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JUNE 2016

AMERICAN CINEMATOGRAPHER JUNE 2016 CAPTAIN AMERICA: CIVIL WAR A BEAUTIFUL PLANET THE NICE GUYS ALICE THROUGH THE LOOKING GLASS VOL. 97 NO. 6
J U N E 2 0 1 6 V O L . 9 7 N O . 6

An International Publication of the ASC

On Our Cover: The titular star-spangled Avenger (Chris Evans) finds himself at odds
with his fellow heroes in Captain America: Civil War, shot by Trent Opaloch. (Photo by
Zade Rosenthal, SMPSP, courtesy of Marvel Studios.)

FEATURES
38 Heroes Divided
Trent Opaloch frames the showdown between Earths
mightiest heroes in Captain America: Civil War
56
56 Time and Space
James Neihouse, ASC trains a crew of astronauts to shoot
the Imax feature A Beautiful Planet

72 Old-School Thrills
Philippe Rousselot, ASC, AFC embraces new technology
for the period action-comedy The Nice Guys

86 Against the Clock


72

Stuart Dryburgh, ASC, NZCS captures the high-stakes


whimsy of Alice Through the Looking Glass

DEPARTMENTS
10 Editors Note 86
12 Presidents Desk
14 Short Takes: Death of a Bachelor
22 Production Slate: High-Rise Love & Friendship
102 New Products & Services
112 International Marketplace
113 Classified Ads
114 Ad Index
116 ASC Membership Roster
118 Clubhouse News
120 ASC Close-Up: Frederic Goodich

VISIT WWW.THEASC.COM
J U N E 2 0 1 6 V O L . 9 7 N O . 6

An International Publication of the ASC

ACCESS APPROVED
New digital outreach by American Cinematographer means more in-depth coverage for you.

ONLINE EXCLUSIVE: STAR TREK CONTINUES


Boldly go into the past with the crew of the
starship Enterprise in this award-winning
fan-made Web series, as cinematographer
Matt Bucy pays homage to the stylish
photography of the 1960s sci-fi classic by
ASC members Gerald Perry Finnerman,
Al Francis and Ernest Haller.

FLASHBACK
AC presents an excerpt from Citizen Kane: A Filmmakers Journey, a
new book by author Harlan Lebo that focuses on wunderkind
writer-director-producer-star Orson Welles relationship with ace
cinematographer Gregg Toland, ASC. In addition, well present
Tolands own personal account of the making of the milestone
film, as published in the February 1941 issue of AC.

BEYOND THE FRAME


Our ongoing behind-the-scenes
GIF series features the cine-
matographers of such films as
2001: A Space Odyssey,
The Exorcist, The Wizard of Oz,
Jurassic Park, Enter the Dragon,
American Graffiti and
many more.

INSIDE: AMERICAN CINEMATOGRAPHER


Be sure to check out our latest videos that showcase
articles in AC magazine, featuring key technical data
and behind-the-scenes images from the first-person
action film Hardcore Henry and the superhero epic
Captain America: Civil War.

Get all this and much


more via theasc.com and our WRAP SHOT
social-media platforms. With each post, we dip into ACs vast photo archive to bring
you informative and entertaining images from the past, featuring
such iconic films as Seven, The French Connection, Goldfinger,
Interview With the Vampire and The Godfather.

www.theasc.com
J u n e 2 0 1 6 V o l . 9 7 , N o . 6
An International Publication of the ASC

Visit us online at www.theasc.com

EDITOR-IN-CHIEF and PUBLISHER


Stephen Pizzello

WEB DIRECTOR and ASSOCIATE PUBLISHER
David E. Williams

EDITORIAL
MANAGING EDITOR Jon D. Witmer
ASSOCIATE EDITOR Andrew Fish
TECHNICAL EDITOR Christopher Probst
CONTRIBUTING WRITERS
Benjamin B, Rachael K. Bosley, John Calhoun, Mark Dillon, Michael Goldman, Simon Gray,
Jay Holben, Noah Kadner, Debra Kaufman, Iain Marcks, Jean Oppenheimer, Phil Rhodes, Patricia Thomson
PODCASTS
Jim Hemphill, Iain Marcks, Chase Yeremian
BLOGS
Benjamin B; John Bailey, ASC; David Heuring
WEB DEVELOPER Jon Stout

ART & DESIGN
CREATIVE DIRECTOR Marion Kramer
PHOTO EDITOR Kelly Brinker

ADVERTISING
ADVERTISING SALES DIRECTOR Angie Gollmann
323-936-3769 Fax 323-936-9188 e-mail: angiegollmann@gmail.com
ADVERTISING SALES DIRECTOR Sanja Pearce
323-952-2114 Fax 323-952-2140 e-mail: sanja@ascmag.com
CLASSIFIEDS/ADVERTISING COORDINATOR Diella Peru
323-952-2124 Fax 323-952-2140 e-mail: diella@ascmag.com

SUBSCRIPTIONS, BOOKS & PRODUCTS
CIRCULATION DIRECTOR Saul Molina
CIRCULATION MANAGER Alex Lopez
SHIPPING MANAGER Miguel Madrigal

ASC GENERAL MANAGER Brett Grauman
ASC EVENTS COORDINATOR Patricia Armacost
ASC PRESIDENTS ASSISTANT Delphine Figueras
ASC ACCOUNTING MANAGER Mila Basely

American Cinematographer (ISSN 0002-7928), established 1920 and in its 96th year of publication, is published monthly in Hollywood by
ASC Holding Corp., 1782 N. Orange Dr., Hollywood, CA 90028, U.S.A.,
(800) 448-0145, (323) 969-4333, Fax (323) 876-4973, direct line for subscription inquiries (323) 969-4344.
Subscriptions: U.S. $50; Canada/Mexico $70; all other foreign countries $95 a year (remit international Money Order or other exchange payable in U.S. $).
Advertising: Rate card upon request from Hollywood office. Copyright 2016 ASC Holding Corp. (All rights reserved.) Periodicals postage paid at Los Angeles, CA
and at additional mailing offices. Printed in the USA.
POSTMASTER: Send address change to American Cinematographer, P.O. Box 2230, Hollywood, CA 90078.

