to

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Cao Cao (Zhang

Fengyi) surveys
his camp at
Crow Forest,
just across the
Yangtze River
from Red Cliff.
The camp was
designed by
production
designer Tim Yip
and constructed
in Yi Xian in
Hebei Province.

24 December 2009

ing with John as his cinematographer. How did the collaboration

come about?
Lu Yue: I first met John in the
summer of 1991 in Paris, when he shot
his gangster film Once a Thief. I was
living in the city as an art student, and I
worked for him as a translator in the
lighting crew. In 2006, producers Hu
Xiaofeng and Lora Yan Chen recommended me to John for Red Cliff. Later,
producer Terrence Chang saw some
rushes of my work on Assembly,
directed by Feng Xiaogang, and he then
reintroduced me to John.
John Woo: Ive loved Lu Yues
work. The way he lit To Live is so realistic and dramatic, and I wanted to make
Red Cliff realistic because it is also a

character-driven movie.
I also need a cinematographer
who really cares about the actors face
and about the performance. Lu Yue
really cares, and he can make an actor
even more of a character I think he
uses magic! Hes artistic, and he is a
gentleman very calm, very nice. He
never loses his temper. I really like to
work with intelligent gentlemen.
Were there specific visual
references you turned to for inspiration on Red Cliff?
Lu: During preproduction, I
watched relevant historical films and
war films, such as Apocalypse Now,
The Longest Day and Das Boot. I also
watched John Woos works from both
Hong Kong and the U.S., like Face/Off

and Windtalkers [AC June 02], in order

to adapt myself to his visual style.
Woo: There are three movies I
showed to the cinematographers and
production designer [Tim Yip]: Lawrence
of Arabia, Spartacus and The Seven
Samurai. Ive always dreamed of
making a movie like Lawrence of Arabia
and creating that kind of CinemaScope
feel. Theres a huge fight scene on the
ground in Red Cliff where [the warlords
forces employ a defensive technique
called] the turtle formation; that scene
was inspired by Spartacus. Im not very
good at any language, so to communicate with my crew, I think its best to
show movies!
The sequence with the turtle
formation the Battle of San Jiang
Kou begins with Sun Shangxiang [Zhao Wei] leading a group of
riders on horseback, who kick up a
massive dust cloud to confuse Cao
Cao [Zhang Fengyi] and his
soldiers. How much of the dust
thats seen onscreen did you actually have to contend with at the
location?
Lu: San Jiang Kou was shot at a
reservoir in Yi Xian County and at a military tank-training base. The battle is
supposed to happen in one day, but
shooting it took six months even
with three units! About 70 percent of
the dust storm was added in post, but
dirt and dust are inevitable in kung-fu
films, so Chinese filmmakers are quite

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Top: In
preparation for
war, Zhuge
Liang (Takeshi
Kaneshiro)
tricks Cao Caos
archers into
sharing their
arrows with Sun
Quans army.
Middle: Xiao
Qiao (Chiling
Lin), wife of Sun
Quans viceroy,
Zhou Yu, travels
to Crow Forest
to stall Cao Cao
from launching
his attack.
Bottom: Cao
Caos naval
stockade sets
sail against the
forces at Red
Cliff.

26 December 2009

used to dealing with it. We have a lot of

plastic zipper bags and trash bags [to
protect the equipment], and Ill put an
[optical flat] on the camera lens,
although otherwise I dislike using filtration.
Did the dust affect the lighting enough to require any additional fixtures be used for the day
exterior?
Lu: Rather than bring in additional lighting, we spent more time in
the digital intermediate. I was lucky to
have experienced colorists at Park Road,
and I want to thank [colorists] David
Hollingsworth and Clare Burlinson and
[head of digital intermediate] Adam
Scott. They did a great job and showed
a lot of patience; I had to work on
almost every shot to maintain visual
continuity.
In the films first battle
sequence, Changban Village is
burned to the ground. Did you
supplement the practical fire with
any fixtures?
Lu: In order to save money on
CGI, we almost burnt the village down
to ashes, and I really didnt need to
supplement the flames with any lighting
fixtures. Then, with the DI, it was not
that difficult to maintain lighting continuity. For kung-fu films, you have to rely
on bouncing and flagging the natural
light for day exteriors because action
directors change the camera angles all
the time.
How long did you have to
shoot the Changban sequence?
Lu: Because the actors had
different schedules, it was hard to get
them all together to shoot the large
scenes. The Changban sequence took
four months to shoot, and the battle at
Red Cliff took six months. We went from
having green leaves to snow.
The battle at Red Cliff begins
at night. What fixtures did you and
gaffer Ji Jian Min use to create the
moonlight source?
Lu: For night scenes, I often use
Par 64-by-24s, and for the Red Cliff
battle, we set up 16 of those on a
nearby hill.
When you had to leave the

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Woo (center in
both photos)
leads cast and
crew through
the films first
battle
sequence,
which results in
Liu Beis army
retreating from
Xin Ye City.

production, were you able to

discuss your approach with Zhang
Li?
Lu: Zhang Li was a schoolmate of
mine at the Beijing Film Academy, and
he is also a good friend; we have been
sharing and appreciating each others
works for three decades. As soon as he
entered CCTVs studio in Zhou Zhou
County [where several sets were
constructed], he automatically knew the
framing, the camera movement and the
lighting fixtures to use.
Woo: I hadnt worked with Li
before, but Id seen his movies. He is a
great cinematographer and also a great
director. He is slightly different than Lu
Yue; Zhang Li wants everything to look
rich, and he likes to brighten things he
likes, even if its something small in the

corner. Lu Yue likes painting, and Zhang

Li likes movement he likes the big
crane and the big tracking shots. But
when Zhang Li took over, he combined
his style with the work Lu Yue had done.
He didnt want Red Cliff to feel like two
different movies. I told him what I told
Lu Yue: I wanted the film to look realistic and to be about the characters. Other
Chinese historical films seem heavy,
and I didnt want to make Red Cliff that
way. I wanted to make it more of a
personal movie, about humanity, and
send an anti-war message. I intended to
make it a very encouraging film because
the story is about friendship, courage
and wisdom. I felt we were all making
the same movie.
The camera is incredibly
kinetic throughout Red Cliff, as it is

in much of your work. How do you

work with the cinematographer to
decide on the appropriate movement for a particular shot?
Woo: First of all, I let my cinematographer know I love musicals, and I
like to shoot films, even action
sequences, to look like a musical. Thats
why I like dolly and crane shots: to give
the movie the musical feel. But I also
respect the cinematographer; if he feels
he wants to use the crane or the dolly,
thats what well use.
There are also a few
moments in this film where you
punctuate the drama by zooming in
to a close-up of a character. Do you
feel there is a different meaning
associated with zooming as
opposed to pushing in on a dolly?
Lu: I advised John Woo not to
use the zoom any more, but that was his
beloved method!
Woo: We tried to use the zoom
lens emotionally, to make a visual
impact. Sometimes, too, we used the
zoom lens to feel like a dolly shot,
depending on the location and whether
we could lay track. In action scenes, I
always like tight shots; I like to try
making it in Kurosawas style, and we
would use the zoom lens to get the telephoto feel. Its a very useful lens. When
Im making a film, I dont much follow
the rules; I just want it to be what I feel.
For example, the dissolve is usually used
for time change, but I like to use the
dissolve for emotional reasons; to me, it
feels so elegant, so romantic, and it
works to make the musical feel. When
Im editing a scene or thinking of a scene
or shooting a scene, I envision the music,
and if I turn a shot into slow motion or
use a dissolve or a freeze frame, its all
based on my feeling. I will use whatever
technique feels musical or lyrical.
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28 December 2009

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A Tennessee Williams
Original
by Iain Stasukevich
Tennessee Williams The Loss of
a Teardrop Diamond takes place in the
waning years of the Roaring Twenties
and tells the story of Fisher Willow
(Bryce Dallas Howard), a young Southerner struggling to free herself from
Memphis high society and the corrupt
legacy of her father. After being pressured by her Aunt Cornelia (AnnMargret) to attend a season of debutante parties, Fisher chooses Jimmy
Dobyne (Chris Evans), a handsome, saltof-the earth man working on her fathers
plantation, to be her escort. Their differences are more than just financial, but
they are drawn to each other.
As a Southerner and lifelong fan
of Williams work, director Jodie

30 December 2009

Markell felt a kinship with the script,

which was originally written for Elia
Kazan to direct. (The project was never
produced.) I wanted to wrestle
Williams back from Masterpiece
Theatre, she says. He was always
edgy and on the fringe, but these days
people dont think of him in that way. In
the script, she continues, you can feel
Williams exploring how to tell a story in
a way he couldnt in plays. I feel like he
was enthralled by the idea of letting his
characters go out into the world as
opposed to being stuck in one setting.
Like Markell, cinematographer
Giles Nuttgens, BSC wanted to give the
material as much room to breathe as
possible, which is why he suggested
filming in the anamorphic format.
When shooting in Scope, the edges
are just as important as the middle of
the frame, says Nuttgens. I make full

use of both edges. If the characters are

always in the center, the audience can
get lulled into a false sense of security,
but if theyre working the whole frame,
it energizes the scene and forces the
audience to follow the action. Markell
adds, We really liked the idea that two
characters could share the frame and
interact for long periods of time without
[us] cutting away.
Production designers Richard
Hoover and David Stein worked on the
film, with Hoover, who had designed
theatrical productions of Williams The
Glass Menagerie and Not About
Nightingales, the first on the job. Locations were scouted in Louisiana, where
Baton Rouge and Donaldsonville eventually filled in for Memphis, Tenn. The
story needed a luxurious, hot, swampy
Southern feel, and Memphis today is
too modern, explains Stein. Many of
the scouted locations were old enough
to be period correct, and in most cases,
the New Orleans-based crew was able
to move right in without making too
many changes. Our resources were
limited, but we tried to give the movie a
very strong sense of place, says
Hoover. It was all about what we could
find and what we could add to it.
To create a look that wouldnt
appear too modern, Nuttgens chose
Panavisions E-Series lenses and used
Tiffen White Pro-Mist filters to soften
contrast. A hyper-contrasty look
belongs to today, and modern audiences

The Loss of a Teardrop Diamond photos and frame grabs courtesy of Paladin.

Right: Fisher
Willow (Bryce
Dallas Howard)
struggles to
escape high
society and her
family legacy in
The Loss of a
Teardrop
Diamond, shot
by Giles
Nuttgens, BSC.
Below: The
filmmakers
chose locations
in Baton
Rouge and
Donaldsonville
in Louisiana to
stand in for
1920s Memphis,
Tenn.

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Top: The
filmmakers
often blocked
action so it
would play on
both edges of
the anamorphic
frame, as seen
in this frame
grab of AnnMargret. If the
characters are
always in the
center, the
audience can
get lulled into a
false sense of
security, but if
theyre working
the whole
frame, it
energizes the
scene and
forces the
audience to
follow the
action, says
Nuttgens.
Middle: In
keeping with
the period feel
for the
debutante
parties,
Nuttgens kept
his sources
warm. Bottom:
Nuttgens
employed a
Tiffen White
Pro-Mist filter
to soften the
contrast for this
encounter
between Jimmy
Dobyne (Chris
Evans) and
Willow.

32 December 2009

are getting used to really sharp images,

he notes. I didnt want either of those
things. I wanted to maintain the full latitude of the film stock we were using.
When filming began, the filmmakers
werent planning on finishing with a
digital intermediate, so Nuttgens carefully controlled filtration, lighting ratios
and printing levels to create the images
he and Markell had in mind. (After prin-

cipal photography wrapped, production

decided to do a DI; colorist John
Dowdell at New Yorks Goldcrest Post
worked on the digital grade.)
Special consideration had to be
paid to what the light would look like at
a debutante ball in 1928. Film lights and
practicals were kept warm. Many of the
locations were historic sites, which
meant that the production couldnt

mount fixtures to the walls or hang them

from the ceilings. Lighting from the floor
indoors posed some challenges when it
came to blocking the actors and the
camera. I try to limit my imprint on the
set, says Nuttgens, who does his own
operating. I feel an actor should come
into a set that feels completely real, and
if theyre surrounded by technology, that
works against them. Often the camera
had to do 180-degree pans, and it was
difficult to get the ambience that would
allow the actors to work completely free
of distractions.
Nuttgens relied heavily on practicals and used as few lamps and flags as
possible. For day interiors on the plantation where Fisher and her aunt live, he
keyed from windows, using 18K HMIs
through two 12'x12' layers of Full Grid.
He found that this sufficiently diffused
the light but still gave him a proper
exposure. (All interiors were shot on
Kodak Vision3 500T 5219.) Day exteriors, filmed on Kodak Vision2 100T 5212,

PDW

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an unprecedented level of creative control in
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C I N E A LT A

Above: Willow
climbs the steps
to a Halloween
party, the last
ball of the
season. Below:
Nuttgens
(holding
viewfinder) and
director Jodie
Markell prepare
for the party.

were lit the same way. Night exteriors

were lit with tungsten Maxi-Brutes
through Full Grid. Whatever we did had
to work within the restrictions of the real
period locations, says Nuttgens. We
had 28 days to shoot the entire film, and
we werent always able to prelight,
which put an enormous amount of pressure on the crew.
Whereas Fishers life is idyllic,
Jimmy lives with his alcoholic father in a
ramshackle cabin, and his mother lives
in a local mental asylum. Nuttgens gave
the asylum a darker, colder look than the
films other settings. A mental asylum
is a terrible place, and it was probably
worse in the 1920s, he muses. We lit
the location with HMIs shooting through
windows, with no fill, and I underexposed by two-thirds of a stop on the key
side. We used very clear, hard light to
cast shadows across the wall.

After weeks of dragging Jimmy

to parties in an effort to win his affection, Fisher convinces him to take her to
one more, a Halloween party. They
bicker on the way there, and Fisher
leaps from the car as they arrive, losing
one of her aunts diamond earrings in the
process. She blames Jimmy in front of
everyone and disappears in a huff to the
second floor. There, she turns to her
friends bedridden Aunt Addie (Ellen
Burstyn) for comfort. For this scene,
which comprises about eight pages of
dialogue, Markell and Nuttgens devised
a slightly stylized approach. As Fisher
sits at the side of the bed, she falls into
a reverie, and as she wonders aloud, the
lights in the room (4K softboxes and 2K
Chinese lanterns) dim until only Fisher is
visible, with a single shaft of light hitting
her face. Its a very long scene, and I
wanted to give it a different feel, like a

portal opening into another world, says

Markell. Adds Nuttgens, There needed
to be some kind of visual shift, a theatrical one, during her long monologue, and
a lighting cue was the only way we
could do it. He considered using a
follow-spot for the effect, but opted
instead for a snooted 2K Fresnel through
250 diffusion.
The Halloween party scene
marked the only time the filmmakers
were able to obtain permission to prerig the location. Key grip Richard Ball
rigged the main hall with beams, and
gaffer Paul Olinde hung 4K softboxes
that could be used interchangeably as
key lights, fill and backlights. More softboxes and 2K Chinese lanterns were
rigged in the parlor. We used about 12
softboxes overall, says Nuttgens.
With 5219, that kept us at about T4 the
whole time.
Reluctant to return to the party
after her outburst, Fisher helps herself to
some opium from Addies medicine cabinet. She goes downstairs to find that
everything has changed. To suggest her
altered state of mind, Nuttgens crew
covered the softboxes with Fire Red gels
and the floor-level Chinese lanterns with
CTS. She is supposed to be glowing
her perception of the world has
changed, says the cinematographer.
Her spatial awareness changes greatly,
and we had to convey that without
effects.
Despite the projects challenges,
I think everyone involved with it was
enticed by the great Southern poet,
Nuttgens concludes. When youre
working from a script written by
Tennessee Williams, you approach it
with a certain amount of reverence.
TECHNICAL SPECS
2.40:1
Anamorphic 35mm
Panaflex Platinum
Panavision E-Series lenses
Kodak Vision3 500T 5219,
Vision2 100T 5212
Digital Intermediate
Printed on Kodak Vision 2383
I

34 December 2009

Remixing

Fellini
The lavish musical
Nine, photographed
by Dion Beebe, ASC,
ACS, pays homage
to Fellinis landmark
film 812.
by Noah Kadner
Unit photography by
David James, SMPSP

ased on the Tony Awardwinning musical that opened

on Broadway in 1982, the new
film Nine marks the latest
collaboration between director Rob Marshall and cinematographer Dion Beebe, ASC, ACS, who
first teamed on Chicago (AC Feb.
03). The story, inspired by Federico

B
36 December 2009

Fellinis autobiographical film 8,

concerns a movie director, Guido
Contini (played by Daniel DayLewis), whose professional and
personal crises collide through a
series of real and imagined encounters with the significant women in
his life.
Rob knew he wanted to make

another musical, and he was considering a number of different projects,

recalls Beebe, who also shot Memoirs
of a Geisha for the director (AC Jan.
06). Nine is essentially a narrative
drama with an amazing cast [including Nicole Kidman, Penlope Cruz,
Judi Dench and Sophia Loren], and
the material had a lot of visual

Photos courtesy of The Weinstein Co.

potential. Guido is a famous but

tortured director who cant cope with
situations of his own making. Hes on
the verge of a breakdown, and his
escape into fantasy becomes our
language to transition between musical numbers and the unfolding
drama.
To help prepare for the project,
Beebe screened several of Fellinis
films, including 8, but we were
very careful to not reference that film
directly, he says. All of Fellinis films
are so original, and no one could ever
remake 8. We looked for the spirit
and imagination of his approach.
What also became important for us
was how to best re-create 1960s Italy
in todays North London.
Nine was shot mostly onstage
at Shepperton Studios, with some
location work done in and around
London, followed by a month of
location work in Rome. Beebes main
camera crew comprised Acamera/Steadicam operator George
Richmond, 1st AC Jonathan
Richmond, gaffer John Biggles

Higgins and B-camera operator

Damien Beebe, the cinematographers brother.
The Panavised Arri camera
package Arricam Studios and
Lites and Arri 235s was supplied
by Panavision U.K. I knew I wanted
to use the [Arri] 235 for some handheld work, explains Beebe, and I
also wanted to stick with Panavision

Primo lenses because I like how they

handle looking directly into lights
and the way they handle flares.
In order to maximize shooting
time on the musical numbers, Beebe
usually worked with multiple
cameras and zoom lenses. We always
had two to three camera units going
on the bigger numbers, and on two
songs we ran four cameras, he recalls.

Opposite: Movie
director Guido
Contini (Daniel
Day-Lewis)
struggles to
summon his
creative muse.
This page, top:
Overhead
lighting defines
a production
number that
illuminates
Guidos inner
turmoil. Bottom:
Italian screen
siren Sophia
Loren portrays
Guidos mother.

American Cinematographer 37

Remixing Fellini
Right: In an
homage to a key
scene in Fellinis
8, the crew
captures a
black-and-white
flashback to
Guidos
childhood and
his pivotal
encounter with
the prostitute
Saraghina (Stacy
Ferguson).
Below: The
films black-andwhite sequences
were shot in true
black-and-white
on Eastman
Double-X stock.

Most of the movie, about 75

percent, was shot from 30-foot and
50-foot Technocranes with Scorpio
Stabilized Heads, Arrow jibs and
dollies. Id say about 5 percent was
shot with a Steadicam, and the rest
was handheld. We used handheld on
the story elements to retain the
energy when we were transitioning in
and out of the musical numbers.
George Richmond recalls,
Typically, wed shoot a number in
London over two to four days and
then move on to other scenes to give
the art department some time to turn
the set around. Wed tech-rehearse
and finesse lighting over a couple of
days and then run the number from
38 December 2009

beginning to end for the cameras.

Wed start with a wide-angle pass,
then do medium and close passes.
Finally, wed come in for specific
moments we didnt get from those
three perspectives.
Nine was shot in 3-perf Super
35mm for a final aspect ratio of
2.40:1. The most obvious reason to
shoot 3-perf is to save a little money,
of course, but it also made sense
because we knew wed finish with a
digital intermediate, says Beebe.
With Super 35, you never use that
extra portion of the negative,
anyway; the only thing you lose is
the ability to rack up and down in
post, but Im happy to make that

Left: Guidos
costume
designer and
confidante, Lily
(Judi Dench),
talks her director
through an
impromptu
therapy
session. Below:
Cinematographer
Dion Beebe,
ASC, ACS (left)
sets up a shot
with director
Rob Marshall.

commitment to the framing.

Some portions of the story are
Guidos flashbacks to his childhood,
and these are presented in black-andwhite. Marshall and Beebe advocated
shooting on black-and-white negative instead of the more common
practice of shooting color and draining the color out in post. Beebe
explains, We wanted to create a
language to distinguish Guidos actual
memories from his fantasies, and
shooting real black-and-white was
also a nod to the period and Fellini.
Theres a very distinct look and grain
structure to black-and-white negative
thats hard to emulate with a color
negative. I felt it was a difference
worth fighting for, and Rob agreed.
Our first day of shooting was a flashback sequence set on the beach at
Camber Sands in Sussex. When
[producer] Harvey Weinstein saw the
dailies, he said wed made the right
choice.
The principal challenge of Nine
was enacting its 14 musical numbers,
all of which are set primarily in a
massive soundstage H Stage, the

largest stage at Shepperton. The big

question for Rob, [choreographer]
John De Luca, [costume designer]
Colleen Atwood, [production
designer] John Myhre and myself
was how to have all those numbers
play out in one space and keep things
fresh. We found ways to change the
architecture of the space by adding

specific set pieces for specific songs,

building the choreography around
certain parts of the set and creating
multiple lighting changes.
As he did on Chicago, Beebe
enlisted a theatrical-lighting specialist
to assist with the musical numbers.
We brought on Mike Baldassari,
whod worked with Rob on a revival

American Cinematographer 39

Remixing Fellini
Right: Most of
the productions
14 musical
numbers were
shot on
Shepperton
Studios massive
H Stage. In
preparing for the
shows
ambitious dance
sequences,
Beebe enlisted
the aid of a
theatricallighting
specialist, Mike
Baldassari, who
helped him to
plan out the
rigging and
logistics. Below:
The number
Overture,
whose lighting
is diagrammed
on the opposite
page.

of Cabaret on Broadway, says the

cinematographer. Mike and I collaborated to plot out the lighting and
technically achieve each number on
our budget prior to commencing any
of the pre-light. We dropped in a
massive grid to accommodate all the
different numbers.

40 December 2009

I suggested to Dion that we

set up a large truss layout comprised
of single sticks of truss, says
Baldassari. We decided which types
of fixtures we wanted on each stick,
as though we had an unlimited
amount of gear. Each stick was rigged
and cabled to be completely inde-

pendent, so we could customize the

lighting plot for each number. For
example, after we saw the choreography for the opening number, Dion
suggested adding two circle trusses,
which we also used in two other
numbers to give us a different kind of
motion from the moving lights and
to make the grid more song-specific.
Everything was drafted in CAD by
Kristina Kloss using Vectorworks
Spotlight. The lighting system was
patched through an MA lighting
network comprising a full-sized
GrandMa board, a GrandMa light,
four network signal processors that
distributed the commands from
Ethernet to DMX, and numerous
laptop links into the network. Peter
Lambert, a West End theatricalproduction electrician, installed and
maintained the massive system.
The set needed to feel like a
1960s soundstage, so we kept the
modern units hidden above the
period gantry-type fixtures up in the
ceiling, notes Beebe. Everything was
broken into two principal hangings

60'-0"

68

66

64

62

60

58

56

54

52

50

48

46

44

42

40

140

138

A Call From the Vatican

Folies Bergres

Cinema Italiano

My Husband Makes Movies

#4

#5

#6

#7

10

Finale

Unusual Way - B stage

#13

124

128

130

354

126

352

122

129

355

127

353

125

351
123

121

139

360

137

358

135

133

356
131

Truss #2

SHOOT ORDER

136

140

359
138

134

357

132

FOLLOWSPOTS
2
Long Throw Spots
2
Medium Throw Spots

CL

136

134

132

130

124

122

120

118

116

114

112

110

108

104

559

152

100

156

102

155

154

153

151

UP

158
13

161

98

558

35S
S

327

427
64

96

UP

65

215

94

92

557

164

21

S
t e
v e S
h e e
l y2 0
3
0

63

325

35S
S

90

35W
S

265

v e
e
h e
S
le y2
0 0
3

70

364

213

S
t

62

166

88

86

556

v e
e
h e
S
le y2
0 3
0

69

S
t ve e
h e e
S
l y2 0
3
0

84

35S
S

68

ev

le

y2

03

35S
S

hS

66

82

80

555

78

S
t
v e
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S
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0 0
3

422

S
t

e
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S
h e
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0 0
3

35S
S

76

hS e
ve e

0 03
le y2

225

216

74

554

ev

h
S

le

y2

03

UP

79

he
S
ve e

0 30
le 2y

v e S
t e
l y2 0 0
S
3
h e e

tS

419

367

223

72

70

3'-0"TYPICAL

31

183

43

3
0 0
l y2
e
h e
S
v e
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0
0 3
l y2
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Se
h
v e
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84

77

322

t
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he
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0 03
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ev

S
h

le

y2

03

35S
S

t
S

222

68

66

35W
S

264

64

3
0 0
l y2
e
Se
h
v e
e

3
0 0
l y2
e
h
Se
v e
e

62

187

34

Laffold
c
of S

UP

509

60

58

81

111

56

551

C
of
Sc L
aff
old

148

35S
S

46

35

38

54

50

52

191
202

108

206

205

194

204

193

CL
203

192

230

54

55

53

52

51

50

550

48

46

44

549

548

42

35W
S

263

-See Plate 3 for True Location.

40

35W
S

l
ica
Typ ofer
Tw

253

103

CL
of Scaffold

59

58

57

56

Truss #16

38

10

36

34

32

547

Ty
Tw pical
ofe
r

514

rus
sS

28

26

546

473
474
475
476
477
478

30

254

35W
S

11

24

11

35S
S

241

517

35S
S

242
35S
S

243
35S
S

35S
S

20

545

18

35W
S

16

107

UP

CL

235
S

35S
S

14

544

90

88

12

12

10

543

35S
W

89

462
463

13

542

472

W
35S

471

470

469

468

467

466

465

464

461

460

458

457

456

455

454

453

452

451

450

449

459

Typical
Twofer

273

35S
W

519

271

274

261

541

277

W
35S

10

14

260

540

539

12

14

16

Cyc Lights

259

276

-Placed on top
of 4' x 4' Road
Box on Wheels.

Trough

275

CL

258

257

272

Trough

520

Cyc Lights

14

256

-Jump over wall

for Overture

255

Par Truss Center

35S
S

248

Truss#17

236

247

13

518

BOATS STAGE LEFT

106

105

104

UP

234

233

232

231

262

35S
S

246

For OVERTURE, Place SL

245

244

-Floor VL Lights Package: These Lights are available as

needed. Exact Placement TBA per Musical Number.

Floor Package

For OVERTURE, Place SR

22

516

12

BOATS STAGE RIGHT

515

443
444
445
446
447
448

437
438
439
440
441
442

CL

Pa
rT

479
480
481
482
483
484
485
486
487
488
489
490

UP

431
432
433
434
435
436

513

S
ss
Tru

10

of Scaffold

CL

102

105
101

Par

512

CL

Truss #15
201
Laffold
c
of S

40

229

Truss #9

511

Scaf A-2nd Level

109

49

48

47

110

35S
S

149

39

Truss #8

188

UP

510

Truss #14

186

Truss #13

82

321

UP

185

33

37

15'
413

332

552

83

76

UP

t
S

t
S

411

412

414

3
0 0
l y2
e
h e
S
v e
e

UP
t
S

t
S

404

147

tS

418

415

UP

184

32

Truss #12

418

CL

41

553

85

508

Truss #7

Truss #21

78

35W
S

252

403
331

42

416

312

302
420

224

of C
Sc L
aff
old

80

368

t
S

176

301

303

3
v e h
t e
l y2 0 0
S
Se e

323

71

for aks
Ov he
ert re
ure

369

tS

406

27
146

417

217
72

330

re
he

175

311

218 bTreruss

226

73

370

219

227

74

361

67

3
l y2 0 0
v e S
t e
h e e
S

Truss #20

75

220

t
S

304

210

423

324362

145

407

25

aks
bre re
ss rtu
Trur Ove
fo

174

402

UP

181

507

182

3'-0"TYPICAL

Truss #6

310 26

173

UP

506

Truss #11 421

405

144

305

211

221

329

24

172

309

363
424

212

426

61

425

S
t

308

23

401

171

306

17

307

165

328

22

505

Truss #5

UP

Truss #19

214

143 16

Tru
ss
b
for reak
Ov s h
ert ere
ure

326

142

141

Truss #18

35S
S

15

163

ere
sh

ak
bre re
ss rtu
Trur Ove
fo

14

162

Truss #10

12

157

UP

35W
S

251

504

P
NS

126

Line of Stage Wall

128

Cyc Lights

106

Truss #3

Truss #4
11

MUSICAL #

Truss positions that have changed

from previous drawings are Truss
#4, #5, Outer Ring and Inner Ring.

#1

MUSICAL NUMBER:

OVERTURE

1. This drawing represents potential positions for Vari*Lites.

Exact quantities are far less than are shown on this drawing.
2. Rig and Cable all Trusses to operate independently.
3. Provide extra Circuits and Control at all positions.

NOTES

CL

12

13

I Can't Make This Movie

#11

#12

Other end of GROUP 2

alternate truss position

11

Take It All

Truss #1

Only With You - B stage

Guarda La Luna

#9

#10

#8

Guido's Song

Be Italian

Overture

#2

#3

#1

MUSICAL #

Line of Black Drapes Hung on Scaffold Bars For Finale

TITLE

Alter. GROUP 2 truss pos. 9'-0"

38

36

34

32

30

03
0
y2
le
e
Sh
e
ev
St

28

26

24

22

20

18

16

14

12

10

W
W
W
W

03
0
y2
le
e
Sh
e
ev
St

SHOOT
ORDER

03
0
y2
le
e
Sh
e
ev
St

GROUP

10

12

14

16

18

20

22

19

S
S
S
S
S

W
W
W
W

S
W

S
W

03
0
y2
le
e
h
S
e
ev

503

19

S
19

03
0
y2
le
e
h
S
e
ev
t
S

t
S

S
S

26

26

502

S
W

24

26

28

26

W
S
W

26

19

501

35S
W

W
S
W

35
SW

W
S

W
35
SW

S
35S
W

35
SW

26

S
W
35
SW

26

Cyc Lights

35
SW

35
SW

S
S

19

S
35
SW

S
35
SW

T
H
G

MUSICAL NUMBERS:

26

35
SW

S
S

S
S

26

35W
S

W
W
W
W
S

S
S
S

GSH
U
O
R
T
H ST
G
I
L
S

35W
S
35W
S
35W
S
35W
S
35W
S

NS
P

NS
P

19

35
SW

35S
W

H
G
U
O
R
T
S

W
35S
W

30

32

34

36

38

40

42

44

46

NS
P

NS
P

NS
P

35W
S
35W
S

NS
P

S
S
S
NS
P

NSP

35W
S

NS
P

NSP

526

525

524

523

522

521

18

538

537

536

535

534

533

532

531

530

529

528

527

v e
e
h e
S
le 2
y 0
3
0

v e
e
h e
S
le y2
0 0
3

W
S

VL 3500 Spot

Focus
Color
Unit #
Channel

43

43

Moving Light
Chan

DIRECTED BY:

Added Ring Trusses. Added Par Bars. Added 2

VLs to Truss #16. Moved Truss over Scaffolds
slightly. Changed Scaffold VLs. Added Curtains.
Changed VL channels on Truss #17.
Added Channels, Added "Take It All" truss
positions, Cut 2 lights on Truss #7, Added 5 lights
to Truss #19, Adjust positions of Truss #8,#16, &
#21, Added Road Boxes under Trough lights,
Updated Catwalk size, Changed some Permanent
lights to Portable, Added Floor Cycs, Updated
Notes and Musical Numbers list.
Revision

Changed Shoot Order, Added VL 247+248 on

Floor, Moved position of Truss 4,5,Outer Ring and
Inner Ring, Added 8' section to Par Truss SR and
moved truss, Moved postion of Par Truss Center
and Par Truss SL, Swapped units on US/DS
chords on Trusses 6,15,20 and changed VL2000
Washes on these trusses to VL3500 Washes,
Extended Truss length on Trusses 1&3 and
moved VLs, Changed channels on Truss 1 VLs,
Added Portable VLs on Truss 1,319,20, Moved
positions of Boats, Added S4s for Arch F/L,
Scaffold B VL to outrig pipes. Moved VLs on
Scaffold A. Changed Chan 89 to VL3500 Spot.

15

L.D. - 389
LIGHTING DESIGNER

PAPER SIZE: ISO A0

of

16

DRAWN BY: K. KLOSS

1 13
9

PLATE
Shoot
Order

20 Sept, 2008

REVISED:

SCALE: 1/4" = 1'-0"

JULY 21, 2008

DATE:

ELECTRIC
HANGING
OVERTURE
PLAN "H" stage

email: mb@mike-o-matic.com
www.mike-o-matic.com

US cell (917) 553-5694

active from the end of September

UK Mobile (0) 7977 988 177

2008 MIKE-O-MATIC INDUSTRIES

MIKE BALDASSARI

THEATRICAL LIGHTING:

JOHN MYHRE

PRODUCTION DESIGNER:

DION BEEBE

DIRECTOR OF PHOTOGRAPHY:

ROB MARSHALL

Date

08/10/08

09/18/08

43

G = GAM
D = DEVON GLASS

COLOR

Unit
Number

LEGEND

L = LEE
R = ROSCOLUX

R-46

50 ETC SOURCE FOUR

Sophie

36 ETC SOURCE FOUR

26 ETC SOURCE FOUR

19 ETC SOURCE FOUR

MINI-STRIP MR-16 "VEGAS"

2' - 3 CIRCUIT, EYC
BIGGLE STRIP
2'-6", GU-10, 50w, MFL

No.

W
S

PAR 56 SHORT NOSE, 500w

VL 2000 Wash

VL 2500 Spot

VL 3000 Wash

VL 3000 Spot

35W
S

35S
S

16

SYMBOLS

VL 3500 Wash

08/25/08

v e
e
h e
S
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0 0
3

v e
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S
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35S
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35W
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t

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15

MFL

NS
P

NS
P

NS
P
NS
P

NS
P

48

50

52

NS
P
NS
P

NS
P
NS
P

NS
P

NS
P

NS
P

S
W

NS
P

NS
P

-See Plate 2 for True Location.

NS
P

NS
P

19

NS
P

S
19

NS
P

W
S

NS
P

S
S

NS
P

S
19

NS
P

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W
19

NS
P

P
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NS
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NS

NS
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26

19

26

26

NSP
NSP
NSP

NSP
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NSP

W
26

NSP

19

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35SW

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35SW

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35SW

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35S
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26

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NSP

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P
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NS

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P
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S

NS

35W
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P
NS

35W
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BOATS UPSTAGE

P
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3'-0"TYPICAL

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Scaf B-1st Level

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American Cinematographer 41

Remixing Fellini
The theatricallighting system
allowed for a
diverse range
of looks. The
top and bottom
photos show
lighting
changes for
Be Italian.

because we didnt have time to rehang everything after each number.

The first accommodated five or six
numbers, the second another five or
six numbers, and finally, we did
specific hangs for the last few
numbers.
The films opening number,
Overture, proved to be one of the
most complex to plan out because it
required most of the cast to be
onstage at the same time. It was a
daunting task to begin with, and
what added to the challenge was

42 December 2009

keeping the volume of the space

without anything feeling repetitious,
says Beebe. The song introduces the
style of the movie. We start with the
dark and atmospheric outline of an
incomplete set, which magically
comes to life through Guidos imagination as he sits alone on a camera
crane. One large Vari-Lite floor unit
projects a silhouette of Claudia
Jensen [Kidman], Guidos muse. She
is completely backlit as she steps into
a toplight, and then we gradually
introduce the frontal spotlight.
Claudia steps down and kisses Guido,
and that sparks a musical cue that
causes the set to come alive. We
slowly push into Guidos face as
multiple lighting cues reveal the
stage. But before were able to escape
into his fantasy, he is interrupted, and
we abruptly return to reality.
Higgins team built custom
strip lights fitted with MR16 bulbs
dubbed Biggles Strips and incorporated them into the set with the
help of the production-design team.
We built about 100 strip units in
various sizes, he recalls. They
became an integral part of the set and
really paid off in terms of the speed
and efficiency.
Overture and many of the
subsequent numbers featured up to
30 5K, 10K and 20K MoleBeams
along with Vari-Lite moving lights,
which Beebe used extensively on
Chicago. The entire moving-light rig
was made up of Vari-Lites, and we
used pretty much all of the fixtures in
the Vari-Lite family, says Baldassari.
Rob and Dion knew exactly what
they could do.
In order to match the increasingly complex lighting cues with the
on-set action, Baldassari synchronized the GrandMa lighting consoles
to the time code of the pre-recorded
songs. With a cast like this, I never
wanted lighting to blow a take! he
says. I went to Rob early on and
asked for time code on every music
track so we could tag the light cues
directly to the music. Then, if Rob

took cuts from different takes in the

edit, the lighting for each take would
match perfectly, even if he cut
between two takes with the lighting
in the middle of a fade. Rob, Dion
and I worked on every single cue
together, and we ended up with cue
placements that were adjusted by
eighths of a second. I went to bed
every night saying thank you to the
inventor of time code!

Only With You combines

footage shot in a square in Italy with
a matching set built onstage in
London. In the scene, Claudia is
walking through a village square
toward a fountain, says Beebe. John
Myhre built a replica of the fountain
at Shepperton, matching every chip,
stain and divot in the real thing. We
then lit the square in Italy to match
the lighting wed done in London. We

BEST CINEMATOGRAPHY
Javier Aguirresarobe

Cinematographer
Javier Aguirresarobe creates
a frighteningly barren world.
Deborah Young, HOLLYWOOD REPORTER

Please visit

www.twcawards.com
for more information

43

Remixing Fellini
Kate Hudson is
spotlighted in
the exuberant
Cinema
Italiano, for
which the stage
was transformed
into a 1960s
fashion runway,
complete with
paparazzi.

fade out on the real square and fade

up on the stage in Guidos fantasy. It
was a complex set of parameters to
replicate, but it was great to watch it
all happen. Higgins adds, We were
looking for a way to get lights into the
fountain, and the solution was ACLs
[Aircraft Landing Lights], which
operate on low voltage. We shot the
stage first and then took all the lights
to Italy and attached them to the real

44 December 2009

fountain in the plaza. They matched

up perfectly.
Journalist Stephanie Necrophuros (Kate Hudson) enjoys her big
moment during Cinema Italiano,
which sees the stage transformed into
a 1960s fashion runway complete
with paparazzi blazing away with
flashbulbs. The scene was captured
partially in black-and-white and
featured a 12'-deep x 70'-long

runway lit from below. That song

was written especially for the movie
to help energize the relationship
between Guido and Stephanie, says
Beebe. We set up a series of egg
strobes and larger strobe units cued
through the GrandMa board at the
end of the runway to shoot over the
heads of the paparazzi. We mixed in
the black-and-white stock to give the
scene a feel of the 1960s go-go
period.
Our biggest concern in that
number was heat, notes Higgins.
We needed to secure fluorescent
lights that would photograph well
and also find a translucent material
that the dancers could walk on for
the surface of the runway. The art
department procured clear Perspex,
which we covered with Lee 216 diffusion. We obtained off-the-shelf
industrial fluorescents with correction gels and digital ballasts and
patched them into the DMX boxes.
As soon as Rob called Cut, we could
lower the light levels immediately
and cool everything off.
Folies Bergeres is a number
that features Liliane La Fleur (Dench)
performing as the soundstage transforms into a burlesque theater. It
became a massive transition, chang-

Remixing Fellini

The crew films

My Husband
Makes Movies,
which features
a vocal
performance
by actress
Marion Cotillard.

46

ing the abandoned set into a fantasy

movie theater, recalls Beebe. It was
a big changeover and a big number
to light. Higgins built wagon
wheel battens, 2' and 4' metal strips
fitted with 15 to 20 150-watt diffusable bulbs. That number also had

hundreds of bulbs built into a

proscenium that helped to define the
stage, he notes. We then
programmed a number of cues into
them that build through the song.
We also used follow-spots on this
and many other musical numbers.

Our [follow-spot] operators were all

from the West End theater district,
and they were brilliant; they had to
command very subtle fades and
crossovers and lots of complex cues,
as well as adapt to working on a
movie set.
Guido reaches his most
emotional point in I Cant Make
This Movie, a number set in a
screening room; this was shot on
location at the Phoenix Cinema in
London. Its the big crisis point for
Guido his wife finally leaves him,
and hes at an impasse making his
movie, explains Beebe. We transition from the screening room
through the actual projected image
back onto the soundstage. To make
the projector part of the number
work, we came up with a rear projection onto sheets of plastic visqueen,
which created a soft, tarnished image.
We threw bells and whistles at a lot of
the numbers, but this one is just

Daniel playing against a projector,

and it just takes your breath away.
During production, select
takes were printed on 35mm by
Technicolor London for the filmmakers to review. Now that the DI is
fairly standard, I create my own list
of selects as we go through the
shooting day, Beebe explains. That
gives me an opportunity to look at
film on the big screen and get a sense
of the numbers and the set. The
production also digitally transferred
all dailies onto Apple TV hard drives
that I would plug into my monitor
and watch at home.
The catch with digital dailies
is that theyre struck straight off the
negative, so youre going to get a little
more openness in the image than the
final print will have, he continues.
Once you make a film print, the
really deep shadows get shut down
and elements at the edge of your latitude go away. I recommend

randomly printing and projecting

dailies on film to see how its translating on prints to the screen; it
informs and changes how you do
things on the set.
The DI was completed at
Ascent Media London, where Beebe
and colorist Adam Glasman worked
on a DaVinci Resolve. Our
approach was to give many of the
fantasy sequences a dusty-gold tone,
says Beebe. Each musical number
was designed and lit to have its own
color palette, mood and tone. We
were careful not to oversaturate the
picture or crush any of the blacks in
the DI; we preferred detail, dust and
atmosphere in the shadows. We
wanted the world to have texture and
reflect Guidos somewhat troubled
state of mind.
Nine was a very exciting
project that was both a challenge and
a pleasure, he concludes. Early in
my career, I never imagined myself

making movie musicals, and I have

discovered its such a disciplined and
imaginative format. Rob has such a
great eye and great talent that he
elevates the work I do. I look forward
to the next one.

TECHNICAL SPECS
2.40:1
3-perf Super 35mm
Panavised Arricam Studio, Lite;
PanArri 235
Panavision Primo lenses
Kodak Vision3 200T 5217,
500T 5219;
Eastman Double-X 250D 5222
Digital Intermediate
Printed on Fuji
Eterna-CP 3513DI

47

A Tapestry of

Textures

Rodrigo Prieto, ASC, AMC

combines 3 formats for
Pedro Almodvars Broken
Embraces, which recounts
a filmmakers doomed
love affair with his star.
by Patricia Thomson
Unit photography by Emilio Pereda and
Paola Ardizzoni
48 December 2009

ombining noir, naturalism,

melodrama and comedy,
Pedro Almodvars Broken
Embraces is the work of a true
cinephile. This is Pedros ode
to filmmaking and cinema, says
director of photography Rodrigo
Prieto, ASC, AMC. The production
itself was a cinematic Chinese box,
incorporating a present-day storyline, flashbacks, a film-within-thefilm and video footage captured by
an amateur spy. Prieto ultimately
combined three formats
anamorphic 35mm, standard

35mm and Super 16mm to render

the complex narrative.
The story opens by introducing Harry Caine (Llus Homar), formerly known as Mateo Blanco, a film
director who was blinded 14 years
earlier in a car crash that killed his
lover and leading lady, Lena
(Penlope Cruz). The two began their
affair on the set of Caines comedy
Girls and Suitcases while Lena was living with wealthy industrialist Ernesto
Martel (Jos Luis Gmez). In an
effort to stay close to Lena, the jealous
Martel offers to produce Caines film.

Photos and frame grabs courtesy of El Deseo and Sony Pictures Classics.

Opposite: In
video footage
captured by an
amateur
filmmaker, Lena
(Penlope Cruz)
addresses the
camera to tell
Ernesto Martel
(Jos Luis
Gmez,
foreground) that
their relationship
is over. This
page: After
leaving Martel,
Lena and her
lover, Mateo
Blanco (Lluis
Homar), escape
to a seaside
town.

Moreover, he orders his son, Ernesto

Jr. (Rubn Ochandiano), to shoot a
making-of video so he can spy on
Lena and the director. After production wraps, Lena and the director
flee to a seaside bungalow, and
Martel attempts to flush them out
by releasing a disastrous cut of Girls
and Suitcases. The lovers interlude
ends with the fatal car crash, captured on tape by Ernesto Jr.
Caine recounts this story to
his young assistant, Diego (Tamar
Novas), who is also the son of
Caines production manager, Judit
(Blanca Portillo), and the director
eventually discovers there is more to
the story than he knows.
Almodvar says he invited
Prieto to shoot Broken Embraces
because when he watched the cinematographers films, which include
Amores Perros (AC April 01), Frida
(AC Oct. 02), Alexander (AC Nov.
04) and Babel (AC Nov. 06), he
noticed Prietos fearlessness with
color. Rodrigos understanding of

color is very cultural, notes the

director. I dont have to explain
[Spains colors] to him because he
already carries it inside. If Spain is
baroque in its colors, Mexico is even
more so. Even though this film is
quite somber in some ways, I still
asked for colors that are much
brighter than those I see in film in
general. Having seen Frida, I knew
he would understand. In addition,
Almodvar was impressed with
Prietos handling of darkness in 8
Mile, especially the establishing
night scenes in Detroit, which were
very original. And Alejandro
[Gonzles] Irritu told me
Rodrigo is very collaborative, with
no ego at all.
Almodvar and Prieto began
their six weeks of prep by going
through the script scene-by-scene in
the directors apartment. I had
ideas about using lighting and film
stocks to establish certain visual
styles for each character, his or her
environment and the different time

periods, Prieto recalls. There are so

many layers in this movie, and I
found that interesting to play with. I
presented Pedro with various ideas,
mainly as a starting point of discussion so I could hear his vision.
It wasnt until Prieto shot
tests that he could truly assess
Almodvars reaction, however.
Pedro is not technically oriented
he responds viscerally to visual
impulses so our early conversations were always just conceptual. I
found the best way to discuss my
ideas was to actually film them for
him.
One thing Almodvar knew
at the outset was that he wanted the
films central narrative to be shot in
anamorphic 35mm, a constant format in his oeuvre since 1997s Live
Flesh. Im very much interested in
dcor, and [anamorphic] allows you
to see the whole set in all its magnitude, explains the director. The
format also permits having a twoshot and shooting it fairly close. My
American Cinematographer 49

A Tapestry of Textures

Above: After
Lena is cast in
Blancos new
film, the
suspicious
Martel (right)
signs on as a
producer and
hires a lipreader (Lola
Dueas) to
translate MOS
footage of the
pair captured on
the set. Below:
At the hospital,
Lena consults
with her mother
(ngela Molina)
about her
fathers
condition.