6
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 - 2015/2016
Richard Crudo
President
Owen Roizman
Vice President
Kees van Oostrum
Vice President
Lowell Peterson
Vice President
Matthew Leonetti
Treasurer
Frederic Goodich
Secretary
Isidore Mankofsky
Sergeant-at-Arms

MEMBERS OF THE
BOARD
John Bailey
Bill Bennett
Richard Crudo
George Spiro Dibie
Richard Edlund
Fred Elmes
Michael Goi
Victor J. Kemper
Isidore Mankofsky
Daryn Okada
Lowell Peterson
Robert Primes
Owen Roizman
Rodney Taylor
Kees van Oostrum

ALTERNATES
Karl Walter Lindenlaub
Kenneth Zunder
Francis Kenny
John C. Flinn III
Steven Fierberg

MUSEUM CURATOR
Steve Gainer
Editors Note Our annual summer-blockbuster issue kicks off with Captain
America: Civil War, a Marvel Cinematic Universe epic shot by
Trent Opaloch, who last teamed with the projects sibling
directors Anthony and Joe Russo on Caps previous feature,
The Winter Soldier. In explaining their collaborative approach
to AC contributor Mark Dillon (Heroes Divided, page 38),
Anthony Russo notes, With Trent we asked, As a super-
hero, what makes Captain America stand out? And what
we kept coming back to is that hes a man, only a little bit
more so. So we wanted to approach his story on a human
scale. Cap shines brightest when the camera is close-up and
embedded with him during whatever hes going through.
Fans of action and fantasy can also indulge in Iain
Marcks coverage of The Nice Guys, shot by Philippe Rous-
selot, ASC, AFC (Old-School Thrills, page 72) and Neil Matsumotos piece on Alice Through
the Looking Glass, shot by Stuart Dryburgh, ASC, NZCS (Against the Clock, page 86).
Real-life heroes are the backbone of the Imax documentary A Beautiful Planet, which
offers stunning images of Earth captured by NASA astronauts aboard the International Space
Station. The astronauts were trained by supervising director of photography James Neihouse,
ASC, who also shot the projects terrestrial footage. I have trained all the crews on the Imax
space movies since 1988, Neihouse tells Jay Holben (Time and Space, page 56), adding with
wry humor, I tell everybody that Im the only [cinematographer] who has to train his first unit
how to shoot.
Neihouse was one of the star guests at the recent NAB Show in Las Vegas, where he
participated in an American Cinematographer Creative Master Series session with astronaut
Marsha Ivins; AC contributor David Heuring moderated the fascinating discussion. Our editorial
team also had the honor of hobnobbing with Neihouse, Ivins and her fellow astronaut Terry Virts
during a dinner hosted by Canon at the Brazilian steakhouse Fogo de Cho. Proving hes a
trouper, Neihouse joined ASC President Richard Crudo, the magazines staff and a dozen other
industry friends for a social voyage to The Golden Tiki, a pirate-themed lounge featuring cock-
tails like Hemingways Ruin, the Painkiller and the flaming Polynesian Haze; an animatronic sea
captains skeleton that would spring to life without warning, startling everyone in proximity;
and, best of all, a hunting knife that once belonged to Gonzo journalist Hunter S. Thompson
(gifted to the bars owners by Thompsons goddaughter). The venue recommended by my
attorney, Wick Hempleman, general manager of J.L. Fisher GmbH proved to be a suitable
substitute for our usual Vegas hangout: the Kiss-themed Monster Mini Golf course, temporarily
closed for a pending relocation.
Lest you think NAB is all fun and games, this months New Products & Services section
(page 102) offers an abundance of information our team gathered at the show while marching
impressive distances over thinly carpeted concrete floors at the Las Vegas Convention Center.
(According to her Fitbit bracelet, staffer Sanja Pearce logged an incredible 22 miles over 2 days,
Photo by Owen Roizman, ASC.

while Angie Gollmann estimated her average at 8 miles per day.) Our team met with represen-
tatives from dozens of companies to gather intel and scope out all the new gear, so our roundup
is second to none and perhaps merits a new motto: What happens in Vegas will be revealed
in AC.

Stephen Pizzello
10 Editor-in-Chief and Publisher
Presidents Desk
You could really make a case that the founders of the ASC started a popular trend when they estab-
lished our organization back in 1919.
AAC, ACK, ACS, ABC, ACF, ADF, AEC, AFC, AIC, AMC, AIP, ASK, BAC, BSC, BVK, CSC, DFF,
FNF, FSC, FSF, HFS, HSC, ISC, JSC, KSC, LAC, MSC, NSC, PSC, RGC, SBC, SCS, ZFS ...
These are the initials and Im sure I missed a few that represent the various cinematog-
raphers societies that have sprung up around the world in our wake. (For the record, the acronyms
respectively represent Austria, Czech Republic, Australia, Brazil, Cuba, Argentina, Spain, France,
Italy, Mexico, Portugal, Slovakia, Bulgaria, Great Britain, Germany, Canada, Denmark, Norway,
Finland, Sweden, Croatia, Hungary, India, Japan, Korea, Lithuania, Republic of Macedonia, Nether-
lands, Poland, Russia, Belgium, Switzerland and Slovenia.)
Beyond indicating that we are indeed a social lot, this alphabet soup also poses a question:
How many disciplines in the movie industry can make a remotely similar claim to such solidarity,
affection and respect for one another? Anyone who has had the good fortune to attend one of our
annual ASC Awards events will instantly recognize the bond that exists among us; most notable
among the pomp and ceremony is the sincere, wall-to-wall fellowship expressed by everyone there.
You cant help but come away from that evening with a renewed faith in what we do and a reaf-
firmed conviction that, without exception, cinematographers are the most naturally passionate artists in the industry.
And this is precisely why its so easy for us to join together in an effort to protect and expand our interests. Further proof will
come early this month when the ASC hosts the second International Cinematography Summit at our Clubhouse in Hollywood. It
will be attended by representatives of the various cinematography societies from around the world for the purpose of increasing
communication and interaction regarding the artistic and technical changes that are affecting our craft. The first summit, held in
2011, was a huge success; were anticipating even greater results this time around.
Standardization of emerging technologies, archival concerns, future trends these issues are right at the forefront for all
cinematographers, regardless of where we live or work. One issue in particular keeps popping up in most every circle: Its scary to
think that at this late date were still hearing reports about cinematographers being blocked from supervising the finish of their
work in the DI suite. Does discouraging or altogether barring the cinematographer from placing the final touches save money or
time? Example after example has proven the opposite to be true. Equally troublesome, artistic integrity is compromised every time
the original intent developed by the director and cinematographer is cast aside. Since were hired for our taste and expertise
which are generously proffered at every point in the process, by the way you really have to wonder whats going through some-
ones head when they choose the exclusionary route. Compounding the insult, we are rarely paid for our postproduction labor.
Short of a binding, European-style right-of-authorship agreement which will never be enacted in the United States
were pretty much left to cover our own bases in this respect. Our employers are aware of the great commitment we bring to the
job, and many of them are all too eager to use that against us. Right now our only recourse is to develop strong relationships early
on with directors and producers that will serve to protect us when necessary. The irony is that the smart ones understand how
important our contribution is and generally insist that we supervise the DI. Problems usually emerge only when the uninformed are
in control, and sadly there are enough of those running around the industry to fill a stadium. Hopefully the International Cine-
matography Summit will offer some new solutions.
On another note entirely, this column marks my final Presidents Desk appearance. My term at the ASC helm has come to
an end, and Ill soon hand the reins over to a newly elected individual. The past three years in office have been a superlative pleasure,
and Ill always be thankful for being allowed the opportunity to serve this great organization. Its impossible to express how humbled
Ive been by this experience and the wonderful people Ive come in contact with. I want to send a great, big thank-you to our
Photo by Dana Phillip Ross.