50 December 2009

films are quite theatrical, and scenes

often take place between two or
three characters.
For the anamorphic work,
Prieto obtained a Panaflex Millennium from Equipos Profesionales
Cinematogrficos in Madrid and
brought a set of Panavisions G-Series
primes directly from his prior shoot,
State of Play (AC May 09). As always,
Almodvar eschewed zoom lenses, as
well as a B camera. Pedro rarely uses
a second camera, Prieto says. Hes
very much into composition and
carefully designs each shot. Many
scenes were blocked to fit specific
frames or camera moves.
During the 72-day shoot,

Almodvar would typically arrive

on set with a small diagram or two.
From this starting point, the team
would rehearse and figure out coverage. Pedro likes to take the
viewfinder and position things in
frame; hes very particular about the
placement of characters, props and
colors, says Prieto. Sometimes the
directors plan was carried out exactly, as in the films first sex scene: the
camera tracks behind Caines purple-velvet couch and reveals a
womans wriggling foot propped up
on the back of the sofa. Thats very
Pedro he wanted to focus on the
fabric of the couch! says Prieto.
On other occasions, Almo-

dvar would change course with

response to inspiration on set, as in
the scene that shows Lena and
Martel having sex under the sheets.
The directors starting point was a
Magritte painting of a couple kissing
through a sheet, but when he
noticed one of the actors hands
hanging outside the sheet, he imagined a body under a shroud. That
inspired him to rewrite the dialogue
on the spot and introduce the idea
of Martel faking his death to test
Lenas response. Almodvar then
coached Cruz through her reaction
shot as Lena sits on the bed, contemplating her options. It was
hilarious to hear, recalls Prieto. He

was talking to her while we were

shooting as if he were her thoughts:
Hmm, do you think hes dead?
Maybe not , and her acting
matched what he was saying.
Once the actors arrive on set
and Pedro starts to shoot, he is very
intent on directing them in a precise
manner, he adds. He talks to them
a lot and is very exact about the
intonation of the words.
Almodvar would sometimes
talk Prieto through his visual beats
as well. In two dialogue scenes
between Caine and Diego, who
prove to have a more complicated
relationship than either is aware of,
Almodvar didnt want a standard
two-shot, but rather to have the
camera to move back and forth
between them. He wanted the camera to dolly in very specific
moments that did not necessarily
coincide with the dialogue, and hed
cue me when he wanted the camera
to move, says Prieto, who does his
own operating. This pendulum-like
action kept the characters connected but separate. Theyre connecting, but their bond is still tentative,
observes the cinematographer.
I have very specific taste as to
what goes in my frame, and often it
doesnt coincide with the conventions a camera operator might
have, says Almodvar. Rodrigo
stayed close to me, so he understood
perfectly what frame I wanted. He
notes that Broken Embraces was his
first experience with a director of
photography who also operates the
camera. Its two jobs, but Rodrigo
has very good taste for framing, and
there were some scenes he resolved
because he was on the camera.
A case in point is the passionate encounter between Lena and
Caine in her dressing room.
Rodrigo saved it, says Almodvar.
The director wasnt sure how to
approach the scene, so I proposed
hanging the camera on bungee
cords and just floating it above the
actors, twisting it around to see bits

of their bodies, says Prieto. We shot

a take like that, and Pedro loved it.
Theres virtuosity in this kind
of thing, Almodvar attests. We
were going to do the scene in only
one take, and there are things you
dont want to show when actors are
having sex which Rodrigo had to
maneuver around. Yet he managed
to do it in such a way that by the time
the editor cut it, it looked like a much
longer sequence than a single take.
Hes one of the best cameramen I
know. In some ways, I wish Id had
more traveling shots so we could
have used more of his expertise!
Before any filming could
occur, Almodvar would always
fine-tune the set. Hed spend a fair
amount of time in the morning
rearranging the props removing
things, asking for different curtains
and so on, says Prieto. He couldnt
do anything else until he was comfortable with that. I found that interesting because we were playing with
diametrically opposed characters in
different environments and social
strata, yet every set and every costume reflects Pedros seal, his personality. So in a way, every character
is Pedro.
When Prieto proposed shoot-

ing scenes set in Martels world on

Fuji Eterna 400T for a more muted
palette with lower contrast,
Almodvar nixed the idea. Prieto
recalls, When I showed him the
tests, he immediately said, I just
dont like it. I tried to point out it
wasnt a matter of liking it; its whats
appropriate for that character, but he
has to like it. It has to be something
he feels comfortable in, even if its
the house of the antagonist! Ive
found that movies are the most
interesting when the director or
writer is really talking about himself
in every character.
Naturalism was the governing
style for Caines world, and Prieto
shot these scenes mainly on Kodak
Vision3 500T 5219. I much prefer it
to [Vision2 500T] 5218 because it
has more guts, more contrast and
bolder colors, notes Prieto.
In Caines apartment, a set
built at Estudios Barajas in Madrid,
the trick was to create an ambience
appropriate for a blind man. Harry
doesnt need to turn on the lights or
have the curtains open, so my challenge was how to create sourceless
lighting. Prieto devised a number of
strategies, including using Caines
computer as a light source. He

Director Pedro
Almodvar
checks a shot of
Cruz and Gmez
in Martels
office.

American Cinematographer 51

A Tapestry of Textures

Above: Lena and

Chon (Carmen
Machi) enact a
scene in Girls
and Suitcases,
the film Martel
butchers after
Lena leaves him
for the director.
Below: Years
later, the
director, now
blind and using
the alias Harry
Caine, realizes
he might be able
to save the
movie.

52 December 2009

placed several Rosco LitePads gelled

with various colors directly on the
face of the monitor, and these could
be turned on and off separately to
suggest changing Web pages.
It was Prietos use of sunlight that Almodvar most appreciated, however. Harrys apartment doesnt look like a set

because the sunlight was handled

so well, says the director. Prieto
created ambient daylight with 2K
Blondes through 12'x12' frames of
Full Grid Cloth plus eggcrates to
prevent spill. But when the scene
called for some tension, as when
Ernesto Jr. visits Caine, Prieto used
a 20K to send a sliver of sunlight

through a crack in the curtains

and light one of Harrys eyes. It
enhances the uncomfortable feeling of the scene and creates a bit of
contrast.
A much different look was
needed for the sequences from Girls
and Suitcases, which was closely
modeled on Almodvars Women
on the Verge of a Nervous
Breakdown (1988). It had to feel
very high-key and Doris Day-style,
says Prieto. He employed several
tactics to achieve this aesthetic.
First, he switched to standard
1.85:1, using spherical Primo lenses
on a Panaflex Platinum. Second, he
used Fuji Eterna Vivid 160 to
achieve more color saturation with
the sets red, yellow and white
palette. Of course, that meant we
had to use much more light, he
notes, adding that the studio had
no air-conditioning. Almodvar,
who was occasionally driven out
onto the sidewalk with a chair and
monitor because of the heat, recalls
that Prieto burned us to a crisp!
Normally, we use one generator;
this time, we needed 10!

AMC_1209_p033:Layout 1

10/29/09

11:45 AM

Page 1

A Tapestry of Textures
Right:
Almodvar and
director of
photography
Rodrigo Prieto,
ASC, AMC finetune their
approach to a
shot for Girls
and Suitcases,
the film-withinthe-film. Below:
Ensconced in
their hideaway,
Lena and
Blanco discuss
their next move.

Nevertheless, the director liked the

introduction of sunlight into his
dcor. It was quite expensive, but
Rodrigo did it very well, says
Almodvar.
Because Prieto hadnt filmed
comedies before, Girls and Suitcases
was a novel experience. The whole
point of those scenes was high-key
lighting keep it bright, with an
enveloping soft light and sunny
highlights, he says. The crew hung
60 space lights on the sets terrace to
create ambient daylight and placed a
moveable truss outside the faade
with a 24K that projected direct

54 December 2009

sunlight into the apartment. We

covered the top of the set with Full
Grid and had several 5Ks above it
for soft toplight. On the floor, Id
bring in a [Kino Flo] Blanket-Lite
and throw an 8-by-8 diffusion over
it for close-ups. We usually flagged
the 24K to keep the sunlight out of
the womens faces; it just crossed
their upper bodies.
By contrast, a noir look prevails in Martels mansion, a set built
in the Los Angeles de San Rafael studio in Segovia. This mood is most
conspicuous in the sequence when
Martel pushes Lena down the stairs

as she tries to leave him. Initially,

Prieto hung six space lights over the
foyer and staircase and skirted the
units with black Duvatyn. I wanted
to create a soft but directional toplight, but when we saw the effect,
Pedro and I agreed it wasnt expressive enough. So instead, I used a 10K
Fresnel with the lens removed and
shone it through the banister on top
of the stairs. That projected a sharp
shadow of the banister onto the
stairs and floor. When switching
from wide Technocrane shots to
close-ups, the crew removed a piece
of the banister and placed it closer to
the action in front of a 5K to retain
the shadow patterns.
The high contrast of the noir
sequences became a bit tricky when
lighting Cruz. It was a high priority
for Pedro that Penlope always look
beautiful, says Prieto. For most of
the film, the cinematographer followed the makeup artists advice and
lit the actress frontally; depending
on space, Cruzs beauty lights were
4' 4-bank Kino Flos or 2' Double
Kino Flos above and below camera,
with sidelight provided by either a
6'x6' Blanket-Lite through Full Grid
diffusion or a 10K through an 8-by
or 12-by frame of Full Grid. But

AMC_1209_p033:Layout 1

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12:06 PM

Page 1

A Tapestry of Textures
Right: At his
fathers request,
amateur
videographer
Ernesto Martel
Jr. (Rubn
Ochandiano)
keeps close
tabs on Lena
during filming of
Blancos movie.
Below:
Almodvar
checks a shot of
Cruz at the
mirror.

that just didnt match the look of

film noir, says Prieto. I tried moving the light to one side, and it
looked bad, bad, bad, but suddenly, I
hit a position more to the side that
worked very well. So I went with
that. Almodvar got the effect he
wanted: Penlope looks beautiful
but older hardened.
Prieto also veered away from
flattering light in the bathroom
where Lena is physically sickened by
sex with Martel. To mimic a skylight,
Prieto spotted 2K Fresnels onto the

56 December 2009

sink and toilet, and the light hit the

top of Cruzs head and bounced off
the sink. The toplight was around 4
stops overexposed, and the bounce
on her face from the sink was the
proper exposure. It was not flattering at all, but it was good for that
moment.
When Lena and the director
flee to Lanzarote, off the coast of
Africa, Prieto aimed for high-key
naturalism. He used Fuji Vivid 160
to take advantage of the locations
colors black volcanic rock, white

architecture, emerald palms, paleblue bungalow interiors and to

enhance the natural contrast.
Though tragedy is pending, these
scenes are meant to be more
upbeat, he says. Theyre escaping
the dark world of Martel and are
really trying to be happy. We wanted to give it some sparkle. Interior
night scenes also tended to be
warmer, such as when Harry is
examining a photo of two lovers
on a beach. That was lit with an
amber sunset light coming
through the windows, says Prieto.
We used 18Ks gelled with Full
CTO, so it has a warm, bright feeling. Even at night, when theyre
watching television, the scene is lit
brightly. I had two sources, practical lamps and a TV effect, so its a
combination of the cool TV
images flickering on them and the
warm lamp light. For the TV effect,
I placed a bunch of 2-foot Kino
Flos gelled with different shades of
CTB on a 4-by-4 white card and
switched them on and off independently and randomly. The
practical lamps light was enhanced
with a 4-by-4 Kino Flo with
2900K bulbs placed close to the
wall and controlled with flags to
only light the actors.
Broken Embraces third for-

AMC_1209_p033:Layout 1

10/29/09

12:07 PM

Page 1

Always and Forever

From the first moment I walked through
Clairmont Cameras doors nearly 25 years ago, I
was struck by the friendliness and respect the staff
extended to me and especially from Terry and Denny.
The whole crew goes above and beyond the call
of duty. On my first anamorphic show, we had
extensively tested our lens package. But when
the dailies came back they looked odd; something
was wrong. The lab assured us that everything was
right on their end. Denny immediately flew up and
proceeded to go through the entire chain from film
stock, to the camera, lenses, to processing where
he discovered that a lens in the optical printer was
slightly out of alignment. We switched printers
and everything looked crisp. I think that without
Clairmonts assistance I would not have been able
to break through the stonewall thrown up by the
lab. Thanks for saving my job Denny!
Another thing I really like about Clairmont
Camera is their ability to take a DPs crazy idea
and turn it into reality. For me, it was being able to
create an identical image to two strands of different
negative one B&W and one colorand dissolving
back and forth between the two. I made a drawing of
the rig and showed it to Denny, and then Clairmont
built it for me!
Over the years Ive used a huge variety of
Clairmonts equipment. One of my favorites is their
Blurtar lens set; when you shoot wide open they
make the best soft focus, blurry effects.
Naturally, Ill vouch for their gear always being
topnotch. Its always properly serviced, updated, and
works as well if not better than the day it was
manufactured. Ill gladly recommend Clairmont
always and forever.
Thomas Burstyn, CSC

www.clairmont.com

Hollywood
818-761-4440

Vancouver
604-984-4563

Toronto
416-467-1700

Albuquerque
505-227-2525

Montreal
514-525-6556

A Tapestry of Textures
Prieto and
Almodvar at
work on
location.

mat, Super 16mm, comes into play

for Ernesto Jr.s making-of video.
Because he is filming in the early
1990s, the prop was an old Canon
camcorder. However, Almodvar
refused to shoot video. He simply

58

doesnt like the way video looks,

says Prieto. Instead, the cinematographer shot on Super 16mm (framing at 16x9), using an Arri 416 with
Zeiss Ultra 16 primes and Kodak
Vision3 500T 7219, which he

pushed 1 stop. The idea was to get

a really high-contrast and grainy
image, then enhance it further in the
digital intermediate by adding more
contrast and more color saturation,
he says. It looks more like Super 8
than video, but Pedro doesnt go for
realism on things like that. Its just
what he likes.
Looking for signs of Lenas
betrayal, Martel watches his sons
video footage in his private screening room, employing a lip-reader to
decipher the lovers dialogue when
sound is unavailable. In the
telecine, we enhanced the contrast
and the color saturation so that
when the footage was projected on
set, it would have a really intense
look, says Prieto. He also added a
pixellated texture in the DI to further enhance the video look. To
maintain contrast and prevent a
milky look, Prieto worked hard to
keep spill off the screen, lighting

props very specifically and putting

negative fill on the floor and walls.
One of the main challenges in
the DI proved to be harmonizing the
actors varying skin tones. They
were so different we had to isolate
some of the faces and tweak things a
little bit, recalls Prieto. For
instance, Llus Homars skin tone is
extremely magenta when compared
to Blanca Portillo or Tamar Novas,
who both tend to be olive. When
they were together in a scene, it really looked strange, so we had to even
that out. Prieto worked with colorist Miguel Perez, who handled
both the film dailies and the DI at
FotoFilm, a division of Deluxe
Laboratories in Madrid. Working
on both dailies and the DI with
Miguel was very helpful, because he
knew the movie perfectly, says
Prieto. FotoFilm handled the entire
post workflow, including the 4K
scan and 2K filmout.

At the end of Broken

Embraces, Harry and Diego watch
the footage of Lena and Harrys car
accident, and this leads to one of
Prietos favorite moments in the
film: just before the crash, Harry and
Lena share a tender kiss in the car,
and, as he plays the scene back,
Harry reaches out to the TV screen
and runs his hands over Lenas face.
The shot of the kiss in the car was
filmed in Super 16, and we zoomed
further into the kiss on a telecine, so
the grain is huge, says Prieto. It
looks very pointillistic, like a Seurat
painting. Pedro really liked that, and
I think its beautiful.
I was very moved when we
shot it, he continues. Its the perfect
connection of image and emotion,
an expression of how we can transmit such a deep longing without
words. Its beautiful, its tactile and
its a riff about created images. The
person doing the touching cannot

see the image, even though his life

was directing images. For me, thats
the most emotional moment in the
film. I feel most fulfilled with my line
of work when the visuals are on par
with the emotions.
I

TECHNICAL SPECS
2.40:1
35mm and 16mm
Panaflex Millennium, Platinum;
Arri 416
Panavision G-Series, Primo;
Zeiss Ultra 16 lenses
Kodak Vision3 500T 5219/7219,
Vision2 250D 5205;
Fuji Eterna Vivid 160
Digital Intermediate
Printed on
Kodak Vision Premier 2393

59

Healing a

Family

Fred Elmes, ASC partners with Jim Sheridan on

the wartime drama Brothers.
by Dave Heuring
Unit photography by Lorey Sebastian
60 December 2009

n the contemporary drama

Brothers, an adaptation of the
successful Danish film released
in 2004 (AC May 05), a young
family attempts to heal after
being torn apart by war. When U.S.
officer Sam Cahill (Tobey Maguire)
is reportedly killed after being sent
to the front in Afghanistan, his less
responsible brother, Tommy (Jake
Gyllenhaal), tries to fill the void by
getting closer to Sams widow, Grace
(Natalie Portman), and two young
daughters. When Sam is eventually
discovered to be alive, he returns
home and has difficulty readjusting
to domestic life, and tensions and
jealousies soon boil over.
To bring Brothers to the
screen, director Jim Sheridan turned
to cinematographer Fred Elmes,
ASC, whose recent credits include
Synecdoche, New York; The
Namesake; Broken Flowers; and
Kinsey (AC Jan. 05). The cinematographer found working with
Sheridan to be a joy. Making this
film was a completely engaging, fascinating process, says Elmes. Jims
focus is on the evolution of the characters, and all of our discussions and
decisions grew out of that. He works
very instinctually. Whenever an
issue comes up on set, whether it
concerns story or design or character, he spontaneously finds the cre-

with the actors on the set. His

method is to talk about the scene
with the actors and let them find the
right way. Hell steer them but also
encourage them to feel what is right.
Much of what we did was driven by
the actors choices. Sometimes it
worked out perfectly, and sometimes they went in different directions.
The filmmakers found locations for both Afghanistan and U.S.
scenes near Santa Fe, N.M., which
offered the production a tax advantage. Filming took place over about
40 days from November 2008 to
January 2009. The exterior of the

Opposite: Elsie
Cahill (Mare
Winningham)
comforts her son
Tommy (Jake
Gyllenhaal). This
page, top:
Tommys brother,
Sam (Tobey
Maguire), spends
some quality time
with wife, Grace
(Natalie
Portman), and
daughters (Taylor
Geare and Bailee
Madison) before
reporting for
combat duty in
Afghanistan.
Bottom left:
Cinematographer
Fred Elmes, ASC
surveys the
craggy landscape
in Santa Fe, N.M.
Bottom right:
After his
helicopter is shot
down, Sam finds
himself in a
seemingly
hopeless
situation.

Photos courtesy of Lionsgate.

ative solution; he has so fully internalized the lives of the characters, he

is able to do that.
Sheridans deference to the
actors sometimes meant that the
blocking would be altered at the last
minute, requiring Elmes and his
crew to adapt quickly. For interiors,
Elmes began to light more with an
eye toward adaptability; on exteriors, he sometimes had to persuade
his colleagues to consider the practical aspects of shooting. We made
rough plans during the scout, but
Jim doesnt like to lock into a plan
that cant be changed, says Elmes.
He doesnt rehearse extensively

American Cinematographer 61

Healing a Family

The helicopter
shots were made
with a full-size
mockup positioned
on a gimbal to
create movement.
Elmes explains,
The camera was
either handheld or
attached to a crane
arm to keep it freefloating. The scene
takes place at
dusk, and I backlit
it with soft light
through the
windows. To give
the light some
dimension, I used
both a warm and a
cool gel on two
different 20K
tungsten lights. As
you can see, the
lights were next to
each other, so the
top of the rag had
the cool light and
the bottom had
warm light. Both
colors mixed as
they came through
the narrow
window, causing
highlights to be
warm and
shadows to be
cool imitating
that end-of-theday feeling. An
explosion later in
the scene triggered
flashes from a
Lightning Strikes
strobe and some
pyrotechnics.

62 December 2009

Cahills home was shot on location

in Los Alamos, while the homes
interiors were built onstage at the
College of Santa Fe. The hovels
where Sam is held prisoner were all
existing structures. Other practical
locations included a bar and military headquarters.
Elmes lobbied Sheridan to
shoot the film widescreen. While
deciding the issue, they watched and

discussed Blue Velvet (AC Nov. 86)

and Wild at Heart, which Elmes shot
for David Lynch; The Lives of Others
(AC March 07), shot by Hagen
Bogdanski, BVK; and a few other
films. The basic plan was to lend
Brothers domestic material a lush
color scheme. We wanted richness
there to contrast with the war
scenes, which are harsh-looking and
mostly devoid of color, says Elmes.

We kept warmer colors and much

of the green out of the Afghanistan
scenes mostly through the production design. If something popped,
wed throw dirt on it.
The Afghanistan scenes were
shot in 12 days. Most of these scenes
depict Sam in captivity; there are no
elaborate battle sequences. Elmes
challenge was to keep those situations visually interesting with limited lighting and staging options.
The war is a backdrop for the
drama, notes the cinematographer.
Jims vision was of a family trying
to fix itself, not of the war in
Afghanistan. His research focused
on the problems these soldiers have
when they return home.
At high altitude in the mountains, the terrain made for rough
going, but the sunlight and the real
snow on the ground worked in the
filmmakers favor. The atmosphere
is different at 6,000 feet, says Elmes.
The air is clearer, so the light is
brighter and harsher. The shadows
are harder, and there is a blueness to
the sky that fills everything and
leaves coolness in the shadows. That

made the Afghanistan scenes feel

truly foreign. To maintain the visual
severity, Elmes crew rarely used fill
of any kind. That hard sunlight was
difficult to control, but it gave us the
look we wanted, he says. Around
the camps, we had cooking fires
going, and the smoke backlit by the
sun lent those scenes atmosphere.
The small, dark interiors featured in the Afghanistan scenes
proved problematic at first. There
are many scenes that depict Sam and
another soldier in one sort of holding pen or another, and those situations scared the hell out of me,
Elmes acknowledges. Its two guys
in a dark room, four hard walls and
a small doorway, and maybe a hole
in the roof to light through. There
was one window that they could
look out of once in awhile. It was a
challenge to find interesting ways to
create the sense of time passing. In
the end, it proved to be satisfying.
Large HMIs couldnt be
brought to the remote location, so
Elmes and his crew got creative with
smaller fixtures. In one case, Elmes
smashed a 6K Par into a slit window
and let it go 4-5 stops over.Once the

light started to bounce around in

the small space, it did some nice
things. Film emulsion is very good
at seeing that, and it turned out
great.
Elmes used film stock, lenses
and camerawork to further differentiate the movies foreign and domestic looks. In the war zone, he crafted
a grainier, desaturated look by using
older Cooke Speed Panchro lenses

and Kodak Vision2 Expression 500T

5229 without an 85 filter. The camera, an Arricam Lite or Arri 235, was
usually handheld. Those scenes
have a rougher feeling overall, he
says. In the structure of the editing,
it works pretty well because there is
a serenity to the scenes in the suburban house and an overall nervousness to the scenes in Afghanistan.
Elmes says he likes the Speed

Above: Enemy
forces capture
Sam and fellow
soldier Joe
Willis (Patrick
Flueger). The
hard sunlight [in
New Mexico]
was difficult to
control, but it
gave us the look
we wanted,
says Elmes. Left:
The soldiers
endure harsh
conditions
during their
captivity. Those
situations scared
the hell out of
me, Elmes
admits. Its two
guys in a dark
room, four hard
walls and a
small doorway,
and maybe a
hole in the roof
to light through.
There was one
window that
they could look
out of once in
awhile. It was a
challenge to find
interesting ways
to create the
sense of time
passing.

American Cinematographer 63

Healing a Family
Top: When Sam
is unexpectedly
discovered to be
alive, his family
meets him at the
airport for an
emotional
reunion. Middle:
After returning
from combat,
Sam tries to
readjust to his
home life.
Bottom: Tommy
tries his luck
with an
attractive
woman (Lara
Wulsin) in a
local bar.

Panchros sweet quality. Theyre

not as well-corrected as modern,
computer-designed lenses, he
observes. Theyre all handmade, so
each one is a little different; it takes a
bit more work in the timing to unify
the looks, and theyre a bit more
prone to flaring. The wider ones
have slightly more distortion than
modern lenses; theyre sharp, but
not as sharp as the newer lenses. I
really like the feeling they create
onscreen.
When shooting the domestic
scenes, Elmes used Cooke S4 and
Zeiss Variable Prime lenses on an
Arricam Studio. We lit the house
set with big, broad, soft sources, so
the only hard light coming in there
is an occasional bit of hard sunlight,
he says. We tried to make that setting feel homey. The soft sources
were 20Ks aimed through or
bounced off of large muslin rags.
Photo backings were sometimes
softened and diffused with nets
hung outside the houses windows.
Our backings were too close, and I
tried to take away some sharpness,
but you dont really want to light
through it, notes the cinematographer. Lighting the net defeats part
of the good function it serves, so you
64 December 2009

Healing a Family
Top: Grace
struggles to
help Sam heal
his emotional
wounds. The
war is a
backdrop for the
drama, notes
Elmes. Jims
vision was of a
family trying to
fix itself, not of
the war in
Afghanistan.
Middle: As
tensions boil to
a head, Sam
smashes up
the kitchen,
which Tommy
remodeled in
his absence.
Bottom: Director
Jim Sheridan
works through
the scene with
Gyllenhaal and
Maguire.

have to drift it around and find a

place where it works. We didnt have
a lot of room on the soundstage.
Brothers was shot mostly with
a single camera, but two cameras
were employed for scenes involving
the children and several dialogueheavy scenes staged around the dinner table. In the latter situations,
both cameras were placed on dollies
moving around a single, circular
track.
Elmes shot the domestic interiors on two Kodak Vision2 stocks,
200T 5217 and 500T 5218. Those
stocks, along with 5229, are my
favorites, he says. I tended to use
5218 for the night interiors because I
knew they would cut with a night
exterior shot on 18. I shot most of
the day scenes with 5217 to get a
nice, grainless feeling.
For a key scene in which Sam
reunites with his family at the airport, Elmes found a clever way to
compose a shot that would bring the
whole clan together. Taking advantage of a glass door, he managed to
combine the expectant familys faces
with a reflection that shows Sam
striding toward them from the jet,
which sits in the background. Its a
dramatic, poignant moment, a real
66 December 2009

AMC_1109_p017:Layout 1

10/5/09

1:01 PM

Page 1

Healing a Family
Elmes frames a
shot with 1st AC
Keith Davis by
his side.

turning point in the film, says

Elmes. The glass door was one of
the reasons we chose the location. I
fought hard to make the reflection
work and shoot when the sun was in
the right place. The scene ends on
Tommy, who is left alone as the family walks down the hall.
I look for shots like that on

68

the scout, he notes. I remember a

similar shot I got in The Ice Storm
(AC Oct. 97). Kevin Klines character is standing in his neighbors
house in his underwear, swinging a
golf club. Its one of those Philip
Johnson-type houses, with large
panes of glass that reflected the wintry trees blowing in the wind. The

reflection symbolizes both the literal

and figurative storm thats moving
in. A shot like that resonates with the
heart of story. Im proud to have
found those shots, and Im always
glad when I can convince a director
that they make the most of the locations and bring an added dimension
to the film.
Throughout the shoot, Elmes
took reference stills with a pointand-shoot digital camera, a Leica DLux 3, and then manipulated them
with Apples Aperture 2 software to
give his collaborators an idea of how
the final images would look. He successfully lobbied for select print
dailies, which were generated by
Deluxe Laboratories in Hollywood.
For the digital intermediate at
EFilm, the film was scanned at 2K,
and colorist Yvan Lucas collaborated
with Elmes on the color correction.
I was traveling a lot during the DI
process, so the digital stills helped

Yvan and I talk about the films

look, says Elmes.
Release prints were made at
Technicolor, and Elmes observes
that the shift from the digital world
to the photochemical realm made
for some bumps in the road. These
facilities are top notch its just a
matter of different chemistry and
slightly different processes, he
notes. Doing a DI is very different
from photochemical timing. With
photochemical timing, you light
and expose the film a certain way,
and if youve done that consistently,
it just falls into place. There is an
elasticity to the film system in the
print stock and so on that makes
the contrast match up if youve done
your job right. In the DI world, it
doesnt always match up so easily.
The system is very sensitive to the
slightest change in the inherent contrast of shots, and I often find myself
fighting a little more than I think I

should to get those shots to match.

The most important thing in
the DI is to find a basic correction
for the film, he continues. We skip
through all the rolls, pick out various shots and scenes, and try to find
a basic correction. That determines
how all the primaries are going to fit:
what kind of contrast or gamma is
inherent in the negative, and how its
going to translate to the screen. I
want to quickly see if that same basic
correction gets us very close to what
the look should be. Its like finding
your one-light for the whole film.
Most of my films dont print all over
the place; they print in one specific
range because Ive designed it that
way. The same is true in the DI, but
that range can be a little harder to
find. That doesnt mean Im not
going to touch every scene, because I
am. But on Brothers, once we found
the basic look, Yvan took off on his
own, did several days worth of work

without me and stayed very much

on course because he had the key, so
to speak, to the whole reel. Then I
went in and fine-tuned things.

TECHNICAL SPECS
2.40:1
3-perf Super 35mm
Arricam System; Arri 235
Cooke Speed Panchro, S4;
Zeiss Variable Prime lenses
Kodak Vision2
Expression 500T 5229;
Vision2 200T 5217, 500T 5218
Digital Intermediate
Printed on Fuji
Eterna-CP 3513DI

69

An Exceptionally

Sly Fox

Tristan Oliver
takes the hands-on
approach to
Wes Andersons
mischievous
comedy Fantastic
Mr. Fox.
by Mark Hope-Jones

70 December 2009

ilmmaker Wes Anderson

dipped his toe into stop-motion
animation with some brief
sequences in The Life Aquatic
With Steve Zissou (AC Jan. 05),
for which legendary animator
Henry Selick created an assortment
of colorful marine-animal puppets,
and Anderson was sufficiently
enthralled by the process to return
to it for a feature-length effort, a
stop-motion adaptation of Roald
Dahls Fantastic Mr. Fox.
Dahls tale of a debonair fox
whose poaching raids incur the
wrath of three pernicious farmers

essentially forms the middle section

of the movie. Bolstering Dahls plot
are story elements that transpose it
firmly into the heavily stylized,
instantly recognizable world of Wes
Anderson. Mr. Fox (voiced by
George Clooney) serves as the
flawed but lovable patriarch common to the directors films, and
among Mr. Foxs family and friends
are numerous other character types
that will strike a chord with
Anderson devotees.
Selick came aboard the project as animation director but soon
had to leave in order to make his

Photos courtesy of Fox Searchlight and the filmmakers. Lighting diagram by Tristan Oliver.

Opposite: The
titular character
in Fantastic Mr.
Fox enlists a
friend to
reconnoiter a
nearby farm. This
page: Fox visits
Badger, his
attorney, to
discuss a fateful
real-estate
purchase. In
keeping with
director Wes
Andersons
preference,
characters were
often dead center
in the frame.

own picture, Coraline (AC Feb. 09).

Mark Gustafson took his place, and
Tristan Oliver was hired as director
of photography. Having co-shot the
internationally successful Chicken
Run (AC Aug. 00) and Wallace &
Gromit: The Curse of the Were-rabbit
(AC Oct. 05) for Aardman
Animations, Oliver is one of only a
handful of individuals operating at
the very highest level in this specialized branch of cinematography. I
was brought onto the project rather
late I had 12 weeks to get up to
speed so my prep was pretty fast
and furious, says Oliver. My immediate concern was figuring out how
we were going to shoot the movie
and what we would shoot it with.
Production was scheduled to
last 14 months, which meant that
almost all of the equipment had to
be bought rather than rented.
Though the stop-motion industry
has seen a general shift to digital
acquisition in recent times, it was
primarily the need to actually purchase cameras that made digital
SLRs the most realistic option for
Mr. Fox. There simply wasnt the
money to invest in shooting on

film, says Oliver. The problem in

the digital-stills domain is that its a
case of constant obsolescence. At the
back of the stage, we had the Canon
cameras that Corpse Bride [AC Oct.
05] had been shot with, but they
were worn out. By comparison,
some of the Mitchells we shot Curse
of the Were-rabbit with had serial
numbers dating back to 1926!
Just when Oliver was searching for a new digital camera, both
Canon and Nikon had released
high-end professional DSLR models
with full-frame sensors. After testing
them all the way through to a filmout, Oliver chose Nikons D3. Its
a superb camera and produces a
very high-quality image, the depth
of which is not as good as negative
but is certainly heading in that direction, he says. So I had enough latitude, and the cameras gave us no
problems at all. We didnt get a single dead pixel for the entire shoot.
What went onto the front of the
camera was a whole different ballgame, however; thats really where
the system isnt quite ready for feature films.
Oliver had some Cooke

20-100mm T3.1 zooms modified by

John Buckley at Movietech to cover
the D3s 35mm-stills-sized frame,
but he needed to use prime lenses
for most of the shoot, so he had
little choice but to go with Nikon
stills lenses. The problem is that a
cine lens is designed to cover a
much smaller image area than an 8perf sensor, he explains. Only
VistaVision encompasses that larger
image area with a cine-lens design,
but VistaVision lenses are as rare as
hens teeth, so we had to use Nikon
lenses. Unfortunately, theyre not
designed to work dynamically, so
when you pull focus on them, they
lose their center, and they get very
muddy at any stop over T8.5. But
there was no decent alternative.
Nikon has actually stopped making
manual lenses, and, of course, the
entire stop-frame industry is trying
to get the damn things at the
moment, so you have to go to Japan
and look around all the secondhand camera shops to find them!
Mr. Fox was based at 3 Mills
Studios in London, where it took up
an entire row of converted warehouses. We had four large stages;
American Cinematographer 71

An Exceptionally Sly Fox

Top: Buggles and

Bunce look on as
Bean inspects a
memento unearthed
by the farmers in
their attempt to root
out the pesky Fox
family. Medium
Bastard Amber gels
were used for almost
all exterior setups.
Bottom: A triumphant
Fox shows off his
latest discovery:
Beans cider cellar.

72 December 2009

one was the art department, and we

shot in the other three, says Oliver.
Everything was on-site, from construction to editorial and visual
effects. I had to get software developers Matthew Kitcat and Rupert
Fishwick in to build pipelines for the
digital images, which was a whole
new learning curve for me. Ive shot
commercials and music videos digitally, but my feature experience has

been with 35mm. When youve got

multiple digital cameras and we
were typically working up to 35
units at a time you have to deal
with multiple strips of information
at full resolution. We also had to
build a ground-up animation system for the animators to use with
the D3.
Anderson was based in Paris
for a significant portion of the

shoot, so the system had to be

remotely accessible. All of the cameras were connected directly into a
network, enabling a streamlined
workflow. Every time a frame was
taken, it went into our server and
was instantly available to editorial
and visual effects, explains Oliver.
It was a completely wrangle-free
system; nobody was running
around with memory cards
because it all went straight down
into the render farm and out.
When a new unit was being built,
the set would be brought in and
dressed, and then a rough lighting
scheme would be rigged in accordance with the storyboard. At this
stage, says Oliver, we would start to
send frames to Wes. He needed to
be involved very early in the process
because he always had a very specific idea of what he wanted.
A feature of the D3 called Live
View played a vital role in the system
by allowing a constant video feed to
come off the cameras without the
need for an additional tap. This gave
the animators a reference image on
their monitors and also meant that

Anderson could call up a live feed of

any individual camera from Paris.
The directors preference for symmetrical compositions meant that
his suggestions often had more to do
with framing than lighting. We had
a special viewing grid made up for
the monitors that we called the Weso-Meter, recalls Oliver. It divided
the frame evenly into thirds or quarters, depending on how many characters were in the shot, because Wes
would always ask whether something was centered. The constant
use of Live View caused the cameras
to overheat and periodically shut
down to prevent the sensor from
overheating, a problem that was
overcome by rigging small fans on
arms surrounding each D3.
Oliver supervised four other
cinematographers on the project,
Toby Howell, James Lewis, Jeremy
Hogg and Graham Pettit, as well as
lead camera assistant Gunnar

Left: The cider

cellar set at 3
Mills Studios.
Below: Director
of photography
Tristan Olivers
lighting diagram
for the cellar set,
one of the
films most
atmospheric.

Heidar. Everybody has to bend to

the house style on a project like this
or you end up with something that
looks like several films bolted
together, notes Oliver. Im a great
believer in being the crews man. I
think the crew needs to be able to
come to the director of photography

if theyve got a problem, and he

should sort it out for them.
Sometimes on stop-motion films,
there is a highly divisive crewing
structure with discrete micro-crews
working independently of each
other. We didnt have that on this
project. Everyone worked with

American Cinematographer 73

An Exceptionally Sly Fox

Oliver at work
in a satellite set
for the cider
cellar. The
rack of bottles
behind me is
just there as a
gobo to light
through, notes
Oliver. Fox is
concealed
behind the
bottles at right.
Because of the
dynamic of this
shot, we used
liter bottles of
cheap whiskey
because we
needed a long,
straight side of
glass.

everyone else, and we were all talking to each other. That approach
was a great success, and the whole
team was just fantastic.
In working out a visual
approach with Anderson, Oliver
had to find a way to transfer the
directors distinctive style to the
world of animation. Wes is recognized for the very flat look his films
have, the wide lens and big depthof-field, he says. My contention,
which I think he largely agreed with,
was that animation doesnt tend to
look very good under flat lighting.
Thats always been the cheap and
cheerful way of lighting animation.
Ive spent 20 years trying to work in
a more realistic style because I think
animation works best when you forget youre watching animation and
believe what youre seeing, so I was
reluctant to go with that very flat
look. It does show up on some of the
exteriors, and that was our compromise. I was able to work a lot more
mood into the interiors than I think
was there in the initial idea.
Andersons preference for
74 December 2009

wide-angle shots meant that a limited range of lenses was used for most
of the shoot. Our default lens was a
35mm, the equivalent of about an
18mm in standard cinematography,
and Wes very rarely let us go longer
than that, recalls Oliver. Most of
the time, we were on a 35mm, a
28mm or a 24mm, which is exceptionally wide. We were also working
very close to the puppets, and, obviously, that causes a degree of distortion. When youre shooting a puppet with a long nose and you put a
wide-angle lens very close to it, its
nose collapses back into its face, and
the end of the nose, which is out of
focus, looks like a strange blob floating in space. Depth-of-field was the
absolute priority, so most of the
time we were at T22, and that does
have an impact on the image quality. With those Nikon lenses, the
highlights start to halo and starburst
and you start to lose overall sharpness beyond about T11.
Oliver set the ASA rating on
the cameras to 200 and exposurecompensated with slow shutter

speeds. In some situations, each

frame was exposed for up to eight
seconds, which necessitated caution
with regard to spill light but prevented the noise associated with
higher ASA ratings. This lack of
noise came in handy when a solution was found to the problem of
maximizing depth-of-field and
angle of view without distorting
foreground elements. Oliver
explains, The 1.85:1 crop I was
using on the chip was still greater
than 4K, so we had this idea that we
could pull the camera back and then
push in digitally and still keep the
resolution of the image over 2K. Wes
loved this concept because it meant
he got more depth-of-field but kept
the same frame on the same lens.
When you do it, however, the relative size of everything else in the
frame changes. Through testing, I
determined we could have a 23-percent blowup, maximum; above that,
you start to lose resolution. We were
probably doing this on half the sets
for every day of the shoot.
Early European animated

An Exceptionally Sly Fox

Top: In a
sequence
designed to
mimic the look
of classic cop
movies, Fox and
his friends
make their way
through a
fluorescent-lit
sewer as they
prepare to
confront the
farmers. Middle
and bottom:
Puppets, lights
and camera
were tethered
together to
accomplish the
shot. Far right:
Oliver sets
Foxs keylight
for another,
more stylized
scene in the
sewer. Note the
mirror in the
floor to uplight
Foxs face.

films were an inspiration for

Anderson, and one particular influence was The Tale of the Fox (1930),
a stop-motion feature by Wladyslaw
Starewicz. In that film, action cuts
fairly abruptly between puppets of
radically different scales, a technique
76 December 2009

that Anderson borrowed. We were

pretty shameless about hopping
back and forth between scales, says
Oliver. It was something Wes wanted, so other than match-lighting as
well as we could, we were happy to
let the puppets change in appear-

ance without worrying too much

about how to conceal it. In one
sequence, Mr. and Mrs. Fox run
through a pipe, the camera goes
behind a bush, and when they pop
out the other end, theyre farther
away but infinitely smaller. I think
its suitably shameless enough to be
a good gag. I quite like it.
Gaffer Toby Farrar was
charged with sourcing light fixtures
that were affordable and compact
enough to fit into the miniature sets
built for small-scale puppets. There
are 12-volt capsule filament bulbs
we call grains of wheat, which are
quite common, and smaller ones we
call grains of rice, says Farrar. I
searched online for something even
smaller and eventually found some
3-volt/18-milliwatt bulbs we called
grains of sand. They were incredibly tiny; you almost cant believe its
a filament bulb. I also bought some
little cold-cathode fluorescent tubes,
mainly because Kino Flo has
stopped making Micro-Flos, and
none of the rental houses were prepared to sell me any. The tubes I

AMC_1209_p033:Layout 1

10/29/09

12:07 PM

Page 1

An Exceptionally Sly Fox

Right: The
camera is set
for an extreme
close-up of Mrs.
Fox in the mica
cave. Below:
Young Ash Fox
and his cousin,
Kristofferson,
mount a rescue
mission of their
own and land in
Mrs. Beans
kitchen.

found are used to backlight LCD

screens in computers; theyre exceptionally bright, and you can get them
in any length down to 2 inches.
Those became really useful as practicals, but we lit with them as well
because they were easy to hide in our
tiny sets and gave us a really good
stop. Oliver adds, They needed a
lot of correction, as they ran at about

78 December 2009

6700K to 7200K.
Oliver and Farrar tried to set
the units up so that the animators
could work with as little disturbance
as possible. Its better for them to
make any lighting changes in a scene
themselves, because they prefer to be
left alone, says Farrar. It knocks
them out of their stride when they
have to stop and call us in there.

Sometimes we would automate the

lighting so that if they needed a fixture to gradually brighten over 20 or
30 frames, they could set it to
increase by 4 percent every time a
frame was taken. The other way is to
use an old-school Variac dimmer,
mark out the positions and let the
animator get on with it. Each of the
three stages had a centralized dimmer rack, which was networked over
an Ethernet to a simple DMX control board at every unit. It was a very
clever system built to our specifications by ETC [Electronic Theatre
Controls].
Anderson wanted a handcrafted look for the film and favored
tactility over realism. Wes didnt
want any live-action elements in the
film at all, says Oliver. For example,
instead of shooting a live-action
smoke element against black and
then dropping it in, we made cotton-wool smoke by hand. It became
quite an interesting challenge,
because traditionally, you cant do
fire, water and smoke in animation,
but we actually found solutions for
doing them in-camera. We were

using Peppers Ghost, for instance,

which is an old theatrical trick that
uses a half-silvered mirror in front of
the camera. Its a bit old-fashioned,
but it works, and it enabled us to do
quite fiddly things by breaking apart
the elements we could put a tiny
flame on top of a burning pine cone,
which would have been very difficult
to animate in situ.
Another occasion on which a
simple, tangible solution won
Andersons approval came about
when cinematographer Toby Howell
was shooting scenes that involved
walking point-of-view shots. Its
quite difficult to program a slightly
erratic, advancing camera move
with motion-control because it
can look a bit mechanical, says
Howell. On Shaun the Sheep [2007],
Id seen [cinematographer] Charles
Copping use a skate made of a
block of wood to run the camera
over environments very quickly.
Obviously, its reliant on not having
to repeat the move, but it was very
flexible because we could decide
exactly how much motion we wanted. I got a little video camera and
filmed myself showing Wes what I
wanted to do, and he loved it, so I
made a skate about 4 inches wide,
mounted the camera to it and
pushed it forward by hand in tiny
increments for each frame. At one
point, we had these skates across
about six units at the same time.
That helped a lot because we were
short of motion-control gear, and it
was also very quick to shoot.
Fantastic Mr. Fox has a warm
overall look, and Medium Bastard
Amber gels were used with relatively
even lighting for almost all exterior
setups. It was the scenes set in
underground tunnels and sewers,
where Mr. Fox and his family are
forced to flee when the farmers start
digging up their home, that gave
Oliver his most interesting lighting
opportunities. Often, Andersons
illustrative compositions were
abstract enough that they eliminated

any need to worry about justifying

sources, but one exception was a
scene in a cavern of glittering mineral deposits. We covered the walls of
the set in flakes of mica and silver
party glitter, says Oliver. Then we
made three wooden discs that were
motorized to revolve, and each had
about eight 20-watt quartz halogen
capsule bulbs around the edge. The
whole scene was lit with these
revolving discs of light, which
moved very slowly. I put a fourpoint starburst filter on the camera,
and because the light was moving,
the highlights were constantly
changing on the glitter and mica. As
each highlight came into its angle of
incidence to the camera, the filter
would find it and throw up a star.
The idea was that whenever
Mr. and Mrs. Fox were in conflict,
they would be in some fairly sexy
lighting, he notes. The other scene
where that happens is when theyre
standing in front of an underground
waterfall, having an argument. That
was all done with revolving ripple
gags and water gags, so theyve constantly got that water effect moving
across them. I had a wonderful ripple gag made; its two contra-rotating discs of a particular old Flemish
glass that Ive always rather liked.
Trapped underground with
his family and a host of other displaced animals, Mr. Fox decides to
tunnel beneath the farmers to raid
their barns and feed the hungry
masses. Farmer Bean is a cidermaker, and when the band of
marauders tunnels up into his cellar,
they are met with a glorious sight:
hundreds of glowing bottles on
shelves that line every wall of the
cavernous room. Oliver notes that
the difficulty in lighting this scene
was that the cider had to be essentially self-illuminating, because
theres a moment later where Mrs.
Bean puts the lights on, so it had to
appear as though the light was radiating from the liquid.
His solution was to place
79

An Exceptionally Sly Fox

Top: This is
Olivers test
frame for the
glint off Rats
knife in the
cider cellar. A
tiny fragment of
mirror on the
blade facilitated
the glint for one
frame, says
Oliver.
Below: The
cinematographer
checks out the
cellar set.

the set, adjusting to Andersons

unique sensibilities took some getting used to. Wes likes to work in a
way where every frame is a painting
and every setup is a single piece of
art, and it doesnt necessarily matter
whether the following setup relates
to the previous one in terms of visual continuity, observes Oliver. Its
like being in a gallery rather than
looking at a flick book, and after a
while, you do kind of get it. This is
undeniably a Wes Anderson film.

lights behind the bottles and hide

them with carefully positioned timber baffles. We actually used real
cider because that was the cheapest
way to do it, says Oliver. There was
a lot of green in the glass, and that
made the cider quite a dirty yellow,
so we put warm filtration between
the lights and the liquid just to get it
looking rich and golden. The problem with lighting from behind is
that every bottle is effectively a
prism, so for each shot, we had to
light to camera. With just the slightest shift, the bottles lost their glow.
80 December 2009

Wed move the lights and bottles by

tiny amounts until the light was
being refracted through to the angle
of the camera, which was quite fun!
We spent many happy hours lining
all those bottles up to get it right.
The films digital intermediate
was carried out at Technicolors
London facility, where colorist Max
Horton, who also graded Curse of the
Were-rabbit, worked with Oliver to
shape and balance the rich color
palette of the film. (The digital files
were recorded out to Fuji EternaRDI 8511.) In the digital grade, as on

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Post Focus

For the series V,

cinematographer
Stephen Jackson
(below left)
employs Zoic
Studios Zeus
system, which
enables the
filmmakers to
see greenscreen
elements
composited in
real time on set.

82 December 2009

To streamline the large volume of

greenscreen work required for ABCs
new sci-fi series V (which reimagines
the popular 1983 miniseries of the same
name), artists and technicians at Zoic
Studios combined off-the-shelf technologies with proprietary coding techniques to create Zeus, the Zoic Environmental Unification System. The system,
which V director of photography Stephen
Jackson describes as brilliant, really,
provides a clear picture of how the
greenscreen footage, shot onstage in
Vancouver, will integrate with Zoics
virtual sets.
Two days of each episodes eightday schedule are spent on a greenscreen
stage. Lightcraft Technologys Previzion
and Airtrack solutions capture 3-D
camera-tracking data, and Zeus transfers the data from Lightcrafts 3-D engine
into Zoics database, where it can be
pulled up as a 3-D file in Maya. The filmmakers can see the greenscreen
elements composited in real time on set,
no matter how the shot was captured.
The beauty of it is that everybody can
be on the same page, says Jackson.
You can stand on a greenscreen set,
look at a 24-inch monitor and say, Okay,
the actors will walk down this hallway,

turn left and go into that door, just like

youre on a real set. To do that quickly
and efficiently is one of Zeus major selling points.
The immediate access to the
composite also enables Jackson to tailor
the on-set lighting to the virtual set.
Were giving cinematographers the
ability to see the lighting they design
for the virtual set in real time, so they
can match the lighting on the greenscreen set better than they could
before, says Andrew Orloff, Zoics executive creative director/visual-effects
supervisor. Making the combination of
practical and virtual lighting even more
seamless, Zeus incorporates light
profiles from lighting manufacturers to
accurately mimic the characteristics of

particular fixtures in the virtual environments. Weve done shots in medical

labs on the alien ship that have a big
shaft of light, with everything else dark,
says Jackson. With the composite right
there, I know exactly where to put our
lights. Its just a fantastic aid.
Cinematographer Eric Adkins,
who shot the bluescreen production Sky
Captain and the World of Tomorrow (AC
Oct. 04), says Zeus benefits are easy to
appreciate. The biggest challenge [of
shooting for composite] is building in
interactivity to give the set a sense of
presence, he observes. If the cinematographer doesnt know what set is
supposed to be behind the actors, its
difficult to create a believable environment. Zeus and similar systems provide

Photos by Jeff Petry, courtesy of ABC, Zoic Studios and Warner Bros. Television.

Zeus Streamlines V
Workflow
by Steve Hullfish

AMC_1209_p033:Layout 1

10/29/09

12:08 PM

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Top: The Zeus

system
incorporates
Lightcraft
Technologys
Previzion and
Airtrack solutions,
which steadily
track rotary
motion in real
time, allowing
instant
compositing even
when the camera
is handheld.
Middle: Jackson
shoots V with the
Arri D-21, pictured
here outfitted
with its Zeus
components.
Bottom: The sideby-side monitors
show the actual
camera feed as
well as the realtime composite.

a lot of reality-based cues, so you can

look out for anything that conflicts with
the composition. It minimizes the
compromises, so you can be more truthful to your intentions.
On V, Jackson uses Arri D-21s,
capturing images in 4:4:4 color space,

84 December 2009

and works with digital-imaging technician Tasos Mentzelopoulos. We use

two Cine-tal monitors, and Tasos runs a
laptop with Iridas SpeedGrade OnSet to
color-time every shot, explains Jackson. He sends a little thumb drive that
has our look-up tables along with the
footage, and the dailies we get back
from Technicolor Vancouver are bangon.
As the footage passes from
Jacksons hands into the editorial
pipeline, the Zeus system continues to
streamline the workflow. In a typical
visual-effects pipeline, we wait to get
the footage, then we track it, key it,
render the set and then start massaging
the composite, says Orloff. With Zeus,
we get to that massaging point immediately, allowing us to rapidly generate
material for editorial.