members and associates, the ASC staff and Board of Governors, and, most of all, our faithful readers.
And to my successor whomever that may be I have but one word: excelsior!

Richard P. Crudo
ASC President

12 June 2016 American Cinematographer


Short Takes
Panic! at the
Disco frontman
Brendon Urie
emulates Frank
Sinatras 1960s-
era swagger in
the black-and-
white music
video for the
song Death of
a Bachelor,
which reunited
cinematographer
Eric Bader with
co-directors Mel
Soria and
Brendan Walter.

I Vintage Cool
By Matt Mulcahey
Bader met Soria and colorist Sherwin Lau through mutual friends at
their shared alma mater, Florida State University; Soria and co-director
Brendan Walter are frequent collaborators, having previously joined
Based on the markers of post-millennium pop stardom, none forces on the MTV Video Music Award-winning Uma Thurman by
of the individual elements of 1960s-era Frank Sinatra qualify as Fall Out Boy; and Bader had teamed with both directors on the video
contemporarily cool: not the tux nor bowtie; not the corded micro- for Panic! at the Discos This is Gospel (Piano Version).
phone nor middle age. Yet theres a timeless swagger to Ol Blue Eyes With Bader and the pair of co-directors based on opposite
as he croons standards with those golden pipes. Its that bravado that coasts, much of the prep work occurred via email and conference
Panic! at the Discos new video Death of a Bachelor emulates, only calls. That communication included the sharing of YouTube clips of
with an added touch of what co-director Mel Soria calls Brendon 1960s-era Sinatra performing Fly Me to the Moon and Ive Got

Photos by Dan Zacharias and Zechariah Hall, courtesy of the filmmakers.


Urie flair. You Under My Skin.
Urie is Panic! at the Discos frontman, and the Las Vegas-raised Those clips all kind of live and die in a medium shot, but
singer spends Bachelor belting out the new tune to an elegant yet theyre captivating because Sinatra is such a charismatic performer,
empty ballroom captured in gorgeous black-and-white. The challenge says Bader. Wed all worked with Brendon Urie before and we knew
for cinematographer Eric Bader was achieving Sinatra swagger on a the video could exist as just a showcase for his performance and still
less-than-Rat-Pack-level budget. be something that was interesting to watch.
Though there are more avenues than ever before for musicians While the black-and-white photography and Uries corded
to share their work, the current economics of the music industry dont microphone pay homage to the Sinatra at the Sands vibe,
allow for the extravagant production outlays commonplace in the Bader sought more than mimicry. Those live Sinatra performances
1990s and 2000s. I love the format of music videos because you were our jumping-off point, he says. We wanted to take that old
have so much freedom, but the half-million dollar video is definitely crooner style and mix it with a more modern style, which is where
going the way of the dodo, says Bader. Making music videos these the idea of heavy lens flares and dynamic camera moves came
days means working with limitations like a single six-hour shooting from.
day and lo-fi tools such as a DIY speed-rail jib, a doorway dolly and a After initially considering shooting the video at a venue that
$100 plastic camera for inserts. coincided with one of Panic! at the Discos tour cities, the team
Bader and company had only three weeks to prep, shoot, edit instead selected the Monte Cristo Banquet Hall in Los Angeles. Typi-
and color the video before Panic! at the Discos record label debuted cally rented out for weddings and corporate events, the hall already
Death of a Bachelor online on Christmas Eve. Meeting that tight featured practical RGB LED lighting that could be adjusted via a small
deadline was made easier by the familiarity of the creative team. control panel integrated into the space. The lighting was built more

14 June 2016 American Cinematographer


for events than motion pictures, the cine-
matographer recalls. There was a bit of
flicker at every shutter angle. I ultimately
settled on 144 degrees for the entire video,
but there is still a small pulse visible in the
lighting.
I wanted to see which colors
responded best to black-and-white, and I
found a magenta hue that had a great
silvery effect, Bader continues. If you look
at the behind-the-scenes photos in color, its
pretty hilarious because its all tungsten light-
ing and then you have this pink looping the
entire space. In color, the video is pretty
hideous.
Recalls Soria, We showed the loca-
tion to somebody from the record label and
they were worried. I had to tell them, You
have to see it in black-and-white. Its not
going to have these pink pastels.
Bader opted for his own Red Epic
Top: Urie channels Mysterium-X as his main camera, recording
Ol Blue Eyes in
this frame grab. in 5K anamorphic mode with 5:1 RedCode
Middle, from left: compression. He paired the Epic with a set
Set lighting of Kowa Prominar anamorphic lenses
technician Drew
VanderMale (on supplied by L.A.s Radiant Images. Keeping
ladder), tour his T-stop around a 5.6/8 to create the deep
manager Zechariah focus favored in the Rat Pack era, he worked
Hall (under ladder),
key grip Jeb almost exclusively with the 40mm and
Alderson (pushing 100mm, with a handful of shots done on
dolly) and Bader the 50mm.
capture the singers
performance. The Kowas only limitation came
Bottom: Bader lines when trying to achieve tight close-ups as
up a shot with the the 100mm, for example, requires a mini-
productions Red
Epic MX camera. mum focus distance of approximately 5'. To
compensate, Bader used Tiffen +1 and +2
diopters for those close-ups, during which
gaffer Eric Clark pinged the lens with an LED