Its really difficult to lock the cut

when you dont have the visual-effects
elements and youre looking at the
actors in limbo [in a greenscreen shot],
Orloff continues. We can lock down
that editorial process earlier. And
because were working in an Avidbased environment, the auxiliary time
code maintains the time stamp that
was written onto the original master
tapes. The lab usually doesnt transfer
all of the takes to dailies, just the directors selects. The auxiliary time code is a
constant reference back to the original
time code, regardless of how the shots
are laid down onto the selects reel.
In addition to Zoics Zeus and
Lightcrafts Previzion and Airtrack solutions, other real-time 3-D tracking and
composite packages, such as the MoSys 3D Inserter and Brainstorms eStudio, are also streamlining greenscreen
workflows. 3D Inserter has been used
on the series Sanctuary (AC Nov. 08),
and eStudio has been put through its
paces on the series DVD on TV, shot by
Rick Pendleton. Pendleton, who is using
v. 11 of eStudio, recalls that before the
software became available, Id bring a
cheap switcher with me, and I would
key in a storyboard or photo we thought
the background would end up looking
like so I could light [the greenscreen
set].
Zeus and similar systems are a
definite improvement, but Adkins warns
that they shouldnt be viewed as a
panacea. Productions tend to think
shooting bluescreen or greenscreen
leads to all-around savings, but a lot of
prep work is involved in making it look
realistic, he says. You cant simply say
its a more efficient way of shooting. If
you want it to look good and feel real,
you have to re-create every little nuance
that might be accidental or inherited in
a physical set, and if you dont allow
someone the time to do that, youre
doing the production a disservice.
I

Sol Negrin, ASC

purchased my first issue of
American Cinematographer
in 1942, at Willoughby
Camera in Manhattan. I
immediately became hooked
on the enlightening and
detailed information contributed
by so many professional
cinematographers.
Ive continued to
collect AC through the present
day, and I have acquired issues
dating back to the 1920s. Now
that Im semi-retired and
teaching advanced
cinematography to college
students, AC remains a
valuable reference.
AC is an exceptional
magazine, and it has played a
significant role in my career.

photo by Owen Roizman, ASC

Sol Negrin, ASC

TO SUBSCRIBE BY PHONE:

Call (800) 448-0145 (U.S. only)

(323) 969-4333 or visit the ASC Web site

Filmmakers Forum
Simulating Danger for U.S. Soldiers
by David Stump, ASC

was recently asked by a group called

RL Leaders to photograph material for
a motion simulator designed to teach
U.S. Army soldiers how to detect and
avoid Improvised Explosive Devices,
which the Pentagon has determined are
the single biggest danger our soldiers
face in current battle theaters. This
project, directed by Randal Kleiser,
turned out to be the most unique and
fulfilling one Ive ever undertaken.
The simulator is designed to give
soldiers several scenarios in which IEDs
are concealed along a travel route. They
will sit inside an up-armored Humvee
and feel the motion of the vehicle as it
goes through the preset path. The driver
will have no control over the vehicle; that
variable was eliminated so the soldiers

86 December 2009

could concentrate only on identifying the

signs of IEDs. When the soldiers believe
they see an IED in the training simulation, they follow their procedures and
stop the vehicle, calling in the Explosive
Ordnance Disposal unit to investigate
and disarm the device. The footage we
shot has parallel action streams to
create a kind of choose-your-ownadventure scenario. If the soldier
correctly detects the signs of an IED and
stops the vehicle convoy, then the playback switches to one path in which the
EOD unit comes in and clears the convoy
to continue. If the soldier does not
correctly identify the signs, then a separate stream plays and designates a CG
detonation. Every step of the project was
incredibly complex and required a great

deal of planning and coordination.

Technifex Inc. of Valencia, Calif.,
built a 6-degrees-of-freedom motionbase simulator that holds a modified
version of an up-armored Humvee
surrounded by about 300 degrees of HD
projection. In order to put live-action
content on that screen, we had to build
a camera rig that would see 360
degrees and yield enough resolution to
make a believable simulation for spotting IEDs from a moving vehicle. It was
a terribly difficult task to figure out how
to acquire the images, stitch them
together, turn them into a continuous
band of image and then put them on a
cylindrical screen at a size that would
enable the soldiers to see something
that felt realistic.

Photos courtesy of RL Leaders.

A production
convoy captures
footage for a
motion
simulator
designed to
teach U.S. Army
soldiers how to
detect and avoid
Improvised
Explosive
Devices.

Through testing and discussion,

we determined we would need five
projectors to create a 300-degree field
of view with approximately 10 percent
of image overlap between the projectors. These would project an image onto
a cylindrical screen that would surround
the Humvee on the motion platform and
cover 100 percent of the soldiers
perspective out the windows and in the
mirrors. Anywhere they look from the
inside of the Humvee, or from the
gunner position on top of the vehicle,
theyll see screen with seamless HD
projection.
We shot the material with a
camera rig constructed by Carlos
Acosta that held eight Iconix HD-RH1
cameras under 45-degree half-mirrors
to generate eight 1920x1080 streams
that would be stitched together to form
a single 15Kx1080 progressive image.
The rig was reminiscent of the old
CircleVision camera, with modern
tweaks. To accommodate the stitching
of the individual image streams into one
image, I had to find a camera configuration and lens combination that would
give me a slight image overlap of 6-8
percent. Once the streams were
stitched together, some sections ended
up being 12 minutes long, and at
15Kx1080 30-fps progressive, 12minute parallel-stream files create a
data-management nightmare!
In the field, the streams from the
Iconix cameras were sent to four Codex
Digital Portable recorders (two HD
streams per recorder) and two HFV HD
video recorders. The playback system
comprises five 2K Christie projectors
mounted on a truss rig over the Humvee
and positioned to create one seamless
300-degree image. The 15Kx1080
stream is sliced into five independent
20 Mb/s (server spec, the highest server
data rate we could do in our configuration) 30-fps 1920x1080 Mpeg streams
that are played out of multiple CoolLux
servers. The same servers also host the
master controls, the user interface and
the 7.1 Surround soundtrack for all the
streams, and have to play back all the
streams in perfect sync.
In the field, the Iconix rig was

Left: The crew

prepares to shoot
on location in the
Alabama Hills
near Lone Pine,
Calif. Below: The
camera rig,
which comprised
eight Iconix HDRH1 cameras,
was mounted to a
Flight Head III on
a Z Crane
attached to the
top of a Mercedes
ML55 SUV.

mounted to a Flight Head on a Z Crane

attached to the top of a Mercedes ML55
SUV that was driven by Ross Jordan.
We had military advisers on the project
every step of the way, and we followed
very specific military procedures, including the speed the drivers were trained to
maintain and how they would execute
each maneuver on the road.
We shot the sequences in the
Alabama Hills near Lone Pine, Calif.,
which has rough, rocky terrain that is
similar to terrain in the Middle East. I
knew I needed a gyro head to keep the
camera stabilized over the rough
terrain; I also knew that would be a

problem because of the way movie

gyro heads work, but I didnt have an
adequate alternative within our
budget and timeline. Movie gyro
heads are made to keep their heading
no matter what happens to the platform below it. We had the Flight Head
out on the arm in front of the camera
car, but when the vehicle turned right,
the head compensated and panned the
camera to maintain the original heading. We wound up having to operate
the camera to compensate for every
turn and bend in the road, which
turned out to be an enormously difficult task, but we got most of the way
American Cinematographer 87

Right:
Cinematographer
David Stump,
ASC (left) shows
off the camera
rig. Below:
Constructed by
Carlos Acosta,
the rig positioned
the eight
cameras beneath
45-degree halfmirrors,
generating eight
1920x1080
streams that
were sent to four
Codex Digital
Portable
recorders and
two HFV HD
video recorders.

there through careful operation.

Unfortunately, we didnt succeed
100 percent in the field, so, after stitching together the images to create the
15Kx1080 image, I had to manually panand-scan the image horizontally slip
it frame-by-frame to match the movements of the car on the road so it
didnt appear to the soldiers that their
vehicle was magically sliding across the
desert. In this kind of immersive experience, with the visual field, sound track
and motion platform working, its very
easy to induce motion sickness if just
one of the variables isnt in perfect sync
with the others. We were keenly aware
of that every step of the way and went
to painstaking lengths to make sure the
experience would not induce vertigo or
motion sickness. I used Final Cut Pro
keyframing to slip the image to match
the simulator heading and then sent that
88 December 2009

to our Adobe artists, who did the final

eye match to my QuickTime files.
The next challenge was how to
get the field-of-view that was necessary
to achieve a 360-degree image with 6-8
percent of overlap. I started with the
assumption that I needed the smallest
HD camera I could get my hands on; at
the time, this was the Iconix. Next, I had
to find a lens for the 13" Iconix that
would render a field-of-view of more
than 45 degrees, something thats
incredibly difficult with a small-chip
camera. It turned out that there was one
lens in Los Angeles, a 4.8mm sample
from Fujinon that had a field-of-view of
48-49 degrees. That lens provided just
the right amount of overlap.
The funny thing is, one of the first
things you worry about with a superwide lens is image distortion. The Fujinon 4.8mm is really well made and only

has slight distortion, but I actually had to

reverse-engineer the lens in post and
warp each cameras image in After
Effects; I had to build distortion into the
image in order to make the streams
seamlessly overlap! If I were to manufacture a lens specifically for this
project, I would make a pure spherical
lens, not the typical aspherical lens,
because we needed the pure image and
distortion to make the objects move
from one stream to the next without
appearing to distort. That might seem
contradictory, but it all has to do with
the science of lens optics, which I
learned a lot about from my work on
Stuart Little and this project.
When you design lenses, you
design them knowing that the world is
round and the film plane is flat, so you
build curvature into that lens by grinding
an aspheric not perfectly round
lens. To get proper perspective without
distortion, the lens is ground to actually
change focal length from the center of
the lens to the edges in a kind of bullseye target concentric circle fashion.
Each of the different rings is a different
focal length to correct the perspective
overall. For a wide-angle lens, the edges
are ground a little more telephoto than
the center of the lens, and the total diagonal of the lens is what actually determines the focal length of that lens.
The focal length in an aspherical lens is
never the same across the entire
distance of the lens; rather, it changes
from one formula to another according
to the mathematics of perspective
correction in aspheric grinding.
The problem, especially on this
project, is that in order to make a pleasing and pretty picture in a normal situation, youve changed the path that a
moving object takes across the lens,
especially in the extremes of the top and
bottom of the lens. An object traveling
horizontally across the last 10 percent of
the top or bottom of the frame follows
some funny transitions in angles to get
there, because its going through several
changes in focal length in a short space.
To get all of those funny angles to line
up at the corners when youre overlapping two images, you have to reverse-

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The simulator presents several scenarios and varying terrain in which IEDs are
concealed along a travel route.

engineer all the aspheric aspects of the

lens so that perspective lines dont meet
at angles from the extreme right side of
one camera/projection to the extreme
left side of the adjoining camera.
In After Effects, I had to undo the
perspective correction of each lens individually, add barrel distortion in order to
get the material to match, and make
sure any object passing from one
projector to the next across the image
seam would pass continuously rather
than change direction. It was a very
time-consuming process, but the result
is a seamless 300-degree image around
the motion platform.
Getting proper perspective was
a challenge as well, and we actually
ended up with a bit of a compromise.
The Humvee has a gun turret on the top,
and in our experiments, we determined
that in order to get the size of projection
we needed, with the proper space
between the Humvee and the screen,
we had to exaggerate the size of our
projection slightly to fill the screen and
make sure the gunner wasnt seeing the
edge of the image. We had to slightly
horizontally squeeze the image to get a
slightly taller final picture to fill the
screen. This also cut down on the strobing effect. At the end of the day, there
was a lot of pulling and tugging, digitally speaking, to get the most picture
on the screen.
Through testing, I found that the

Fujinon lens started to lose performance

very quickly beyond an F8. I wanted as
much depth-of-field as I could get, but I
had to find the sweet spot between
depth-of-field and lens performance. I
found it in the F5.6/8-split range. I
wound up NDing down to that stop, but
we had to start our first day of shooting
before the custom ND filters arrived. I
started with ND gel behind the lens, but
that created focus problems, so we
switched to the glass filters as soon as
they arrived.
Another issue, especially with a
cylindrical screen, was crosstalk destroying the image contrast. We used a Stewart low-gain screen for the projection,
but there was still a great deal of light
bouncing off one side of the projection
into the other and mucking up the
contrast levels. We had to compromise
by switching to a lower-gain screen, as
there wasnt a suitable solution for eliminating the bounce crosstalk effect.
The most meaningful aspect of
this entire project was that I was able to
contribute experience and knowledge
Id gained by making Hollywood movies
to a project that would help save U.S.
soldiers lives in Afghanistan and Iraq. I
am very proud to have been part of this
project, and if it saves just one soldier
from an untimely demise, then every
effort that went into the project will
have been well worth it.
I

31 0/301-81 87
www.hydroflex.com

89

New Products & Services

Above: Rob
Hummel, Prime
Focus CEO of
post production,
North America,
unveils the
companys Clear
media-assetmanagement
system during a
launch in
Hollywood.
Below, left to
right: Prime
Focus Michael
Fink, president of
VFX, worldwide;
Namit Malhotra,
founder and
global CEO; and
Michael
Constantine,
director of global
marketing, at
the event.

90 December 2009

Prime Focus Transforms

Global Brand
Prime Focus, a visual-entertainment-services group, has announced the
transformation of its 15 global facilities,
including Post Logic Studios and Frantic
Films VFX, into a single global company
under the Prime Focus brand. Bolstering
the brand identity, the company has also
unveiled the Clear media-asset-management system, the View-D 2-D to 3-D
conversion pipeline, and a new visualeffects production facility in Vancouver.
This rebrand represents the
coming together of all our companies
around the world, says Namit Malhotra,
founder of Prime Focus. Our goal is to
communicate our ability to provide entertainment producers with a Hollywoodcaliber experience, whether theyre

working at a Prime Focus facility in

Mumbai, L.A., London or New York City.
All of the Prime Focus offices
around the world will be interconnected
via Clear, the companys proprietary
Web-based media-asset-management
service, which manages the entire lifecycle of content from production to distribution and offers a secure, fast and reliable digital delivery platform. Clear is
also available as a customizable and
scalable subscription service, allowing
film studios, broadcasters and advertisers to more efficiently manage their
content and workflows.
In the digital-media world, the
management of content, processes and
interactions is key, says Ramki Sankaranarayanan, president and CEO of Prime
Focus Technologies. With Clear, such
workflow items can be managed across
locations, and the platform is customized
to increase productivity. This is particularly pertinent at a time when companies
are looking to cut costs and generate
new revenue streams while changes in
the way content is produced and
managed call for increased collaboration
and efficiencies.
Prime Focus View-D, developed
under the guidance of Chris Bond, president and senior visual-effects supervisor
of Prime Focus VFX, allows filmmakers to
create stereoscopic 3-D movies from

source material shot on virtually any

medium. Michael Fink, CEO of Prime
Focus VFX, observes, Prime Focus is a
visual-effects facility, so weve been
calculating 3-D space from 2-D images
for years and developed the technology
behind View-D after having worked on
several stereo 3-D shows. With View-D,
were offering the industry an exciting
new production method to convert both
library titles and new releases to terrific
stereoscopic quality in considerably less
time than other methods.
Further underscoring Prime Focus
commitment to visual effects, the
company has opened a new facility in
Vancouver that will become Prime Focus
visual-effects hub in North America.
Designed to meet the growing number of
feature productions coming to shoot and
post in the region, the facility is four
times larger than its previous space and
able to house up to 200 artists and
support staff. Located in the citys downtown district, the office boasts the most
up-to-date technological pipeline, a 50seat HD screening room with stereoscopic 3-D viewing capabilities, luxurious client meeting rooms, and studios
for 3-D, 2-D, matte painting, creature
and character animation, R&D and other
departments important to an efficient
workflow.
Were excited about what lies
ahead as we embrace our new corporate
identity and vision, says ASC associate
member Rob Hummel, CEO of post production, North America. The combined
wealth of talent, resources and infrastructure of our global network of
companies will enable us to provide our
clients in North America and abroad
with unparalleled expertise in digital
postproduction and visual effects, tailormade to meet diverse film, television
and commercial projects of varying size,
scope and budget.
For more information, visit
www.primefocusworld.com.

Previsualization Society
Is Born
The Previsualization Society, a
non-profit interdisciplinary organization
dedicated to the advancement of previsualization, has been officially
announced. Founded by previs practitioners for those who produce or use
previs, the society aims to build a
community to maximize the current and
future capabilities and contributions of
the previs medium.
Like the previs process itself, the
society includes members from many
different disciplines and markets; it
already comprises a number of charter
members from the motion-picture industry. The society will focus on producing
and publishing information and
resources to promote effective previs
through key activities such as promoting
standards, education, workflow development and practical knowledge
exchange. As inspired by the recent
Joint Technology Subcommittee on
Previsualization, which included
membership from the ASC, the Art
Directors Guild and the Visual Effects
Society, and which was co-chaired by
David Morin and Ron Frankel, the organization will also provide a platform for
ongoing interchange and learning
between all contributors engaged with
previs.
The Previsualization Societys
founding members comprise David
Dozoretz, founder, director and visualeffects supervisor at Persistence of
Vision Previs; Chris Edwards, CEO of The
Third Floor; Ron Frankel, president and
founder of Proof; Colin Green, president
and founder of Pixel Liberation Front;
Daniel Gregoire, owner of Halon Entertainment; and Brian Pohl, CEO of POV
Previs. The societys charter membership currently includes directors, cinematographers, visual-effects supervisors, production designers, art directors,
editors, technology developers, and
previs artists and supervisors. Funding
for the society is provided through
membership and sponsorship, including
charter sponsor Autodesk.
When I started my career 15
years ago, I used to always have to

The beauty of a good film school is

that it invites you to make mistakes,
nthusiasm.
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At LFS I made plenty, and ignited
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91

explain why productions might need

previs, says Colin Green, president of
the Previsualization Society. Now
producers simply call, saying, We need
previs. Despite the popularity of the
process, there are still many different
views of what previs is and how it
should all work. The Previsualization
Society will be a great way to bring
expertise into a common forum for
everyone to share.
Morin adds, In this brave new
world of digital moviemaking, previsualization has the potential to do a lot more
good than it already has. The Previsualization Society will develop that potential, and anyone interested in helping
should join!
For more information, visit
www.previssociety.com.

P+S Gives 16SR

Digital Facelift
Based on an idea originated by
Joe Dunton, BSC, P+S Technik and Lux
Media Plan have cooperated to design a
digital film magazine for the popular Arri
16SR camera, bundling the successful
characteristics of the 16SR camera with
a digital RAW workflow.
Fitting to the camera by means of
a simple and reversible mechanical
setup, the 16Digital SR Mag can record
HD RAW (1920x1080) and 2K RAW
(2048x1152) images. With a native 16:9,
2048x1152 sensor resolution, the
16Digital SR Mag is compatible with
16mm PL-mount lenses and 16SR
bodies up through the 16SR 3. The
magazine weighs approximately 8.8
pounds, measures 6.9"x12"x5.2", and is
powered directly by the camera, with no
need for an additional power source.
92 December 2009

Additionally, the magazine outputs

flicker-free HD-SDI for on-set video
assist, and the magazines operation
can be controlled through the 16SRs
existing interface.
For more information, visit
www.pstechnik.de.

Fujinon Intros PL-Mount

Zoom Lineup
Fujinon has introduced a line of
four PL-mount zoom lenses, the 1885mm T2.0, the 14.5-45mm T2.0, the
24-180mm T2.6 and the 75-400mm
T2.3-4.0.
Fujinons PL Series was developed with an advanced optics design to
maximize image capture capabilities of
current and rapidly emerging 35mm
motion-picture film and digital-cinematography cameras. Fujinons series of
four zoom lenses provide unprecedented focal range choices from 14.5 to
400mm, with fast T-stop performance
and exceptional optical quality. Uniform
front-barrel size (136mm) and gear
placement, with consistent colormatched image quality in four focal
ranges, facilitate quick lens changes,
efficient production and creative
expression.
With minimal breathing, 280degree focus-barrel rotation, accurate
and repeatable marks, and comparable
size and weight across the line, Fujinon
PL Series zooms are ready to meet the
challenges of modern digital cinematography. The zooms join Fujinons growing
family of quality Digital Cinematography
lenses, including E Series zoom and
prime lenses and C Series zooms,
designed for 23" B4-mount HD cameras.
For more information, visit
www.fujinon.com.

Arri Gets up Close with

Master Macro
Arri has introduced the Master
Macro 100, ideal for tabletop cinematography, product shots, close-up inserts on
features and countless other applications.
With a 1:1 magnification ratio, a maximum aperture of T2.0 and an optical
design developed specifically for macro
work, the Master Macro 100 delivers
phenomenally sharp, high-contrast
images for extreme close-ups of the highest visual quality.
The Master Macro 100 has been
designed and built by Carl Zeiss specifically for motion-picture cinematography.
The optical performance of the lens
matches that of the Master Primes, with
shared features such as exotic glass
materials, special lens coatings and
aspherical glass surfaces that require

ultra-high precision in design and manufacture.

The Master Macro exhibits
remarkably even illumination and resolution across the whole Super 35 frame. It
also benefits from an advanced, multibladed iris, resulting in round and natural
looking out-of-focus highlights.
The front element of the Master
Macro 100 is set back within the lens
housing, which protects it from the
reflected light that can so often be a problem when lighting subjects positioned
close to the front of a lens. In effect, the
forward section of the lens acts as a
shade, absorbing stray light. This, in
combination with the T* XP anti-reflex
coating, strategically painted lens rims
and special light traps, means that cinematographers may spend far less time
worrying about unwanted light on the

image than with any other macro lens. It

also means that the Master Macro
exhibits exceptional contrast and low
veiling glare.
With a magnification ratio of 1:1
and a close-focus distance of only 0.35
meters, the Master Macro 100 can
magnify objects beyond what a diopter
would allow. Super Color Matched to
the Master Primes, Ultra Primes, Ultra
16 lenses and Lightweight Zoom LWZ-1,
the Master Macro allows cinematographers to create a consistent look on set
rather than in post.
For more information, visit
www.arri.com.

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Zeiss Introduces EF-Mount
Lenses
Carl Zeiss has introduced three
EF-mount lenses for use with analog
and digital EOS SLR cameras: the Distagon T* 3,5/18 ZE, the Distagon T*
2,8/21 ZE and the Distagon T* 2/28 ZE.
The Distagon T* 3,5/18 ZE offers
EOS camera users an ultra-wide-angle
lens with an extremely wide 99-degree
angle of view especially suitable for
full-frame sensors. Despite its short
focal length, the lens has an extremely
compact design compared to other
zoom lenses in its category; internal
focusing helps reduce its size while
delivering extremely precise and
smooth focus control. To prevent image
aberrations during close-ups, the lens
floating-elements design individually
repositions internal lens groups during
focusing.
The Distagon T* 2,8/21 ZE is
ideally suited for shooting HD video due
to its wide focus rotation, superb image
quality and minimal breathing charac-

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93

teristics. The lens ability to correct color

errors prevents color fringing and
unwanted lack of focus that can result
from chromatic aberrations, making the
lens a perfect choice for contrast-rich
scenes and intense lighting angles. The
lens floating-elements design also
guarantees high image performance,
from close-ups to infinity.
With an initial aperture opening
of 1.2, the Distagon T* 2/28 ZE is
among the fastest lenses of its kind in
its focal length. Despite its fast aperture
and complex retro-focus construction,
the lens boasts a compact build, making
it highly versatile, and it is ideally suited
for shooting HD video due to its wide
focus rotation, superb image quality,
floating-elements design and minimal
breathing characteristics
All three lenses boast the Zeiss
T* anti-reflective coating, resulting in
razor-sharp images even under the
toughest lighting conditions or with
wide aperture settings. The Distagon T*
3,5/18 ZE retails for a suggested price
of $1,290, the Distagon T* 2,8/21 ZE for
$1,540 and the Distagon T* 2/28 ZE for
$1,080.
For more information, visit
www.zeiss.com/photo.
OptiTek Unveils Optimator
OptiTek has introduced the Optimator, a high-precision instrument for
sensor-location checking and adjustment of camera back focus and sensor
flange depth.
Mounting in place of the lens on
any single-sensor, PL-mount digitalcinematography camera such as the

94 December 2009

Sony F35 and the Red One the Optimator projects a high-resolution test
chart onto the cameras sensor. When
viewed on an instrument-grade monitor,
the chart becomes clearest when the
lens mount is precisely positioned relative to back focus, and adjustments can
be made with the Optimator in place.
The Optimators high-resolution
optics are capable of resolving in
excess of 5,000 lines per inch, which is
several times greater than the resolution of any current digital cinema
camera. Additionally, the test image
covers an area of 34mm, which exceeds
the imaging area of a 5K sensor, and
because the Optimators extremely flat
field displays the whole frame accurately, it makes sensor tilt errors easy to
spot.
The Optimators test image is
projected by a white LED backlight with
a power supply precisely calibrated to
assure identical light intensity on each
step. A built-in rechargeable battery
and on-board battery charger are
provided to power the LED. Lens-mount
adapters precision ground of stainless steel to minimize thermal expansion issues are also available,
making for quick remounting on various
systems such as Canon, Panavision and
Nikon.
Band Pro Film and Digital is
the worldwide distributor of the
OptiTek Optimator. For more information, visit www.bandpro.com and
www.optitek.org.
Alan Gordon Offers
Polaview
Designed specifically for cinematographers, Alan Gordon Enterprises Polaview offers a quick and accurate preview of the effects of a polarizing filter without having to use the
actual filter.
The small, lightweight, precision-machined tool boasts easy portability and handling. Just as a polarizing
filter functions by turning the index
point in either direction, the Polaview
offers a preview of reduced or eliminated glares and reflections, increases
and decreases in contrast, and color

enhancement. The Polaview is available

for a recommended price of $95.
For more information, visit
www.alangordon.com or www.pola
view.net.
Viewing Glass from the
DoP Shop
The DoP Shop, Inc. has released a
new line of viewing glasses, including the
Solar Viewing Glass, which allows the
user to look at the sun without causing
eye damage or vision loss; unlike a darkened ND gaffers glass, the Solar Viewing
Glass is purpose-built for viewing the sun.
Also available is the B/G Viewing
Glass for reviewing foreground subject
contrast against blue- and greenscreens.
The red glass in the B/G Viewer cuts the
wavelengths of key blue and green,
rendering blue- and greenscreens as
black backgrounds visually isolated
from the foreground subject.
A Polarizing Glass and Modern
Contrast Glass are also available from the
DoP Shop. All viewing glasses are
supplied with a silent neck cord and
pouch.
For more information, visit
www.thedopshop.com.
Airfloater Lifts Off
Cin-Qua-Non, a Belgium-based
grip company, has introduced the
Airfloater, a camera-head support system
that allows users to simulate point-ofview and handheld shots.
Developed in collaboration with
key grip Koenraad Firlefijn and cinematographer Glynn Speeckaert (pictured),
the Airfloater gives the sensation of total
freedom of movement without straining
the operators shoulders and back. Lightweight cameras up to the heaviest config-

Airfloater photo by Koenraad Firlefijn.

urations can be perfectly balanced on the

Airfloaters durable air cushion, which can
be quickly inflated with a small hand pump
or deflated to the desired pressure level.
Equipped with Chapman/Whitworth bolt and holes, the Airfloater can
mount to a 150mm Arri bowl, a 300mm
Mitchell bowl or a Cardellini Head Lock,
and it allows 360-degree panning and a tilt
range of -18 degrees to +18 degrees. Additionally, the support system can be locked
and used as a conventional head.
Measuring approximately 10.6"
high by 13.4" wide and long, and weighing
approximately 42 pounds, the Airfloater
can be quickly exchanged with a conventional head, and the camera similarly
mounts to the Airfloater by way of a
heavy-duty quick-release baseplate. The
Airfloater can also come with an optional
custom-built flight case, which features
compartments for all of the bases, plates
and tools.
For more information, visit
www.airfloater.com.
ABC Products Gets
Tripods Rolling
ABC Products, a MovieTech AG
brand, has introduced a transportable
tripod roller specially designed for the
companys MiniCrane, Traveller, Speedy
and Crane 100 series of lightweight
cranes.
The tripod roller is ideal for studio
use, allowing position changes of cranes
with a gross weight of up to approximately
350 pounds. The rollers attach securely to
the legs of the tripod by means of clamps
and without the need for any tools. Tripods
with or without feet can be used with the
roller, and the drivable subframe boasts
three leveling supports, ensuring quick
leveling and a secure and stable footing
when panning.
To facilitate transportation, the
roller, which weighs approximately 15
95

pounds, folds to a length of

40.6", a width of 11.8" and
a height of 5.9". When
unfolded, the roller
measures 65" long; the
dimensions allow even a
fully extended crane tripod
to be mounted to the roller.
For more information, visit www.abc-products.de.
Digital Vision Updates
Product Portfolio
Digital Vision has announced
updates for its 2009 Film Master and
Phoenix product line. The new tools will
introduce new features that significantly
simplify the creative process as well as
integrate support for third-party applications.
As part of the 2009 update, Digital Vision has announced its support for
Interplay, Avids popular production asset
management system. This feature will
enable editors to share entire timelines
with colorists, providing an extra level of
automation and streamlining the grading
process by enabling metadata transfer
and versioning management.
Also among the updates new
offerings, a six-vector color-correction
application provides fast, accurate and
precise color isolation, allowing six
simultaneous color-corrections without
creating keys. Designed for ease of use
and quick setup, this tool also boasts
automatic pre-filtering of the key signal,
which allows easy isolation of material
that has heavy grain structure, noise or
compression artifacts.
2009 Update 1 also introduces
variable softness on the mask or secondaries. This allows colorists to carry out
a pure vortex radius on both sides of a
shape, softening the inside and the
outside independently for each point.
Expanding its support for Red
One workflows, Digital Vision has also
announced support for Red Rocket, a
hardware accelerator card used to
decode and de-bayer R3D media in real
time. The Update 1 software release
also enables native support of many
other digital camera formats, including
Arris D-21, Vision Researchs Phantom
96 December 2009

and Silicon Imagings SI-2K.

For more information, visit
www.digitalvision.se.
Media Technology Employs
Baselight Kompressor
FilmLight has introduced the
Baselight Kompressor, which allows
Baselight color-grading systems to
share direct access to media files with
Avid systems. Following Kompressors
availability, Paris, France-based Medialab Technology integrated the solution
into its postproduction workflow,
enabling the facilitys colorists using
Baselight systems and editors
using Avid Media Composer workstations to collaborate easily and finish
projects more quickly.
As a top commercial post
house, Medialab has an imperative to
complete projects quickly while working at the highest levels of quality and
creativity, says Mark Burton, FilmLights European sales manager. Baselight Kompressor furthers all three of
those goals by making color grading an
integral part of a true nonlinear workflow. For editors and colorists, this is an
exciting and liberating leap forward.
Medialab Technology currently
operates three Baselight systems: a
Baselight Transfer for processing digitally acquired dailies, a Baselight HD
for ingesting media and preparing
projects for final grading, and a Baselight Eight for final grading. The three
systems are connected via a 10 Gb
network now routed through the Baselight Kompressor, which in turn is linked
to an Avid Unity storage device shared
by the companys three Avid Media
Composer Nitris DX editing systems.
Baselight Kompressor allows
us to exchange media directly between
editing and color-correcting suites,
says Thierry Calvet, technical manager
for Medialab Technology. It is also
connected to our 1 Gb facility network,
which allows us to exchange files with
other equipment in our fleet such as our
Flame stations.
For more information, visit
www.filmlight.ltd.uk and www.medial
abtechno.com.

Final Frame Expands

with DCP Services
Final Frame, a New York Citybased postproduction service provider,
has introduced Digital Cinema Package
(DCP) services, providing a complete
solution for the encoding, secure-key
embedding, encryption, storing, decoding, viewing and packaging of digitalcinema content for delivery to digital
cinemas and digital festival screenings.
At the heart of its DCP service,
Final Frame has invested in a scalable
digital-cinema solution from Dolby
including Dolby Secure Content Creator
(SCC2000) and Dolby Screen Server
(DSS200). The Dolby SCC2000 offers a
comprehensive set of tools needed to
take a Digital Cinema Distribution
Master (DCDM) and quickly produce
final 2K or 4K DCPs for distribution to
cinemas via satellite, fiber or physical
media. The DSS200 is a platform that
stores, decodes and delivers content to
a digital-cinema projector. All DCPs
completed at Final Frame follow the
recommended specifications of SMPTE
and the Digital Cinema Initiative.
The Dolby SCC2000 and DSS200
fit seamlessly into the existing Final
Frame digital-intermediate workflow.
The facilitys screening room is
equipped with a Barco digital cinema
projector, which is designed with a highend post and digital cinema workflow in
mind.
Our goal is to help studios, independent filmmakers and television
producers realize their vision, says Will
Cox, co-founder of Final Frame. Providing DCP services was a logical next step
for us, and enables us to provide our
customers with a complete solution of
editing, DI, digital cinema playback and
viewing, as well as DC packaging to
create the final digital distribution files
for delivery to theaters, festivals or
screening rooms. We selected the Dolby
DCP platform because of their long
history of technical innovations and
proven track record of delivering high
quality solutions and support.
For more information, visit
www.finalframepost.com.
I

International Marketplace

98 December 2009

HinesLab dual-camera 3-D

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during the shot.

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Adapters for 35, 65mm,
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3-D Calculator
3-D Consulting

ph. 818-507-5812 www.HinesLab.com

SUPER16INC.COM

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DENECKE, INC.

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Classifieds
EQUIPMENT FOR SALE
Arri16BL Package 4 mags. Crystal + extras Arri maintained
$5,000 (724) 834-4825
USED EQUIPMENT. PRO VIDEO & FILM EQUIPMENT
COMPANY.
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providfilm@aol.com.
www.UsedEquipmentNewsletter.com.
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869-9990.
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100 December 2009

Advertisers Index
16x9, Inc. 98
Abel Cine Tech 33
AC 4, 20, 85
Aja Video Systems, Inc. 25
Alan Gordon Enterprises
98, 99
Arri 45
Backstage Equipment, Inc.
6
Band Pro Film & Digital 19
Burrell Enterprises 98
Camelot Broadcasting Service
93
Cavision Enterprises 67
Chapman/Leonard Studio
Equipment Inc. 65
Cinema Vision 99
Cinematography
Electronics 95
Cinekinetic 98
Cinerover 98
Clairmont Film & Digital 57
Convergent Design 58
Cooke Optics 6, 99
Creative Industry Handbook
68
Deluxe 53
Denecke, Inc. 99

Eastman Kodak 23, C4

Evidence Productions 99

Glidecam Industries 55

Schneider Optics 2
Sim Video Productions, Ltd.
75
Sony Electronics, Inc. 21
Sony Pictures Classics 5, 17
Stanton Video Services 95
Super16 Inc. 99
Sylvania 27

Hines Lab 99
Hydroflex 89

Telescopic 98
Transvideo International 59

K 5600, Inc. 47
Kino Flo 69

VF Gadgets, Inc. 98
Visual Products 6

Laffoux Solutions, Inc. 98

Laser Pacific 81
London Film School 91
Lowel-Light 31

Walter Klassen FX 46
Warner Bros. 7, 11, 15
Weinstein Company, The
9, 13, 43
Welch Integrated 83
Willys Widgets 98
www.theasc.com 4, 89,
95, 97

Filmtools 91
Focus Features C2-1
FTC West 98
Fuji Motion Picture 35

Mac Group US C3
Mole-Richardson Company
98, 99
Movie Tech AG 98
MP&E Mayo Productions 99
MSM Design 91
Nalpak, Inc. 99
New York Film Academy 77
Oppenheimer Camera Prod.
98
P+S Technik 6, 99
Panasonic Broadcast 29
PED Denz 93, 98, 99
Photon Beard 99
PowerMills 99
Pro8mm 98

Zacuto Films 99
ZGC, Inc. 6, 99
Zipcam Systems 79

American Cinematographer 2009 Index

compiled by Christopher Probst
Indexed by Title, Cinematographer, Format, Subject and Author

3-PERF
Baader Meinhof
Complex, The,
Sept. p. 32
Bright Star, Oct. p. 58
Brothers, Dec. p. 60
Cairo Time, Nov. p. 26
Curious Case of
Benjamin Button,
The, Jan. p. 42
Damned United, The,
Nov. p. 58
Education, An, April p. 66
Grey Gardens, May p. 16
International, The, Feb.
p. 14
Mad Men, Oct. p. 30
Mesrine, Sept. p. 58
Moon, July p. 14
Nine, Dec. p. 36
North Face, Sept. p. 20
Push: Based on the Novel
by Sapphire, April
p. 72
Sin Nombre, April p. 62
Takeo, Aug. p. 60
True Blood, March p. 36
Unusuals, The, March
p. 40
Where the Wild Things
Are, Nov. p. 34
8MM SUPER 8MM
Life on Mars, March
p. 33
Stingray Sam, Aug. p. 22
Triangle of Need, Jan.
p. 10
16MM SUPER 16MM
Alien Trespass, March
p. 62
Asphyxia, May p. 12
Broken Embraces, Dec.
p. 48
Bronson, Oct. p. 44
Damned United, The,
Nov. p. 58
Hurt Locker, The, July
p. 44
Mesrine, Sept. p. 58

National Parks: Americas

Best Idea, The, Oct.
p. 18
Triangle of Need, Jan.
p. 10
Wrestler, The, Jan. p. 22
35MM 1.85:1
Adoration, May p. 20
Downloading Nancy,
June p. 20
Patiences, April p. 10
Private Lives of Pippa
Lee, The, Nov. p. 18
Sraphine, July p. 20
Tokyo Sonata, March
p. 22
35MM ANAMORPHIC 2.40:1
Broken Embraces, Dec.
p. 48
Chri, July p. 34
Hes Just Not That Into
You, Feb. p. 52
Inglourious Basterds,
Sept. p. 44
Loss of a Teardrop
Diamond, The, Dec.
p. 30
Love Hate, Sept. p. 14
Soloist, The, May p. 56
Star Trek, June p. 28
State of Play, May p. 36
35MM SUPER 35MM (1.78:1)
Grey Gardens, May p. 16
Halo, We Are ODST,
Dec. p. 12
Life on Mars, March
p. 33
Mad Men, Oct. p. 30
True Blood, March p. 36
Unusuals, The, March
p. 40
35MM SUPER 35MM (1.85:1)
Baader Meinhof
Complex, The, Sept.
p. 32
Bright Star, Oct. p. 58
Bronson, Oct. p. 44
Damned United, The,
Nov. p. 58
Defiance, Jan. p. 58

Julie & Julia, Aug. p. 28

Push: Based on the Novel
by Sapphire, April
p. 72
Spears, Britney, Circus,
Feb. p. 10
35MM SUPER 35MM (2.40:1)
Brothers, Dec. p. 60
Cairo Time, Nov. p. 26
Curious Case of Benjamin
Button, The, Jan.
p. 42
Drag Me to Hell, June
p. 14
Education, An, April p. 66
Frost/Nixon, Jan. p. 16
Ghosts of Girlfriends
Past, May p. 48
Gomorrah, March p. 18
Hunger, April p. 16
International, The, Feb.
p. 14
Mesrine, Sept. p. 58
Moon, July p. 14
Night at the Museum:
Battle of the
Smithsonian, June
p. 54
Nine, Dec. p. 36
North Face, Sept. p. 20
Philips, Carousel, Aug.
p. 12
Public Enemies, July
p. 24
Red Cliff, Dec. p. 22
Revolutionary Road,
Jan. p. 28
Sin Nombre, April p. 62
Surrogates, Oct. p. 66
Takeo, Aug. p. 60
Taking of Pelham 1 2 3,
The, July p. 52
Terminator Salvation,
June p. 40
Watchmen, April p. 28
Where the Wild Things
Are, Nov. p. 34
Wolverine, May p. 24

65MM
International, The, Feb.
p. 14
Microsoft Installation,
June p. 10
Ackerman, ASC, Thomas,
April p. 100
Ackroyd, BSC, Barry, July
p. 44
Acord, ASC, Lance, Nov.
p. 34
Adoration, May p. 20
Aitken, Brook, Aug. p.38
Alberti, Maryse, Jan. p.22
Alien Trespass, March p. 62
Anderson, ASC, Peter, Jan.
p. 94
Angels & Demons, Aug.
p. 46
Antichrist, Nov. p. 66
ASC CLOSE-UP
Ackerman, Thomas, April
p. 100
Beristain, Gabriel, Jan.
p. 96
Caso, Alan, June p. 100
Gruszynski, Alexander,
Sept. p. 104
Irwin, Mark, July p. 76
Lindley, John, May p. 88
Michos, Anastas, Nov.
p. 100
Peterson, Lowell, Oct.
p. 92
Ryan, Paul, Dec. p. 116
Schneider, Aaron, Aug.
p. 76
Suschitzky, Peter, Feb.
p. 88
Wunstorf, Peter, March
p. 84
Ashizawa, JSC, Akiko, March
p. 22
Asphyxia, May p. 12
Baader Meinhof Complex,
The, Sept. p. 32
Bckar, FSF, Fredrik, Aug.
p.12
Bailey, ASC, John, Feb. p. 52;
June p. 78
American Cinematographer 101

Beebe, ASC, ACS, Dion, Dec.

p. 36
Beristain ASC, BSC, Gabriel,
Jan. p. 96
Big River Man, April p. 74
BLACK-AND-WHITE
Damned United, The,
Nov. p. 58
Manhatta, Feb. p. 68
Nine, Dec. p. 36
Triangle of Need, Jan.
p. 10
Bobbitt, BSC, Sean, April p. 16
Boehm, Alec, May p. 74
Box, The, Nov. p. 48
Brandt, Kolja, Sept. p. 20
Bright Star, Oct. p. 58
Broken Embraces, Dec.
p. 48
Bronson, Oct. p. 44
Brothers, Dec. p. 60
Brunet, AFC, Laurent, July
p. 20
Cairo Time, Nov. p. 26
Caso, ASC, Alan, June p. 100
Chri, July p. 34
COMMERCIALS
Halo, We Are ODST,
Dec. p. 12
Microsoft, June p. 10
Philips, Carousel, Aug.
p. 12
Coraline, Feb. p. 26
Cove, The, Aug. p. 38
Crank: High Voltage, April
p. 22
Crudo, ASC, Richard, Jan.
p. 94
Curious Case of Benjamin
Button, The, Jan. p. 42
Damned United, The, Nov.
p. 58
Daviau, ASC, Allen, Jan.
p. 94
De Borman, BSC, John, April
p. 66
Deakins, ASC, BSC, Roger,
Jan. p. 28
Defiance, Jan. p. 58
Delbonnel, ASC, AFC, Bruno,
Sept. p. 102
Deming, ASC, Peter, June
p. 14
Dexter, March p. 31

102 December 2009

Dibie, ASC, George Spiro,

Jan. p. 94
DiBona, Craig, March p. 33
DIGITAL CINEMATOGRAPHY
2K CAPTURE
Antichrist, Nov. p. 66
Red Dwarf: Back to
Earth, Oct. p. 76
4K CAPTURE
Antichrist, Nov. p. 66
Coraline, Feb. p. 26
District 9, Sept. p. 26
Knowing, April p. 44
Maine, The, Into
Your Arms, Oct.
p. 12
Precious, May p. 10
Puppy Love, July
p. 10
Red Dwarf: Back to
Earth, Oct. p. 76
Synaesthesia, Nov.
p. 12
Testing Digital
Cameras, June
p. 64
Testing Digital
Cameras: Part 2,
Sept. p. 70
DIGITAL VIDEO/VIDEO
Adoration, May p. 20
Big River Man, April
p. 74
Crank: High Voltage,
April p. 22
Damned United, The,
Nov. p. 58
My Suicide, May
p. 76
Red Machine, The,
May p. 74
September Issue,
The, April p. 70
Still Me, Jan. p. 81
HIGH-DEFINITION VIDEO
Box, The, Nov. p. 48
Cove, The, Aug. p. 38
Curious Case of
Benjamin Button,
The, Jan. p. 42
Dexter, March p. 31
District 9, Sept. p. 26
Georgia OKeeffe,
Oct. p. 24

Hurt Locker, The,

July p. 44
Love Hate, Sept.
p. 14
Public Enemies, July
p. 24
Reverie, Feb. p. 20
Spirit, The, Feb. p. 40
State of Play, May
p. 36
Stingray Sam, Aug.
p. 22
Testing Digital
Cameras, June
p. 64
Testing Digital
Cameras: Part 2,
Sept. p. 70
Unusuals, The,
March p. 40
U.S. Army Training
Film, Dec. p. 86
V, Dec. p. 82
STILLS
Coraline, Feb. p. 26
Fantastic Mr. Fox,
Dec. p. 70
NSM PSM, Clap
Your Brains Off,
March p. 12
Reverie, Feb. p. 20
DIGITAL INTERMEDIATE
Adoration, May p. 20
Alien Trespass, March
p. 62
Antichrist, Nov. p. 66
Baader Meinhof
Complex, The,
Sept. p. 32
Big River Man, April
p. 74
Box, The, Nov. p. 48
Bright Star, Oct. p. 58
Broken Embraces,
Dec. p. 48
Bronson, Oct. p. 44
Brothers, Dec. p. 60
Cairo Time, Nov. p. 26
Chri, July p. 34
Cinematographers,
Colorists and the
DI, June p. 78
Coraline, Feb. p. 26
Cove, The, Aug. p. 38

Crank: High Voltage,

April p. 22
Curious Case of
Benjamin Button,
The, Jan. p. 42
Damned United, The,
Nov. p. 58
Defiance, Jan. p. 58
District 9, Sept. p. 26
Drag Me to Hell,
June p. 14
Education, An, April
p. 66
Fantastic Mr. Fox,
Dec. p. 70
Frost/Nixon, Jan. p. 16
Ghosts of Girlfriends
Past, May p. 48
Grey Gardens, May
p. 16
Hes Just Not That
Into You, Feb. p. 52
Hunger, April p. 16
Hurt Locker, The,
July p. 44
Inglourious Basterds,
Sept. p. 44
International, The,
Feb. p. 14
Julie & Julia, Aug.
pp. 28, 32
Knowing, April p. 44
Loss of a Teardrop
Diamond, The,
Dec. p. 30
Love Hate, Sept. p. 14
Mesrine, Sept. p. 58
Moon, July p. 14
Night at the
Museum: Battle
of the Smithsonian,
June p. 54
Nine, Dec. p. 36
North Face, Sept. p. 20
Private Lives of
Pippa Lee, The,
Nov. p. 18
Public Enemies, July
p. 24
Push, March p. 66
Push: Based on the
Novel by Sapphire,
April p. 72
Red Cliff, Dec. p. 22

Revolutionary Road,
Jan. p. 28
September Issue,
The, April p. 70
Sin Nombre, April p. 62
Soloist, The, May p. 56
Spirit, The, Feb. p. 40
Star Trek, June p. 28
State of Play, May p. 36
Surrogates, Oct. p. 66
Taking of Pelham
1 2 3, The, July p. 52
Terminator Salvation,
June p. 40
Watchmen, April p. 28
Where the Wild Things
Are, Nov. p. 34
Wolverine, May p. 24
Wrestler, The, Jan. p. 22
DIRECTOR INTERVIEWS
Abrams, J.J., June p. 28
Almodvar, Pedro, Dec.
p. 48
Aronofsky, Darren, Jan.
p. 22
Beltran, Frank, March
p. 12
Bigelow, Kathryn, July
p. 44
Burns, Ken, Oct. p. 18
Creasey, Corey, Nov.
p. 12
Culter, R.J., April p. 70
Daniels, Lee, April p. 72
Edel, Uli, Sept. p. 32
Frears, Stephen, July
p. 34
Garrone, Matteo, March
p. 18
Getzinger, Jennifer, Oct.
p. 34
Howard, Ron, Jan. p. 16
Kelly, Richard, Nov. p. 48
Kibbey, Ian, Nov. p. 12
Kurosawa, Kiyoshi,
March p. 22
Levy, Shawn, June p. 54
Maringouin, John, April
p. 74
McG, June p. 40
Mendes, Sam, Jan. p. 28
Miller, Frank, Feb. p. 40
Miller, David Lee, May
p. 76

Miller, Rebecca, Nov.