16 June 2016 American Cinematographer


flashlight to add moving flares.
To light the banquet hall, Bader relied
on the locations practical LEDs and chande-
liers, two Skypans and a whole lot of
Lekos, the cinematographer explains. A
Leko keyed the main-stage portion of Uries
performance, with set lighting technician
Drew VanderMale pivoting the light from
atop a ladder to simulate a roving spotlight.
Five additional Lekos were placed on the floor
of the stage behind Urie with matching fan-
pattern gobos that kicked in during the
videos chorus. Two more Lekos were situated
high above the stage one on each side
and blasted through the output of a pair of
DF-50 Diffusion Hazers to create shafts of
light.
The space was 90-percent lit using
Lekos, recalls Bader. Our Skypans on the
Top: The frontman
sings in close-up. stage were modified so I could use the lights
Middle: Bader on house power and have them both on a
frames a shot single 2K Variac; the bulbs were removed and
with a Digital
Harinezumi 3 replaced with 1K Mole-Richardson Molettes
taped beneath that were actually Cardellini-clamped inside
the lens of the of the Skypans. If youre really savvy, you can
Epic, and with a
turntable rigged definitely spot those Cardellinis in the video.
in front of the Creative rigging was also employed
cameras. Bottom: for a boom down from a shimmering chan-
Bader operates
the camera as delier as Urie approaches the stage at the
best-boy grip Ray videos outset. Without the budget for a
Chatman holds a proper jib, a Sony a7S with a Canon L-series
bead board and
gaffer Eric Clark 16-35mm (f2.8) zoom was placed on a Ronin
(far right) adds a gimbal and suspended from a goalpost
subtle pulse effect pulley system made from speed rail and
by waving his
hand in front of a Mombo stands. Bader set the cameras ISO to
bounced Leko. 3,200 and aperture to f16 to ensure the
desired focus.

18 June 2016 American Cinematographer


Douglas Kung Fu Fighting. The turntable
was placed in front of the camera for some
close-ups, with the Plexi refracting light as it
spun in front of the cameras lens. You can
actually see the arm of the turntable in one of
those Harinezumi shots, Bader says with a
laugh. Its a little peek behind the curtain.
Trying to squeeze the most out of their
six-hour window, Bader and his crew rolled
until the final seconds of their allotted time.
Our location fee essentially tripled if we went
beyond six hours, Bader says. We did one
rehearsal with Brendon Urie, and then we
never stopped shooting until our six hours
were up. We were still shooting the last close-
up with one single light when we were
getting ushered out just my gaffer Eric
Clark waving a Leko over Brendons face.
The music videos digital grade was
performed on a similarly tight schedule. Work-
ing out of his home studio in Las Cruces, N.M.,
colorist Sherwin Lau received a hard drive of
footage on a Sunday and worked into the
small hours of Monday morning to finish his
grade. On the drive were the R3D camera
originals; using editor Pete Martichs locked
cut in the Adobe Premiere project file, Lau
exported an XML directly into Blackmagic
Designs DaVinci Resolve 12. His final deliver-
ables were both a 1080p ProRes 4:2:2 HQ
QuickTime and a more compressed H.264 file,
per record-company request. Three days after
his completion, the video debuted on
YouTube.
What they got on set and what you
see as the [end product] are pretty close, Lau
Top: Bader shoots as Urie sits with a drink. Bottom: Soria (back to camera) observes as 1st AC says. I did increase the contrast and bring out
Matt Ryan (far left), Bader and Alderson (pushing dolly) get a shot of Urie performing on an some of the [mid-tones], and then I had to
elevated platform.
match the Epic and a7S, which had a little bit
of a green shift. Laus final touch involved
In addition to the faux jib, camera American Cinematographer (June 13). It adding a 35mm Ultra Fine grain plate from
moves were accomplished with a Dana Dolly has a really strange look that is degraded, Rgrain. The overall look we were going for
and a Matthews Doorway Dolly either on grainy and blown out, and that would be was classic, elegant and jazzy, and once I saw
track with skateboard wheels or directly on very hard to duplicate with a better what that location looked like in black-and-
the venues floor. We had a few takes camera, says Bader, who used the white, it gave me a good idea of what I
where key grip Jeb Alderson pushed me just Harinezumis dirtiest monochrome preset. needed to do, he says.
freewheeling on the smooth floors, says Since we had such a limited amount of Adds Bader, Ive always loved black-
Bader. He has some real finesse with that time, I just taped it to the rails on the front and-white. You get to play so much more with
thing, because we pulled off some great of the [Epic] and let it roll during all of the contrast, and theres a lot of forgiveness in
precision moves, and a doorway dolly isnt takes. hard lighting. It was actually so freeing on this
the easiest thing to control. One short clip from the Harinezumi shoot to not have a scrap of diffusion on set.
As an insert camera, Bader broke out that made its way into the video actually To watch Death of a Bachelor, visit
his Digital Harinezumi 3, a low-resolution, reveals another of Baders lo-fi rigs a www.youtube.com/watch?v=R03cqGg40GU.
bargain-priced Japanese camera he discov- record turntable with shards of jagged Plex-
ered while reading about Spring Breakers in iglas that were taped to an LP of Carl

20 June 2016 American Cinematographer


Production Slate
In the feature
adaptation of
J.G. Ballards
novel High-Rise,
Dr. Robert Laing
(Tom Hiddleston)
moves into a
luxurious
skyscraper
where the
stratified society
soon devolves
into chaos.

I Faulty Tower
By Phil Rhodes
read the book, so I quickly bought it on Kindle. The architectural
scale of Ballards world raised questions about achievability, though.
People have said its an unfilmable book, says Rose. There are lots
Appropriately for an adaptation of a J.G. Ballard novel, director of things that would be quite expensive to do. The genius of [Amy

High-Rise photos by Aidan Monaghan and Sebastian Solberg, courtesy of Magnolia Pictures.
Ben Wheatleys High-Rise raises many questions both about the Jumps] script was that it made a lot of things more practical. It was
characters it presents and the environment in which its set. The film the most beautifully adapted screenplay.
stars Tom Hiddleston as Dr. Robert Laing, Jeremy Irons as Anthony The production ultimately shot just outside Belfast in Northern
Royal and Sienna Miller as Charlotte Melville, three inhabitants of a Ireland. We looked at various places around the country to find a
newly constructed luxury tower where events quickly take a dark and suitable high-rise, Rose notes. It turns out there isnt anything thats
sinister turn. of [the desired] period thats in any way practical to shoot in, or in a
The production marked the fifth feature collaboration between condition that looks new. Whats more, the plot of High-Rise
Wheatley and director of photography Laurie Rose, and since demanded particular events such as a character dropping a bottle
wrapping High-Rise, they have completed a sixth, Free Fire. Prior to from above onto a lower apartments balcony that would ordinarily
partnering with Wheatley for 2009s Down Terrace, Rose recalls, I be impossible, since balconies on high-rises arent built like that,
was a broadcast cameraman doing a broad range of things, from says Rose. Theyre built for privacy.
documentaries and current affairs to reality, working for any of the To facilitate the narratives needs, production designer Mark
main U.K. broadcasters BBC, Channel 4. Id always secretly Tildesley undertook a significant set build, which to Rose was a
harbored a dream of doing narrative [feature] work, but the completely different world, the cinematographer says. Our budgets
opportunity had never presented itself. had been so meager. The biggest film wed done prior to High-Rise
His introduction to Wheatley came when the director was was Sightseers, which was [made for] a little over a million pounds.
shooting some online, viral comedy shorts for the BBC, Rose One audience-teasing question posed by the design is whether
continues. We became friends and stayed in touch. When Wheatley the story represents a historical period or a retro future. Were we
subsequently approached Rose about Down Terrace, the making a film that was actually set in the Seventies, or were we trying
cinematographer says, he had a feature script, but he wanted to do to pastiche something together that looked like the Seventies? asks
it in a week! Rose. I was kicking that around and struggling with how it should
Rose remembers being on holiday when Wheatley reached out look. In prep, we talked a lot about 1975. Ben has a very big love for
regarding High-Rise: Ben told me they had a script for it. I hadnt that period, and Ive got that from him. The question is ultimately

22 June 2016 American Cinematographer


approach, it was not to be. I would shoot
35mm at the drop of a hat, Rose offers. I
think the opportunity is becoming less and
Right: Charlotte less.
Melville (Sienna
Miller) greets Laing The widescreen frame, however, was
from her an easy choice. There is a different sensibility
apartment balcony. on TV, but the [2.39:1] masked aspect
Below: Anthony
Royal (Jeremy is a no-brainer [for a feature], the
Irons), the cinematographer opines. The filmmakers
reclusive building didnt feel anamorphic lenses were an option
architect, meets
with Jane Sheridan due to cost and practicality, but Rose remains
(Sienna Guillory), a an enthusiast. I shot a pilot for a comedy
glamorous show last year on anamorphic, he says.
television actress.
Just using anamorphic glass was a dream.
The way it dealt with light was incredible. It
was a joy to use.
Given the set build, Rose says he was
able to closely control what light fittings
were used and where we wanted them. We
had our pick of these beautiful period
practical lights. In order to create both day
and night looks, the cinematographer
employed a lot of HMI [units]. We carried a
lot of the [Arri] M series. We were always
using 1.8Ks; the output on those is just
fantastic. We used a lot of 2.5Ks and 4Ks
coming through big unbleached muslins and
nets to fill-in windows.
Rose exposed the Alexa at its native
800 ISO. Given the cameras sensitivity, he
often used the less powerful parts of his
lighting package, which was supplied by Cine
Electric Ltd. near Dublin. For instance, I used
[a Kino Flo] Image 80 on a crane on the
balcony studio set, he notes. For a nighttime
look, he adds, I was using Steel Green on
daylight tubes, eventually knocking [the
left unanswered, although Rose feels that used Mark II and III Zeiss Super Speeds. Ive fixture] down to just two tubes.
Ballard writes sci-fi. Its always forward- used Master Primes on commercials, and I Although the film relies on CGI for
looking, futuristic but of its time. did a film on Cooke S4s, he says. Theyre exteriors of its titular building, practical effects
In keeping with the 70s aesthetic, beautiful, but theyre all too lovely and were not overlooked. For example, skyline
Rose adds, We did end up using zooms. I modern. Other older lenses were rejected cycloramas were positioned beyond the
used Cooke classics, and we used those because of usability concerns. Rose explains, balcony and outside windows for the
more than I thought we were going to. I tested Kowas and Super Baltars. [They interiors. Additionally, Rose explains, the set
With the Cooke Varotal 18-100mm (T3) and create] beautiful out-of-focus highlights, but build provided two long corridors and one
Cine Varotal 25-250mm (T3.9), the I struggled with their reliability. If [the lens short one. They were built in a U shape
filmmakers were cautious to avoid stylistic performance is] different from one focus pull around our one apartment that we dressed
tropes that might be seen as dated rather to the next, its going to drive everyone mad [to serve as] four different apartments.
than historical. Having watched lots of principally my focus puller Kim Vinegrad. The apartment set depicted the
period films, we realized how much zooming Shooting with the Alexa XT Plus residences of Laing, Melville and Richard
was employed, but we tried to keep it from camera, the production captured ArriRaw Wilder (Luke Evans). For a party scene where
being cheesy, Rose explains. Ben enjoyed files to Codex XR Capture Drives; the camera Laing and Wilder are involved in a fight, Rose
that. The only thing I sometimes struggled package was supplied by Arri Media (now explains that they mirrored the set in-camera.
with was the speed of the zooms. Arri Rental) in London. While 35mm might What you often have [in an apartment
When more speed was needed, Rose have furthered the filmmakers period complex] are complete mirrors of