p. 18
Mostow, Jonathan, Oct.
p. 66
Naylor, Doug, Oct. p. 76
Neveldine, Mark, April
p. 22
Provost, Martin, July
p. 20
Psihoyos, Louie, Aug.
p. 38
Refn, Nicholas Winding,
Oct. p. 44
Sanders, Rupert, Dec.
p. 12
Snyder, Zach, April p. 28
Sullivan, Catherine, Jan.
p. 10
Taylor, Brian, April p. 22
Tykwer, Tom, Feb. p. 14
Woo, John, Dec. p. 22
District 9, Sept. p. 26
DOCUMENTARIES
Apollo 11 footage, Nov.
p. 78
Big River Man, April
p. 74
Cove, The, Aug. p. 38
National Parks: Americas
Best Idea, The, Oct.
p. 18
September Issue, The,
April p. 70
Dod Mantle, BSC, DFF,
Anthony, Nov. p. 66
Downloading Nancy, June
p. 20
Doyle, HKSC, Christopher,
June p. 20
Drag Me To Hell, June
p. 14
Dryburgh, ASC, Stuart, Nov.
p. 98
Duggan, ACS, Simon, April
p. 44
Dunn, BSC, Andrew, April
p. 72
Dunson, Aaron, May p. 12
Education, An, April p. 66
Eley, Mike, May p. 16
Elliot, Paul, Oct. p. 24
Elmes, ASC, Fred, Dec. p. 60
Fantastic Mr. Fox, Dec.
p. 70

FILMMAKERS FORUM
Shooting Push in Hong
Kong, March p. 66
Simulating Danger for
U.S. Soldiers, Dec.
p. 86
FILM PRESERVATION/RESTORATION
Apollo 11 footage, Nov.
p. 78
Manhatta, Feb. p. 68
Mr. Hulots Holiday, Sept.
p. 78
Red Shoes, The, Sept.
p. 78
Robe, The, April p. 54
Fong, Larry, April p.28
Fraser, Greig, Oct. p. 58;
Dec. p. 12
Frost/Nixon, Jan. p. 16
Gantz, Robert, Sept. p. 58
Georgia OKeeffe, Oct.
p. 24
Germain, Raoul, Jan. p. 10
Ghosts of Girlfriends
Past, May p. 48
Goi, ASC, Michael, Jan.
p. 94
Goldblatt, ASC, BSC,
Stephen, Aug. p.28
Goldman, Adriano, April
p. 62
Gomorrah, March p. 18
Green, ASC, Jack, Jan.
p. 70; March p. 83
Grey Gardens, May p. 16
Griebe, Frank, Feb. p. 14
Grobet, ASC, AMC, Xavier
Prez, July p. 74
Gruszynski, ASC, Alexander,
Sept. p. 104
Halo, We Are ODST, Dec.
p. 12
Hes Just Not That Into
You, Feb. p. 52
Hofmann, ASC, AMC,
Henner, Feb. p. 86
Huang, Chun Ming, Jan.
p. 81
Hunger, April p. 16
Hurlbut, ASC, Shane, June
p. 40
Hurt Locker, The, July
p. 44
Hurwitz, ASC, Tom, Nov.
p. 99

IN MEMORIA
Cardiff, BSC, Jack, July
p. 72
Jessup, ASC, Robert C.,
Jan. p. 92
Moore, ASC, Richard,
Nov. p. 96
Inglourious Basterds,
Sept. p. 44
International, The, Feb.
p. 14
Irwin, ASC, CSC, Mark, July
p. 76
Jackson, Stephen, Dec.
p. 82
Jarnagin, Jendra, July p. 10
Jensen, Matthew, March
p. 36
Jessup, ASC, Robert C., Jan.
p. 92
Julie & Julia, Aug.
pp. 28, 32
Khondji, ASC, AFC, Darius,
July p. 34
Klausmann, BVK, Rainer,
Sept. p. 32
Kline, ASC, Richard, Jan.
p. 94
Kloss, Thomas, Feb. p. 10
Knowing, April p. 44
Kozachik, ASC, Pete, Feb.
p. 26
Kuras, ASC, Ellen, April p. 98
Laforet, Vincent, Feb. p. 20
Lanzenberg, Christophe, June
p. 10
Levine-Heaney, Nathan, May
p. 10
Levy, ASC, ACS, Peter, March
p. 40
Li, Rain, June p. 20
Lieberman, ASC, Charles,
Jan. p. 94
Life on Mars, March p. 33
LIGHTING DIAGRAMS
Fantastic Mr. Fox, Dec.
p. 73
Mad Men, Oct. p. 36
Nine, Dec. p. 41
Revolutionary Road, Jan.
p. 35
State of Play, May
pp. 39, 40
Surrogates, Oct. p. 69

American Cinematographer 103

Terminator Salvation,
June p. 44
Wolverine, May
pp. 27, 29, 31
Lindley, ASC, John, May
p. 88
Liu, ASC, Robert F., March
p. 46
Lonsdale, ASC, Gordon C.,
May p. 86
Loss of a Teardrop
Diamond, The, Dec.
p. 30
Love Hate, Sept. p. 14
Lu, Yue, Dec. p. 22
Lynch, John, Sept. p. 14
MacPherson, ASC, Glen,
Jan. p. 94
Mad Men, Oct. pp. 30, 34
Maine, The, Into Your
Arms, Oct. p. 12
Manhatta, Feb. p. 68
Mankofsky, ASC, Isidore,
March p. 54
Manley, ASC, Christopher,
Oct. pp. 30, 34
Maringouin, John, April p.74
Martin, Andy, Oct. p. 76
McAlpine, ASC, ACS,
Donald, Feb. p. 60;
March p. 83; May p. 24
McGarvey, ASC, BSC,
Seamus, April p. 98;
May p. 56
McLeod, ASC, Geary, Oct.
p. 91
Mesrine, Sept. p. 58
Michos, ASC, Anastas, Nov.
p. 100
Miller, Scott, Aug. p. 22
Mindel, ASC, Dan, June
p. 28; July p. 74
Miranda, Claudio, Jan. p. 42
Montpellier, CSC, Luc, Nov.
p. 26
Moon, July p. 14
Moore, Allen, Oct. p. 18
Moore, ASC, Richard, Nov.
p. 96
Morgenthau, ASC, Kramer,
March p. 33
Moxness, CSC, David,
March p. 62
Mr. Hulots Holiday, Sept.
p. 78
104 December 2009

MUSIC VIDEOS
Maine, The, Into Your
Arms, Oct. p. 12
NSM PSM, Clap Your
Brains Off, March
p. 12
Spears, Britney, Circus,
Feb. p. 10
My Suicide, May p. 76
National Parks:
Americas Best Idea,
The, Oct. p. 18
NEW ASC ASSOCIATES
Baker, Kay, Sept. p. 102
Band, Amnon, Sept.
p. 102
Bender, Mark, July p. 74
Chiolis, Mark, Sept.
p. 102
Clark, Adam, Nov. p. 99
Hsui, Cliff, Nov. p. 99
Nagi, Tony, Jan. p. 94
Ordway, Walter F., April
p. 98
Petrovich, Kristin, Aug.
p. 74
NEW ASC MEMBERS
Delbonnel, Bruno, Sept.
p. 102
Dryburgh, Stuart, Nov.
p. 98
Farrar, Scott, June p. 98
Grobet, Xavier Prez,
July p. 74
Hurwitz, Tom, Nov. p. 99
Kimmel, Adam, Dec.
p. 110
Lieberman, Charles, Jan.
p. 94
Lonsdale, Gordon C.,
May p. 86
McGarvey, Seamus, April
p. 98
McLeod, Geary, Oct.
p. 91
Mindel, Dan, July p. 74
Neyman, Yuri, Jan. p. 94
Notarile, Crescenzo,
Sept. p. 102
Schliessler, Tobias, Aug.
p. 74
Spruill, Brian, April p. 98
(Honorary)
Stacey, Terry, Nov. p. 99

Stoffers, Rogier, Sept.

p. 102
Neyman, ASC, Yuri, Jan.
p. 94
Night at the Museum:
Battle of the
Smithsonian, June
p. 54
Nine, Dec. p. 36
North Face, Sept. p. 20
Notarile, ASC, Crescenzo,
Sept. p. 102
NSM PSM, Clap Your
Brains Off, March p. 12
Nuttgens, BSC, Giles, Dec.
p. 30
Okada, ASC, Daryn, May
p. 48
Olivares, Khristian, March
p. 12
Oliver, Tristan, Dec. p. 70
Onorato, AIC, Marco, March
p. 18
Opaloch, Trent, Sept. p. 26
Patiences, April p. 10
Pearl, ASC, Daniel, Jan.
p. 94
Peterson, ASC, Lowell, Oct.
p. 92
Philips, Carousel, Aug.
p. 12
Platt, Aaron, Oct. p. 12
Pope, ASC, Bill, Feb. p. 40
Poster, ASC, Steven, Nov.
p. 48
POSTPRODUCTION
Autodesk Updates
Lustre, April p. 78
Brand-New Shoes,
Sept. p. 78
Celebrating Mr. Hulots
Holiday Anew, Sept.
p. 78
Cinematographers,
Colorists and the DI,
June p. 78
Degraining Super 16 for
Alien Trespass,
March p. 62
DP Dailies Systems
Targets Image
Control, July p. 60
An Epic Endeavor, April
p. 54

Exploring Technicolors
DP Lights on Takeo,
Aug. p. 60
FotoKem Transfers Still
Me, Jan. p. 81
HPA Honors Excellence
in Post, Jan. p. 80
Lowry Digital Restores
Manhatta, Feb.
p. 68
An Old Soul, Jan. p. 42
One Giant Leap for
Clarity, Nov. p. 78
Zeus Streamlines V
Workflow, Dec. p. 82
Precious, May p. 10
Prieto, ASC, AMC, Rodrigo,
May p. 36; Dec. p. 48
Primes, ASC, Robert, Jan.
p. 94; Feb. p. 86
Prinzi, Frank, March p. 33
Private Lives of Pippa
Lee, The, Nov. p. 18
Puppy Love, July p. 10
Push, March p. 66
Push: Based on the Novel
by Sapphire, April p. 72
Quinn, ASC, Declan, Nov.
p. 18
Rawlings Jr., ASC, Richard
M., March p. 83
Red Cliff, Dec. p. 22
Red Dwarf, Oct. p. 76
Red Machine, The, May
p. 74
Red Shoes, The, Sept.
p. 78
Reverie, Feb. p. 20
Revolutionary Road, Jan.
pp. 28, 36
Richardson, ASC, Robert,
Sept. p. 44
Richman, Bob, April p. 70
Robe, The, April p. 54
Roizman, ASC, Owen, Jan.
p. 94
Ryan, ASC, Paul, Dec. p. 116
Sarossy, BSC, CSC, Paul,
May p. 20
Schaefer, ASC, Roberto, Nov.
p. 98
Schliessler, ASC, Tobias,
July p. 52; Aug. p. 74
Schneider, ASC, Aaron, Aug.
p. 76

Schulte-Eversum, Kristina,
Aug. p. 60
Schwartzman, ASC, John,
June p. 54
Sell, Donavan, Nov. p. 12
Semler, ASC, ACS, Dean,
April p. 98
September Issue, The,
April p. 70
Sraphine, July p. 20
Seresin, Ben, Aug. p. 54
Serra, ASC, AFC, Eduardo,
Jan. p. 58
Shaw, Gary, July p. 14
Sin Nombre, April p. 62
Smith, BSC, Larry, Oct. p. 44
Smithard, Ben, Nov. p. 58
Soloist, The, May p. 56
Sova, ASC, Peter, March
p. 66
Spears, Britney, Circus,
Feb. p. 10
SPECIAL LAB PROCESSES
Damned United, The,
Nov. p. 58
Gomorrah, March p. 18
Mesrine, Sept. p. 58
SPECIAL VENUE
Microsoft Installation,
June p. 10
Triangle of Need, Jan.
p. 10
U.S. Army Training Film,
Dec. p. 86
SPECIALIZED CINEMATOGRAPHY
Coraline, Feb. p. 26
Fantastic Mr. Fox, Dec.
p. 70
U.S. Army Training Film,
Dec. p. 86
Spinotti, ASC, AIC, Dante,
July p. 24
Spirit, The, Feb. pp. 40, 46
Squires, Buddy, Oct. p. 18
Stacey, ASC, Terry, Nov.
p. 99
Star Trek, June pp. 28, 32
State of Play, May p. 36
Still Me, Jan. p. 81
Stingray Sam, Aug. p. 22
Stoffers, ASC, NSC, Rogier,
Sept. p. 102
Stump, ASC, David, Jan.
p. 94; Dec. p. 86
Surrogates, Oct. p. 66

Suschitzky, ASC, Peter, Feb.

p. 88
Synaesthesia, Nov. p. 12
Takeo, Aug. p. 60
Taking of Pelham 1 2 3,
The, July p. 52
Taylor, ASC, Rodney, Jan.
p. 94
TELEVISION
Dexter, March p. 31
Georgia OKeeffe, Oct.
p. 24
Grey Gardens, May p. 16
A Life Full of Miracles,
March p. 46
Life on Mars, March
p. 33
Mad Men, Oct. p. 30
National Parks:
Americas Best Idea,
The, Oct. p. 18
Quality Viewing, Nov.
p. 76
Red Dwarf: Back to
Earth, Oct. p. 76
True Blood, March p. 36
Unusuals, The, March
p. 40
V, Dec. p. 82
Terminator Salvation,
June p. 40
Tirone, Romeo, March p. 31
Tokyo Sonata, March p. 22
Toll, ASC, John, March p. 83
Totino, ASC, Salvatore, Jan.
p. 16; Aug. p.46
Transformers: Revenge of
the Fallen, Aug. p. 54
Triangle of Need, Jan.
p. 10
Trost, Brandon, April p. 22
True Blood, March p. 36
Unusuals, The, March
p. 40
V, Dec. p. 82
Varese, AMC, Checco,
March p. 36
Vincent, ASC, Amelia, Feb.
p. 86
VISUAL EFFECTS
Angels & Demons, Aug.
p. 46
Assessing Previz, June
p. 70
Red Dwarf: Back to
Earth, Oct. p. 80

Spirit, The, Feb.

pp. 40, 46
Star Trek, June p. 32
Transformers: Revenge
of the Fallen, Aug.
p. 54
V, Dec. p. 82
Wagner, ASC, Roy, March
p. 40
Watchmen, April p. 28
Where the Wild Things
Are, Nov. p. 34
Wiegand, Lisa, May p. 76
Willis, ASC, Gordon, Nov.
p. 98
Wolverine, May p. 24
Wood, Oliver, Oct. p. 66
Wrestler, The, Jan. p. 22
Wunstorf, ASC, Peter,
March p. 84; April p. 10
Zhang, Li, Dec. p. 22
Zsigmond, ASC, Vilmos,
March p. 83
Index by Author
Argy, Stephanie
ASC Technology
Committee Looks
Ahead to 2010, Dec.
p. 18
Assessing Previz, June
p. 70
Autodesk Updates
Lustre, April p. 78
Celebrating Mr. Hulots
Holiday Anew, Sept.
p. 78
Crafting a Stylized
Caper, May p. 74
Red Dwarf Returns,
Oct. p. 76
Technical Knockouts,
May p. 62
Testing Digital
Cameras, June p. 64
Testing Digital
Cameras: Part 2,
Sept. p. 70
Bankston, Douglas
An Old Soul, Jan. p. 42
Shooting Into Your
Arms at Ontario
Airport, Oct. p. 12
Terror on the Tracks,
July p. 52

A Very Active Member,

March p. 54
Bergery, Benjamin
Brothers in Arms, Jan.
p. 58
Impressionistic
Cinema, July p. 34
A Nazis Worst
Nightmare, Sept.
p. 44
Birchard, Robert S.
Brand-New Shoes,
Sept. p. 78
In Memoriam, July p. 72
Bosley, Rachael K.
ASC Talents in Palm
Springs, March
p. 83
Close Focus, Jan. p. 28
A Dark Romance, June
p. 20
Furnishing a Plain
Period Look, Jan.
p. 36
A Lyrical Love, Oct.
p. 58
New Director Shapes
The New Girl, Oct.
p. 34
Pitch Perfect, Oct.
p. 30
Reforming A Ladies
Man, May p. 48
Crudo, ASC, Richard
In Memoriam, Nov. p. 96
Edlund, ASC, Richard
Assessing Previz, June
p. 70
Testing Digital
Cameras, June p. 64
Gray, Simon
Sum of All Fears, April
p. 44
Wild Kingdom, Nov.
p. 34
Hemphill, Jim
Britney Spears as
Ringleader, Feb.
p. 10
Heuring, David
A 65mm Microsoft
Installation at JFK
Airport, June p. 10
Egypts Allure, Nov.
p. 26
American Cinematographer 105

An Epic Endeavor, April

p. 54
Healing a Family, Dec.
p. 60
A Life Full of Miracles,
March p. 46
Lowry Digital Restores
Manhatta, Feb. p. 68
One Giant Leap for
Clarity, Nov. p. 78
Holben, Jay
Aliens in South Africa,
Sept. p. 26
Big Guns, July p. 24
Creating a Teen
Perspective, May
p. 76
Cutting-Edge Camerawork, March p. 36
Pandoras Predicament,
Nov. p. 48
Robots Run Rampant,
Aug. p. 54
Hope-Jones, Mark
Anarchy in the BRD,
Sept. p. 32
Banks as Bad Guys,
Feb. p. 14
An Exceptionally Sly
Fox, Dec. p. 70
Kicked Off the Pitch,
Nov. p. 58
When Not in Rome,
Aug. p. 46
Hullfish, Steve
Creating Reverie, Feb.
p. 20
Zeus Streamlines V
Workflow, Dec. p. 82
Kadner, Noah
Degraining Super 16 for
Alien Trespass,
March p. 62
Remixing Fellini, Dec.
p. 36
Wolverines Hour, May
p. 24
Kozachik, ASC, Pete
2 Worlds in 3 Dimensions, Feb. p. 26
Oppenheimer, Jean
An Appetite for Crime,
Sept. p. 58
An Artists Awakening,
Oct. p. 24
106

Cutting-Edge Camerawork, March p. 31

Fellow Foodies, Aug.
p. 28
Historic Conversations,
Jan. p. 16
Innovations Spice Up
Julie & Julias DI,
Aug. p. 32
New York Eccentrics,
May p. 16
Outsider Art in France,
July p. 20
Taking a Fatal Stand,
April p. 16
Pizzello, Chris
The Sorrows of a
Salaryman, March
p. 22
Pizzello, Stephen
Cinematographers,
Colorists and the DI,
June p. 78
Hard Time, Oct. p. 44
Sundance 2009: 5 That
Thrived, April p. 66
Upgraded Camcorders
Drive Canons Business Strategy, April
p. 82
Silberg, Jon
Cinematographers,
Colorists and the DI,
June p. 78
Citizen of the World,
Feb. p. 60
A Cut Above, Jan.
p. 70
Exploring Technicolors
DP Lights on Takeo,
Aug. p. 60
A Perilous Peak, Sept.
p. 20
The Root of All Evil,
Nov. p. 66
Sova, ASC, Peter
Shooting Push in Hong
Kong, March p. 66
Stasukevich, Iain
An Ambitious Trailer for
Halo, Dec. p. 12
ASC Honors 2 with
Heritage Awards,
May p. 10
Carousel Showcases

Philips New
Widescreen TV,
Aug. p. 12
A Cinematographer
Directs Patiences,
April p. 10
Creating Clap Your
Brains Off with
Canons Mark III,
March p. 12
Cutting-Edge Camerawork, March p. 33
DP Dailies Systems
Targets Image
Control, July p. 60
Embracing Inner Anger,
Sept. p. 14
Forging Triangle of Need
for Catherine Sullivan,
Jan. p. 10
An HDV Action Spectacular, April p. 22
An Outer-Space Adventure, Aug. p. 22
Senses Work Overtime
in Synaesthesia, Nov.
p. 12
Shooting Puppy Love
with the Red One,
July p. 10
Supernatural Wrath,
June p. 14
A Tennessee Williams
Original, Dec. p. 30
Vicarious Thrills, Oct.
p. 66
Stump, ASC, David
Simulating Danger for
U.S. Soldiers, Dec.
p. 86
Thomson, Patricia
Clones in Space, July
p. 14
Cutting-Edge Camerawork, March p. 40
Demythologizing the
Mafia, March p. 18
Embracing Anamorphic,
Feb. p. 52
Exposing a Secret
Slaughter, Aug. p. 38
Falling into Technologys
Traps, May p. 20
An Inspiring Achievement, Oct. p. 18

Making History Fun,

June p. 54
Risk and Valor, July
p. 44
Sundance 2009: 5 That
Thrived, April
pp. 70, 72, 74
A Tapestry of Textures,
Dec. p. 48
Walla, Claire
Discovering Pippa Lee,
Nov. p. 18
On the Ropes, Jan.
p. 22
Witmer, Jon D.
ASC, BSC Celebrate
Milestones, Aug.
p. 18
Back to the Future,
June p. 40
A Bold, New Enterprise, June p. 28
Building Central City,
Feb. p. 46
A Clash of Titans, Dec.
p. 22
Dead Reckoning, Feb.
p. 40
A Friend in Need, May
p. 56
HPA Honors Excellence
in Post, Jan. p. 80
In Memoriam, Jan. p. 92
On the Record, May
p. 36
Sundance 2009: 5 That
Thrived, April p. 62
Visual Effects for the
23rd Century, June
p. 32
Watchmakers, April
p. 28

STATEMENT OF OWNERSHIP,
MANAGEMENT AND CIRCULATION
Title of publication:
AMERICAN CINEMATOGRAPHER
Publication no. 0002-7928
Date of filing: October 21, 2009
Frequency of issue: Monthly
Annual subscription price: $50
Number of issues published annually: 12
Location of known office of publication:
1782 N. Orange Dr., Los Angeles, CA 90028.
Location of the headquarters or general business offices of the
publishers: Same as above.
Names and address of publisher: ASC Holding Corp., 1782 N. Orange
Dr., Los Angeles, CA 90028; Publisher, Martha Winterhalter, Executive
Editor, Stephen Pizzello, 1782 N. Orange Dr., Hollywood, CA 90028. Owner:
ASC Holding Corp.
Known bondholders, mortgages, and other security holders owning
or holding 1 per cent or more of total amount of bonds, mortgages or
other securities: same as above.
Extent and nature of circulation: Total numbers of copies printed (net
press run): average number of copies each issue during preceding 12
months, 35,354; actual number copies of single issue published nearest to
filing date, 34,500.
Paid and/or requested circulation: Paid/Requested Outside-County Mail
Subscriptions stated on Form 3541: average number of copies each issue
during preceding 12 months, 24,372; actual number of copies of single issue
published nearest to filing date, 24,564.
Paid and/or requested circulation: Sales through dealers and carriers,
street vendors and counter sales, and other non-USPS paid distribution:
average number copies each issue during preceding 12 months, 8,409;
actual number of copies single issue published nearest to filing date, 7,678.
Total paid and/or requested circulation: average number copies each
issue during preceding 12 months, 32,781; actual number copies of single
issue published nearest to filing date, 32,242.
Free distribution by mail (samples, complimentary and other free
copies): average number of copies each issue during preceding 12 months,
1,883; actual number copies of single issue published nearest to filing date,
1,500.
Total free distributions: average number of copies each issue during
preceding 12 months, 1,883; actual number copies of single issue published
nearest to filing date, 1,500.
Total distribution: average number of copies each issue during preceding
12 months, 34,664; actual number of copies of single issue published nearest to filing date, 33,742.
Copies not distributed (office use, left over, unaccounted, spoiled
after printing): average number of copies each issue during preceding 12
months, 690; actual number of copies of single issue published nearest to
filing date, 758.
Total: average number of copies each issue during preceding 12 months,
35,354; actual number of copies of single issue published nearest to filing
date, 34,500.
Percent Paid and/or Requested Circulation: average number of copies
each issue during preceding 12 months, 94%; actual number of copies of
single issue published nearest to filing date, 95%.
I certify that the statements made by me above are correct and complete.
Martha Winterhalter, Publisher
107

American Society of Cinematographers Roster

OFFICERS 2009-10
Michael Goi,
President
Richard Crudo,
Vice President
Owen Roizman,
Vice President
Victor J. Kemper,
Vice President
Matthew Leonetti,
Treasurer
Rodney Taylor,
Secretary
John C. Flinn III,
Sergeant-at-Arms
MEMBERS
OF THE BOARD
Curtis Clark
Richard Crudo
George Spiro Dibie
Richard Edlund
John C. Flinn III
John Hora
Victor J. Kemper
Matthew Leonetti
Stephen Lighthill
Isidore Mankofsky
Daryn Okada
Owen Roizman
Nancy Schreiber
Haskell Wexler
Vilmos Zsigmond
ALTERNATES
Fred Elmes
Steven Fierberg
Ron Garcia
Michael D. OShea
Michael Negrin