24 June 2016 American Cinematographer


adds that hes not overly concerned whether
the on-set monitoring perfectly represents his
final intent. I dont need everyone to look
at [the monitor] and know that this is how
its going to look on projection, he offers.
After the seven-week shoot, Rose
supervised the digital grade at Goldcrest Post
Production in London, where he reteamed
with his Sightseers colorist, Rob Pizzey; Pizzey
and Rose have since collaborated on Free
Fire. It feels like a genuine relationship that
weve got with him, Rose enthuses. Its
ongoing; its great.
Pizzey worked with Blackmagic
Designs DaVinci Resolve. In keeping with
other Rose-Wheatley collaborations, the
cinematographer speaks of a normality in
the films look. Weve not done anything
thats too fantastic in terms of the world, he
says.
I like tungsten, Rose continues. I
like warm light. A lot of the High-Rise story
Above: Director was about power failure, so we did use a lot
Ben Wheatley of candlelight. Later on, theres a feeling of
(left) and
cinematographer low-voltage practicals. He adds that this
Laurie Rose contrasts with Royals office, which was a
discuss a scene. lot cooler, quite spacey, and had a very
Bottom: Camera
operator and simplistic color scheme in that sense. Rather
2nd-unit than being too crazy, it was about a sense of
cinematographer normality.
Nick Gillespie
shoots with Rose adds that Super Speeds on the
a custom Alexa often come up a bit green, so he and
kaleidoscope rig Pizzey spent time pulling green out of the
mounted in front
of the lens. image as necessary.
With High-Rise already released in the
U.K. at the time of this writing, Roses
calendar remains full; in addition to
apartments, so itll be exactly the same shooting through the see-through mirror. The completing Free Fire, he has wrapped the
[layout] but flipped. Thats what we did. To results, says Rose, were spectacular: We third season of Peaky Blinders and just
create the effect without actually building shot on that set for a few hours. We could wrapped production on Paddy Considines
another set, the filmmakers used mirror- have shot for days; it was incredible. Journeyman. But the cinematographer
imaged labeling on props and reversed Digital-imaging technician Phil remembers the production of High-Rise with
hairstyles on the cast, then completed the Humphries used a Flanders Scientific CM250 particular fondness. You could say that you
trick by flopping the image in post. monitor for final on-set review, and Rose need to know Ballard in order for you to
Another key interior was an elevator employed a viewing LUT that was close to accept the world that youre presented
Bottom photo courtesy of Laurie Rose.

car in which senior art director Frank Walsh Rec 709. We sometimes tweak [the LUT], with, he muses. For the world to work,
mounted end-to-end mirrors on all four sides says Rose, but I find it doesnt always put you do have to accept the human study and
to create infinite reflections. Rose recalls that me in a good place. I know that if I shoot Rec the social study from the outset.
Walsh had done an exhibition design at the 709, the log is going to hold everything.
Beatles museum in Liverpool, [including] this The crew worked without a large TECHNICAL SPECS
glass box that had three sides of see-through video village. Ben tends not to like a village
mirror and one side of solid, bright mirror. thats too far away, Rose explains. He likes 2.39:1
[For High-Rises elevator,] we built a big to be close to set, and often that involves a Digital Capture
version with working doors and put Tom in 7-inch [monitor] on a stand. Were still quite Arri Alexa XT Plus
it. The camera remained outside the set, a small team up front. The cinematographer Cooke Varotal, Zeiss Super Speed

26 June 2016 American Cinematographer


Newly widowed
Lady Susan
Vernon (Kate
Beckinsale,
right) confides
in her friend
Alicia Johnson
(Chlo Sevigny,
left) as colorful
rumors swirl
about them
both in Love &
Friendship, the
feature
adaptation of
Jane Austens
novella Lady
Susan.

I Costumed Comedy
By Patricia Thomson
the job. When I read the script, I was eager
to do it, says the two-time Golden Calf
winner. Its funny, modern, and the
[cinematographers] are trained in working
fast and being forced to be very creative. He
adds that he takes Robert Bressons credo to
If ever there were a perfect match, it dialogue is so witty. heart: Simplicity and lucidity. Sometimes
would be Jane Austen and Whit Stillman. Van Oosterhout came to its not necessary to come up with 10 trucks,
Both possess a droll wit, a mastery of clever cinematography in his late 20s and got his to control everything and every moment. If

Love & Friendship photos by Bernard Walsh, courtesy of Amazon Studios and Roadside Attractions.
repartee, and a bemused view of romance break in 1998 as director of photography on you only have one light, you can make a
in the genteel class. All these fine traits are Rosie, directed by his wife, Patrice Toye. whole film. If you can shoot a scene without
on display in Love & Friendship, Stillmans first Today he is a member of the NSC board any lights, then shoot it!
feature in five years, after a side trip into and the European Film Academy, and hes Van Oosterhout came to Love &
episodic drama with Amazons The served as co-editor of the 2012 book Friendship relatively late and without time to
Cosmopolitans. Shooting Time: Cinematographers on do much more than a makeup and wardrobe
The film is an adaptation of Lady Cinematography. test with Beckinsale and co-star Chlo
Susan, a novella written by Austen circa age When interviewing for Love & Sevigny. But, the cinematographer says, that
20 but left unpublished until five decades Friendship, van Oosterhout had one big was okay. I like to work using my intuition,
after her death. Using the epistolary form advantage: Hed just shot The Legend of he notes. If you have a lot of prep, you think
popular in the 18th century, Austen sketched Longwood at Howth Castle, the same and rethink. I like to work in the moment.
out a comedy of manners that centers on an location that would serve as Churchill, the The only visual references Stillman
unscrupulous flirt, Lady Susan Vernon estate of Lady Susans relations, in Stillmans provided were his earlier films: Metropolitan,
(played by Kate Beckinsale). Newly widowed, film. Just as important, he knew how to Barcelona, The Last Days of Disco (AC June
she arrives uninvited at her brother-in-laws handle a tight 28-day schedule during 98) and Damsels in Distress. He wanted this
castle to let a scandal blow over and to snag which, on a single day, the production would one to be as gorgeous as possible, with
husbands for herself and her daughter, shoot a dance scene with extras, a wedding camera subservient to the actors and the
Frederica (Morfydd Clark). The novella, being and reception, a tte--tte inside a church, atmospheric Georgian mansions in and
both obscure and short, served Stillman well: and an establishing shot of the DeCourcy in- around Dublin. Love & Friendship was shot
He wouldnt be paring down a beloved laws. It was really a tough day, yet he entirely in these practical locations, including
tome, but fleshing out something new to the managed to get that lit, says Stillman. In Newbridge House, a real hero location,
Austen film canon. fact, Love & Friendship finished a day early. says Stillman.
The Irish-Dutch-French co-production I was trained in Holland, van Though wickedly funny, Stillmans
called for a Dutch director of photography, Oosterhout notes. Budgets and time are dialogue-heavy script made van Oosterhout
and Richard van Oosterhout, NSC, SBC got really an issue there. All the Dutch gulp. You think, Oh my god, how are we

28 June 2016 American Cinematographer


Right: A camera
crane was
utilized only
once, for the
opening
sequence of the
film. Below:
Cinematographer
Richard van
Oosterhout, NSC,
SBC (right)
frames a shot
through a
window.

to go in really tight, as if you had a different


camera position. She jumped in really close
and got away with this cut. Its a funny scene
and its in the trailer, so alls well that ends
well.
Van Oosterhout eschewed
customized look-up tables. I never use
[custom] LUTs on my films, he states. For
me, a standard [Rec 709] LUT is accurate
enough. Its only when you have an edit that
you know what the exact feel of the film is.
On set, my light meter is still my most reliable
tool.
For lighting, the 1790s setting meant
van Oosterhout had three motivating sources
at his disposal: daylight, candlelight and
firelight. Variety was important in recurrent
locations, such as the Golden Room the
going to shoot this? the cinematographer between dolly moves and static frames. Van castle drawing room where the Vernon
says. As always, Stillman wanted traditional Oosterhout adds, That aesthetic gave me family gathers to read or converse. Rhythm
coverage and limited camera movement. the opportunity to be very subtle in lighting is so important, van Oosterhout says. The
Normally, I like to work with a floating and really dive into that aspect. idea was to look natural but different every
camera, van Oosterhout relates. This was Film stock was never an option, but time youd come into this room.
completely different. Whit has very Stillman insisted on capturing raw files. Daylight was tricky, given Irelands
outspoken ideas about how to make a film. Framing for 1.85:1, van Oosterhout used an notoriously fickle weather. That country has
You have the shot, the reverse shot and Arri Alexa XT coupled with Cooke S4 primes four seasons every day, van Oosterhout
maybe an establishing. Thats how he wants and Schneider Hollywood Black Magic laments. Compounding the difficulty, every
to see a scene. He doesnt like movement at softening filters. The ability to reframe the 12- scene was long, sometimes shot over one or
all. In the end, I think we ended up with bit ArriRaw files saved the day when Stillman two days. If you have big windows facing
much more moving camera than was his began dispensing with dialogue during the south in a place like Ireland, continuity in
intention. Even so, Love & Friendship has edit, leaving an awkward jump cut in the lighting is really a challenge. Outside, it was
just one crane shot (for the opening) and one Steadicam scene. Sophie [Corra, the editor] a jungle of stands and lights and flags and
Steadicam scene (a walk-and-talk with was writhing in agony every time she saw it, screens.
Beckinsale and Sevigny); the rest is divided Stillman recalls. Their solution, he adds, was Shooting in February and March

30 June 2016 American Cinematographer


Right: Catherine
Vernon (Emma
Greenwell) reads a
letter as her
brother Reginald
DeCourcy (Xavier
Samuel) looks
over her shoulder.
Below: Director
Whit Stillman
(center) discusses
the scene with
Greenwell.

Following Bressons maxim, van


Oosterhout didnt hesitate to grab a shot
with actual sunlight. We were blocking a
scene in the Golden Room and had beautiful
sunlight coming in. I decided that, okay,
maybe well have this light for half an hour;
we could do one angle with no added light
at all, he says. I like that combination of
things. If youre at the moment of shooting
and have a beautiful light, its nice if you can
shoot right away, thus serving the [actors
performances]. Then, for the reverse, you
have to light completely, but you got the first
part for free in a very short time.
For close-ups, Fletcher notes, we
used a combination of poly boards, often
complemented with a 19-inch Jem Ball with
CTB correction, plus a 3-by-3 216 diffusion
under a winter sun, the crew controlled light all, we used two 12Ks, three 6Ks, three 4Ks frame, which allowed us to create natural
with Ultrabounce on 12'x12' and 20'x12' and three M18s at any one time. texture and fill.
frames placed on Genie booms. These were Internally, we complemented the If theres a defining look to Love &
mostly sun blockers, but they also had the lighting using Richards own BBS Lighting Friendship, its the simultaneous use of
ability to reverse quickly, so we could use Area 48 LEDs and smaller 400 and 200 HMI daylight and candlelight. Double-wick
them in conjunction with our HMI as units combined with 3-by-3 frames with Lee candles were tested, but for us, the
bounce, explains gaffer Tim Fletcher. 216 White Diffusion, the gaffer continues. difference was not much, says van
The majority of setups positioned 6K We used the window shutters to control Oosterhout. Single-wick candles sometimes
and 12K HMIs outside the windows, and shape light using silk textiles and did their own work and sometimes were
bounced and/or direct through frames. diffusion filters. The Golden Room lent itself augmented with Lowel Rifa 44s or 55s,
According to Fletcher, On large setups like particularly well to this because of its linear dimmed low. We also had some Chimera
the Golden Room a long, linear room with nature and many windows. It was quite a Triolet fixtures with a 24-by-32 Video Pro Plus
multiple rooms off into the deep background satisfying environment to react to, particularly soft box, which I really liked, says Fletcher.
we augmented our larger heads with 4Ks with the quality of light the weather Very durable!
and M18s to pick out specific areas, on conditions blessed us with: bright and Fireplaces were always outside of
occasion with some quite saturated color: golden. It inspired us to mimic, re-create and frame. We didnt have the money to have
134 Golden Amber, 147 Apricot or CTOs. In enhance what the natural world was doing. a proper firelight we could control, says the