108 December 2009

ACTIVE MEMBERS
Thomas Ackerman
Lance Acord
Lloyd Ahern II
Herbert Alpert
Russ Alsobrook
Howard A. Anderson III
Howard A. Anderson Jr.
James Anderson
Peter Anderson
Tony Askins
Charles Austin
Christopher Baffa
James Bagdonas
King Baggot
John Bailey
Michael Ballhaus
Andrzej Bartkowiak
John Bartley
Bojan Bazelli
Frank Beascoechea
Affonso Beato
Mat Beck
Dion Beebe
Bill Bennett
Andres Berenguer
Carl Berger
Gabriel Beristain
Steven Bernstein
Ross Berryman
Michael Bonvillain
Richard Bowen
David Boyd
Russell Boyd
Jonathan Brown
Don Burgess
Stephen H. Burum
Bill Butler
Frank B. Byers
Bobby Byrne
Antonio Calvache
Paul Cameron
Russell P. Carpenter
James L. Carter
Alan Caso
Michael Chapman
Rodney Charters
James A. Chressanthis
Joan Churchill
Curtis Clark
Peter L. Collister
Jack Cooperman
Jack Couffer
Vincent G. Cox
Jeff Cronenweth
Richard Crudo
Dean R. Cundey
Stefan Czapsky
David Darby
Allen Daviau
Roger Deakins
Jan DeBont

Thomas Del Ruth

Bruno Delbonnel
Peter Deming
Jim Denault
Caleb Deschanel
Ron Dexter
Craig Di Bona
George Spiro Dibie
Ernest Dickerson
Billy Dickson
Bill Dill
Stuart Dryburgh
Bert Dunk
John Dykstra
Richard Edlund
Frederick Elmes
Robert Elswit
Geoffrey Erb
Scott Farrar
Jon Fauer
Don E. FauntLeRoy
Gerald Feil
Steven Fierberg
Gerald Perry Finnerman
Mauro Fiore
John C. Flinn III
Ron Fortunato
William A. Fraker
Tak Fujimoto
Alex Funke
Steve Gainer
Ron Garcia
Dejan Georgevich
Michael Goi
Stephen Goldblatt
Paul Goldsmith
Frederic Goodich
Victor Goss
Jack Green
Adam Greenberg
Robbie Greenberg
Xavier Perez Grobet
Alexander Gruszynski
Changwei Gu
Rick Gunter
Rob Hahn
Gerald Hirschfeld
Henner Hofmann
Adam Holender
Ernie Holzman
John C. Hora
Gil Hubbs
Michel Hugo
Shane Hurlbut
Tom Hurwitz
Judy Irola
Mark Irwin
Levie Isaacks
Andrew Jackson
Peter James
Johnny E. Jensen
Torben Johnke

Frank Johnson
Shelly Johnson
Jeffrey Jur
William K. Jurgensen
Adam Kane
Stephen M. Katz
Ken Kelsch
Victor J. Kemper
Wayne Kennan
Francis Kenny
Glenn Kershaw
Darius Khondji
Gary Kibbe
Jan Kiesser
Jeffrey L. Kimball
Adam Kimmel
Alar Kivilo
Richard Kline
George Koblasa
Fred J. Koenekamp
Lajos Koltai
Pete Kozachik
Neil Krepela
Willy Kurant
Ellen M. Kuras
George La Fountaine
Edward Lachman
Ken Lamkin
Jacek Laskus
Andrew Laszlo
Denis Lenoir
John R. Leonetti
Matthew Leonetti
Andrew Lesnie
Peter Levy
Matthew Libatique
Charlie Lieberman
Stephen Lighthill
Karl Walter Lindenlaub
John Lindley
Robert F. Liu
Walt Lloyd
Bruce Logan
Gordon Lonsdale
Emmanuel Lubezki
Julio G. Macat
Glen MacPherson
Constantine Makris
Karl Malkames
Denis Maloney
Isidore Mankofsky
Christopher Manley
Michael D. Margulies
Barry Markowitz
Vincent Martinelli
Steve Mason
Clark Mathis
Don McAlpine
Don McCuaig
Seamus McGarvey
Robert McLachlan
Geary McLeod

Greg McMurry
Steve McNutt
Terry K. Meade
Chris Menges
Rexford Metz
Anastas Michos
Douglas Milsome
Dan Mindel
Charles Minsky
Donald A. Morgan
Donald M. Morgan
Kramer Morgenthau
M. David Mullen
Dennis Muren
Fred Murphy
Hiro Narita
Guillermo Navarro
Michael B. Negrin
Sol Negrin
Bill Neil
Alex Nepomniaschy
John Newby
Yuri Neyman
Sam Nicholson
Crescenzo Notarile
David B. Nowell
Rene Ohashi
Daryn Okada
Thomas Olgeirsson
Woody Omens
Miroslav Ondricek
Michael D. OShea
Anthony Palmieri
Phedon Papamichael
Daniel Pearl
Edward J. Pei
James Pergola
Don Peterman
Lowell Peterson
Wally Pfister
Gene Polito
Bill Pope
Steven Poster
Tom Priestley Jr.
Rodrigo Prieto
Robert Primes
Frank Prinzi
Richard Quinlan
Declan Quinn
Earl Rath
Richard Rawlings Jr.
Frank Raymond
Tami Reiker
Marc Reshovsky
Robert Richardson
Anthony B. Richmond
Bill Roe
Owen Roizman
Pete Romano
Charles Rosher Jr.
Giuseppe Rotunno
Philippe Rousselot

D E C E M B E R

Juan Ruiz-Anchia
Marvin Rush
Paul Ryan
Eric Saarinen
Alik Sakharov
Mikael Salomon
Harris Savides
Roberto Schaefer
Tobias Schliessler
Aaron Schneider
Nancy Schreiber
Fred Schuler
John Schwartzman
John Seale
Christian Sebaldt
Dean Semler
Eduardo Serra
Steven Shaw
Richard Shore
Newton Thomas Sigel
John Simmons
Sandi Sissel
Bradley B. Six
Dennis L. Smith
Roland Ozzie Smith
Reed Smoot
Bing Sokolsky
Peter Sova
Dante Spinotti
Terry Stacey
Robert Steadman
Ueli Steiger
Peter Stein
Robert M. Stevens
Tom Stern
Rogier Stoffers
Vittorio Storaro
Harry Stradling Jr.
David Stump
Tim Suhrstedt
Peter Suschitzky
Alfred Taylor
Jonathan Taylor
Rodney Taylor
William Taylor
Don Thorin
John Toll
Mario Tosi
Salvatore Totino
Luciano Tovoli
Jost Vacano
Theo Van de Sande
Eric Van Haren Noman
Kees Van Oostrum
Ron Vargas
Mark Vargo
Amelia Vincent
William Wages
Roy H. Wagner
Ric Waite
Michael Watkins
Jonathan West
Haskell Wexler

2 0 0 9

Jack Whitman
Gordon Willis
Dariusz Wolski
Ralph Woolsey
Peter Wunstorf
Robert Yeoman
Richard Yuricich
Jerzy Zielinski
Vilmos Zsigmond
Kenneth Zunder
ASSOCIATE MEMBERS
Alan Albert
Richard Aschman
Volker Bahnemann
Kay Baker
Joseph J. Ball
Amnon Band
Carly M. Barber
Craig Barron
Thomas M. Barron
Larry Barton
Bob Beitcher
Mark Bender
Bruce Berke
John Bickford
Steven A. Blakely
Mitchell Bogdanowicz
Jack Bonura
Michael Bravin
William Brodersen
Garrett Brown
Ronald D. Burdett
Reid Burns
Vincent Carabello
Jim Carter
Leonard Chapman
Mark Chiolis
Denny Clairmont
Adam Clark
Cary Clayton
Emory M. Cohen
Sean Coughlin
Robert B. Creamer
Grover Crisp
Daniel Curry
Ross Danielson
Carlos D. DeMattos
Gary Demos
Richard Di Bona
Kevin Dillon
David Dodson
Judith Doherty
Don Donigi
Cyril Drabinsky
Jesse Dylan
Jonathan Erland
John Farrand
Ray Feeney
William Feightner
Phil Feiner
Jimmy Fisher
Scott Fleischer

Thomas Fletcher
Salvatore Giarratano
Richard B. Glickman
John A. Gresch
Jim Hannafin
William Hansard
Bill Hansard, Jr.
Richard Hart
Robert Harvey
Charles Herzfeld
Larry Hezzelwood
Frieder Hochheim
Bob Hoffman
Vinny Hogan
Cliff Hsui
Robert C. Hummel
Roy Isaia
George Joblove
Joel Johnson
John Johnston
Frank Kay
Debbie Kennard
Milton Keslow
Robert Keslow
Larry Kingen
Douglas Kirkland
Timothy J. Knapp
Ron Koch
Karl Kresser
Lou Levinson
Suzanne Lezotte
Grant Loucks
Howard Lukk
Andy Maltz
Steven E. Manios
Robert Mastronardi
Joe Matza
Albert Mayer, Jr.
Andy McIntyre
Stan Miller
Walter H. Mills
George Milton
Mike Mimaki
Rami Mina
Michael Morelli
Dash Morrison
Nolan Murdock
Mark W. Murphy
Dan Muscarella
Iain A. Neil
Otto Nemenz
Ernst Nettmann
Tony Ngai
Mickel Niehenke
Marty Oppenheimer
Walt Ordway
Larry Parker
Michael Parker
Warren Parker
Doug Pentek
Kristin Petrovich
Ed Phillips
Nick Phillips

Jerry Pierce
Joshua Pines
Carl Porcello
Howard Preston
David Pringle
Phil Radin
Christopher Reyna
Colin Ritchie
Eric G. Rodli
Andy Romanoff
Daniel Rosen
Dana Ross
Bill Russell
Kish Sadhvani
David Samuelson
Peter K. Schnitzler
Walter Schonfeld
Juergen Schwinzer
Ronald Scott
Steven Scott
Don Shapiro
Milton R. Shefter
Leon Silverman
Garrett Smith
Stefan Sonnenfeld
John L. Sprung
Joseph N. Tawil
Ira Tiffen
Arthur Tostado
Bill Turner
Stephan Ukas-Bradley
Mark Van Horne
Richard Vetter
Joe Violante
Dedo Weigert
Franz Weiser
Evans Wetmore
Beverly Wood
Jan Yarbrough
Hoyt Yeatman
Irwin M. Young
Michael Zacharia
Bob Zahn
Nazir Zaidi
Michael Zakula
Les Zellan
HONORARY MEMBERS
Col. Edwin E. Aldrin Jr.
Neil A. Armstrong
Col. Michael Collins
Bob Fisher
David MacDonald
Cpt. Bruce McCandless II
D. Brian Spruill

American Cinematographer 109

Clubhouse News
an apprentice on Dressed to Kill, shot by
Ralf Bode, ASC.
After joining the union in 1980,
Kimmel worked as a camera assistant on
such features as The Verdict (shot by
Andrzej Bartkowiak, ASC) and Birdy
(photographed by Michael Seresin, BSC)
before venturing into commercials and
music videos as a director/cinematographer. Since 1991, hes earned director of
photography credits on such features as
Green, Schaefer at VLAFF
Jack Green, ASC and Roberto
Schaefer, ASC recently participated in
a series of professional workshops organized alongside the Vancouver Latin
American Film Festival.
The festivals screening slate
comprised 29 features and 33 short films
from Mexico, Chile, Argentina, Brazil,
Cuba, Colombia, Bolivia, Peru, El
Salvador, Canada, Spain and Paraguay.
In 2008, the VLAFF began hosting
professional workshops to encourage
the educational and professional development of Vancouvers film industry, and
the series immediate success prompted
the festivals organizers to make the
workshops an annual component.
This years educational series
began with The Ultimate Test Drive.
Held at Clairmont Camera Film & Digitals Vancouver facility, the event offered
attendees hands-on access to cameras
and accessories. Clairmont also hosted
a two-part lighting workshop focusing
on glamour makeup, corrective makeup
and lighting for prosthetics. Schaefer
joined cinematographers Karl Herrmann,
CSC and Philip Linzey, CSC, who led the
workshop with makeup artist Stan
Edmonds. The group demonstrated the
effects of lens filtration, hard light and
soft light, and tackled such everyday
conundrums as balancing different skin
tones within the frame.
PS Production Services hosted a
second day of workshops, which began

110 December 2009

with a discussion with Green and

Schaefer moderated by Herrmann and
filmmaker Brenton Spencer. The conversation covered long-term collaborations
with directors and other crew members,
favorite projects, and what ASC
membership has meant to both Schaefer and Green. Schaefer also showed
clips from his commercial reel. Green
wrapped up the conversation by
emphasizing, The more craft you know,
the more of an artist you can be.
Demonstrating his own mastery
of the craft, Green then led the attendees through a lighting workshop.
Green was in Vancouver shooting the
back-to-back features Hot Tub Time
Machine and Diary of a Wimpy Kid, and
he sprinkled his workshop with anecdotes from both while re-creating one
of his lighting setups from Clint Eastwoods Bird. Green fielded questions
from the enthusiastic audience and
stressed his own preference for the
KISS (Keep It Simple, Stupid)
approach to lighting.
Jon D. Witmer
Kimmel Joins Society
Born and raised in New York,
Adam Kimmel, ASC began his foray
into filmmaking at the age of 17 as an
apprentice in the camera department on
The Wanderers, photographed by
Michael Chapman, ASC. Kimmel
continued with Chapman as an apprentice on Raging Bull, and then worked as

Me and the Mob, Beautiful Girls, Almost

Heroes, Jesus Son and Capote, and on
live shows such as Denis Learys No
Cure for Cancer and Lock and Load.
ASC, BSC at IBC
Michael Goi, ASC and David
Stump, ASC joined producer Lori
McCreary for the Camera-Assessment
Series Master Class during Septembers IBC conference in Amsterdam. Also
present were BSC members John Daly,
Sue Gibson and Joe Dunton, who
presented the Film and Digital Image
Evaluation Master Class. The complementary sessions explored both societies recent assessment series, which
compared film and digital motion-picture
capturing systems. Following the
sessions, the panelists from both sides
of the pond came together for a discussion moderated by Howard Lukk, director
of media systems for Pixar Animation
Studios.

Adam Kimmel photo by Mark Romanek. Lance Acord photo by Jonathan Arroyo, courtesy of Film Shoot Locations.

Right (left
to right):
Brenton
Spencer and
Karl Herrmann,
CSC with Jack
Green, ASC
and Roberto
Schaefer, ASC
during a panel
hosted in
conjunction
with the
Vancouver
Latin American
Film Festival.
Far right: Adam
Kimmel, ASC.

ASC Master Classes

at DV Expo
George Spiro Dibie, ASC
moderated a series of ASC master
classes during DV Expo in September.
Society members Richard Crudo,
David Darby, Michael Goi, Johnny
E. Jensen, Denis Lenoir, Isidore
Mankofsky, Donald M. Morgan,
Michael B. Negrin, Daryn Okada,
Anthony Palmieri, Robert Primes,
Roberto Schaefer, Nancy Schreiber
and Rodney Taylor participated in the
classes, screening clips from their
work and fielding questions from the
standing-room-only crowd. Also during
the expo, ASC associate member Rob
Hummel presented 3-D Fundamentals:
The Basics of Producing Stereoscopic
3-D Content.
Acord Keynotes HD Expo
During HD Expo New York,
presented by Createasphere, Lance
Acord, ASC joined AC contributing
writer Patricia Thomson for a keynote
conversation. The hour-long conversation spanned everything from Acords
work on commercials to his ongoing
collaboration with director Spike Jonze,
which resulted most recently in Where
the Wild Things Are (AC Nov. 09).

Baffa Explores World

of Cinematography
Christopher Baffa, ASC sat
down with AC associate editor Jon D.
Witmer to discuss The World of Cinematography during Octobers Film,
Stage & ShowBiz Expo in Los Angeles.
During the hour-long conversation,
Baffa covered everything from camera
movement and the psychological importance of color to his career path through
the electrical department and shooting
the series Nip/Tuck (AC Feb. 04) and
Glee. Baffa also recently returned to his
alma mater, the University of Southern
California, for a Career Talk session
focused on cinematography.
Hurlbut Hits Collision
Conference
Shane Hurlbut, ASC gave a
keynote presentation during the recent
Collision Conference in Los Angeles,
which focused on the intersection of
still photography and cinematography.
Titled Catch the Wave: How Still
Photography Changes the Way We
Make Movies, Hurlbuts presentation
comprised an interactive discussion
focused on the Canon EOS 5D Mark II
digital SLR, which the cinematographer
has used on shorts and commercials, as
well as a feature currently in production.
Zsigmond Leads Kodak
Masterclass
Vilmos Zsigmond, ASC and
Elemr Raglyi, HSC led classes at the
2009 Budapest Cinematography
Masterclass at Korda Studios in
Budapest, Hungary. Organized by the
Hungarian Society of Cinematographers
and the Hungarian University of Drama,
Film and Television, the bi-annual
master class is sponsored by Kodak and
features two weeks of instruction with
16 postgraduate film-school students
and young film professionals from 13
countries, all of whom are chosen by a
jury of professors at the Hungarian
University.
Not only are Vilmos and Elemr
masters of their craft, they are also
enlightening and engaging teachers,
says Thierry Perronnet, marketing direc-

tor for Kodak Entertainment Imaging in

Europe, Africa and the Middle East.
They know film and how to use it to
solve creative problems, and they bring
a combination of warmth and experience that students immediately recognize, respect and learn from.

Far left (left to

right): John Daly,
BSC; Sue Gibson,
BSC; Joe Dunton,
BSC; David
Stump, ASC; Lori
McCreary; and
Michael Goi,
ASC following a
joint ASC-BSC
panel at IBC.
Bottom left:
Frederick Elmes,
ASC greets
Lance Acord,
ASC following
Acords keynote
discussion at HD
Expo New York.
Top right: Vilmos
Zsigmond, ASC
sheds light on
the Budapest
Cinematography
Masterclass.

Bailey Judges Kodak

Competition
John Bailey, ASC recently judged
the regional entries of the 2009 Kodak
Film School Competition. Now in its
10th year, the competition is designed
to recognize the creativity exhibited by
student cinematographers in the collaborative process of visual storytelling. It
is open to students and recent filmschool graduates from Asia Pacific,
Latin America, the United States,
Canada, and the European region.
Johns diversity of experience
and interest in nurturing the next generation of filmmakers adds immeasurably
to the quality of this competition, says
Wendy Elms, worldwide manager,
Education Segment, for Kodaks Entertainment Imaging Division. All
students who enter benefit from Johns
insights and his understanding of the
possibilities of film.
Four students were named firstplace winners: Chris Freilich from the
American Film Institute in the United
States, Hatuey Viveros from the Centro
de Capacitacin Cinematogrfica in
Mexico, Andrzej Krol from the Fachhochschule Dortmund in Germany, and
Liu Yizeng from Beijing Film Academy in
China.
I

American Cinematographer 111

ASC CLOSE-UP
Paul Ryan, ASC

Which cinematographers, past or present, do you most

admire, and why?
Sven Nyqvist, ASC, for his haunting images in The Seventh Seal and
Wild Strawberries ; Raoul Coutard, for bringing spontaneity and freedom of movement to the French New Wave; Gordon Willis, ASC, for his
vision of New York and the bold darkness of The Godfather ; Al
Maysles, for his trust in documentary storytelling; Bob Richardson, ASC,
for his imaginative cinematic vision and technical brilliance; and many
others, including ASC members Caleb Deschanel, Owen Roizman, Ed
Lachman, Connie Hall, Matthew Libatique, Roger Deakins and Vittorio
Storaro, and Anthony Dod Mantle, BSC, DFF.
What sparked your interest in photography?
As a child, I spent a lot of time just looking at things and life around me.
I never thought much about photography until I embarked on a crosscountry road trip after college; I thought there would be images worth
keeping. I wish Id started earlier.
Where did you train and/or study?
I ended up in San Francisco in the 1960s. I studied photography with
Minor White, Eugene Smith, John Collier and Ansel Adams. My interest in photography morphed into an obsession with cinema, and I
enrolled in graduate film school at San Francisco State University.
Who were your early teachers or mentors?
Lawrence Halprin, a brilliant architect; Bob Primes, ASC, who taught me
about lighting with electricity; and Al Maysles, who indoctrinated me in
Direct Cinema aesthetics and sold me my first sync camera. Al had
inscribed his name on the lens, a 9.5-95mm Angenieux, and it was like
having a baseball bat autographed by Willie Mays. I learned a lot shooting second unit for Nstor Almendros, ASC on Days of Heaven and for
Philippe Rousselot, ASC, AFC on A River Runs Through It.
What are some of your key artistic influences?
Im fascinated by unusual composition and framing. I love the works of
Henri Cartier-Bresson, Robert Frank, Ryan McGinley, Francis Bacon,
Pablo Picasso, Edvard Munch, Egon Schiele and Eric Fischl. I also love
wandering through unusual places and finding existing structures and
light. These stay in my mind.
How did you get your first break in the business?
When I moved to Los Angeles, I was fortunate to meet Terry Malick
when he was getting ready to make Days of Heaven. He was looking
for somebody to do second unit; he said a lot of the film would be
images of the world surrounding the characters. Over lunch, we went
through the whole script and he articulated descriptions that made it
come alive. I took a small crew to Montana and spent seven weeks
shooting wheat fields in the wind, people floating down the river, fires
112 December 2009

at night, grasshoppers and curiouslooking birds. Much later, after editing,

Terry still needed to film the opening
steel-mill scene Haskell Wexler,
ASC had started shooting it and then
had to leave because of a scheduling
conflict. Terry asked me to complete those scenes. He said, We dont
have any money, but I can give you a couple of points in the film. I
would have been happy to do it without the points. I finished up the
steel mill and then shot another week with Terry and the actors, with
Ojai and Piru doubling for Texas. The points never made me any money,
but shooting just a part of that film was a big boost to my career.
What has been your most satisfying moment on a project?
When Ive taken a really big risk and it turned out well.
Have you made any memorable blunders?
Early in my career, while making a film on ski racing, I shot a huge
amount of 360-fps footage. The film gate was partially open, and the
skiers were radically out of focus they were just colored forms
moving. I was horrified. But in the end, the abstract images made a
great sequence.
What is the best professional advice youve ever received?
Michael Chapman, ASC said, You have to give the impression you
know what youre doing even when youre totally confused.
What recent books, films or artworks have inspired you?
The photography magazine Aperture. I also get a lot of lighting inspiration from theatrical productions.
Do you have any favorite genres, or genres you would
like to try?
I would like to play more with what I call Cubist Cinema. Im curious
about how far you can push the limits of conventional screen direction
and line crossing. I like the idea of a disorientation that makes the
viewer reconstruct whats happening in his own mind. Its an extension
of David Hockneys idea of photography from multiple points of view
integrated into a unified image.
If you werent a cinematographer, what might you be
doing instead?
An architect or a bush pilot.
Which ASC cinematographers recommended you for
membership?
Bob Primes, Connie Hall and Robbie Greenberg.
How has ASC membership impacted your life and career?
The ASC has provided a venue for exploring ideas about cinema (and
pretty much anything else) with other cinematographers, and it has
been a catalyst for friendships I would not have discovered otherwise.
I

Photo by Audrey Hall.

When you were a child, what film made the strongest

impression on you?
When I was about 6, my family would walk to a park where they
showed Three Stooges and Charlie Chaplin films outdoors at night. I
think the choreography of the action stuck with me.

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ONFILM
JOHN LEONETTI, ASC

I was intrigued by cinematography as far back

as I can remember. I never had any formal
training. You learn by observation, and either
it resonates or it doesnt. I had a knack for
understanding where to put lights and what
they could do. I trust my eyes, my spot meter,
my instincts and the emotions that Im feeling
while shooting a lm. I believe 3-D can add
a dimension to the right kind of story. We
decided to shoot Piranha 3-D in anamorphic lm
format because we want it to feel natural and
organic the way we see images with our eyes.
I have witnessed an evolution of technology
that has helped the art of lmmaking. But,
we have to remember that lmmaking
is an art form, and never compromise
our ability to tell compelling stories.
John Leonetti, ASCs credits include the
television series Tales From the Crypt and
Providence, the telefilm The Burning Season,
and the feature films The Mask, Joe Dirt,
The Scorpion King, The Woods, Death Sentence,
and the upcoming release of Piranha 3-D.
[All these programs were shot on Kodak motion picture lm.]
For an extended interview with John Leonetti,
visit www.kodak.com/go/onlm.
To order Kodak motion picture lm,
call (800) 621-lm.
www.motion.kodak.com
Eastman Kodak Company, 2009.
Photography: 2009 Douglas Kirkland