32 June 2016 American Cinematographer


dance scene, the crew relied on candelabras
plus dimmed Rifa 55s and 66s in the four
corners, mounted on lightweight booms
with stands running up behind the curtains,
thus granting space for the characters to
cavort. In contrast, the dinner scene where
Sir James Martin (Tom Bennett) marvels at
the peas (Tiny green balls. How jolly!) was
set in a larger dining room with characters
remaining in their seats. In that scene, we
were not moving camera at all, so we could
place the soft boxes really on the edge of the
frame, says van Oosterhout.
During color correction, which was
performed at Filmmore in Amsterdam, van
Oosterhout showed Stillman candlelit scenes
from Barry Lyndon (shot by John Alcott,
BSC). My idea was, if you only have
candles, you dont see that much; colors fade
into the red part of the spectrum, says the
cinematographer. Stillman, though, wanted
to retain the color definition and the spirit
of comedy. If youre going to talk about
green peas, you have to be able to see
them, the director notes.
Van Oosterhout and Stillman worked
with colorist Fernando Rodrigues, who
utilized FilmLights Baselight 4.4 during their
14-day color grade. The final 4K DCP master
looks extremely crisp, says Rodrigues. For
van Oosterhout, the main thing was
rhythm: If we had a scene that was cloudy
and soft-lit and the next scene was a
candlelit atmosphere, going from one to the
other shouldnt be a big shock, but it should
be different.
As a costume drama, Love &
Friendship stands out for its mix of period
authenticity and modern esprit. It helped
that we lit in a natural way, because its an
interesting contrast to the modern aspects
of the film, says van Oosterhout. The
visual style, especially the light, feels very
authentic. The combination is nice: The
dialogue is so witty and modern, but still you
have the idea that youre in 1790.
Top: Van Oosterhout crafted a look that combined the use of daylight and candlelight. Middle:
Lady Susan discusses the ideals of marriage with her daughter, Frederica (Morfydd Clark).
Bottom: Cast and crew capture a dance scene. TECHNICAL SPECS
cinematographer, and in places like an old couple of DIY soft boxes with 500-watt 1.85:1
castle, you cant make actual fire its too photoflood bulbs. Dimmed down with a Digital Capture
risky. So all of the firelight was made by using flicker generator, they gave a nice warm Arri Alexa XT
a couple of lights on a flicker system. Very glow without needing any gel. Flicker was Cooke S4
simple, very old-fashioned. kept to a minimum.
Fletcher elaborates, We had a In a crowded night interior like the

34 June 2016 American Cinematographer


Heroes
Divided
E
In Captain America: Civil War, arths mightiest heroes turn against each other in Captain
America: Civil War, the third Marvel blockbuster that head-
director of photography Trent lines the star-spangled super-soldier. Following the events of
Opaloch brings a naturalistic the previous chapter, Captain America: The Winter Soldier
sensibility to a giant-size tale of as well as The Avengers (AC June 12) and its sequel, Avengers: Age
of Ultron (AC June 15) the world has grown weary and even
clashing costumed Avengers. fearful of superheroes. Repeated incidents resulting in massive
collateral damage have prompted the United Nations to pass the
By Mark Dillon Sokovia Accords, which aim to require the Avengers and other
enhanced individuals to submit to official oversight. Steve
Rogers/Captain America (Chris Evans) opposes the plan, while
| Tony Stark/Iron Man (Robert Downey Jr.) sparked by guilt
over having created the ultimately destructive Ultron global-
defense program favors it.

38 June 2016 American Cinematographer


The Avengers and a slate of new Opposite: Captain
heroes choose their sides, with Cap America/Steve Rogers (Chris
Evans, left) and Iron Man/Tony
backed by Bucky Barnes/Winter Stark (Robert Downey Jr.) find
Soldier (Sebastian Stan), Sam themselves at odds when a
Wilson/Falcon (Anthony Mackie), U.N. committee is given
oversight of the Avengers
Scott Lang/Ant-Man (Paul Rudd), activities in Captain America:
Clint Barton/Hawkeye ( Jeremy Civil War. This page, top, from
Renner) and Wanda Maximoff/Scarlet left: Sharon Carter (Emily
VanCamp), Falcon/Sam Wilson
Witch (Elizabeth Olsen). Across the (Anthony Mackie) and Black
Unit photography by Zade Rosenthal, SMPSP, courtesy of Marvel Studios.

aisle, Iron Man is supported by Vision Widow/Natasha Romanoff


(Paul Bettany), TChalla/Black Panther (Scarlett Johansson) have to
decide whether theyll stand
(Chadwick Boseman), Natasha with Rogers or Stark. Bottom:
Romanoff/Black Widow (Scarlett Cinematographer Trent
Johansson), James Rhodes/War Opaloch lines up a shot.
Machine (Don Cheadle) and Peter
Parker/Spider-Man (Tom Holland).
Tensions culminate in a battle royal clearly clicking, as Marvel has already cool to be involved in that group
between the opposing sides, while the tapped this team to supervise the dynamic.
mysterious villain Zemo (Daniel Brhl) upcoming, two-part Avengers: Infinity Before theyd met Opaloch, the
emerges from the shadows looking to War. Joe and Anthony are very inclu- Russos were drawn to the cinematogra-
fuel the conflict. sive, notes the Vancouver-based phers debut feature, director Neill
Behind the scenes, Civil War Opaloch, who spoke with AC while in Blomkamps Academy Award-nomi-
reunited much of the Winter Soldier Los Angeles to supervise Civil Wars nated aliens-on-Earth tale District 9
creative team, including sibling direc- grading at Technicolor. The brothers (AC Sept. 09). We love the look of that
tors Joe and Anthony Russo, screen- usually tackle a new scene by discussing film the lighting, the level of natural-
writers Christopher Markus and it among the core creative team. They ism, the intensity and the camera oper-
Stephen McFeely, and cinematographer will start by asking a question and ation, says Joe Russo in a separate
Trent Opaloch. The partnership is putting it out to the rest of us. Its really joint-interview with his brother. Its a

www.theasc.com June 2016 39


Heroes Divided

Top and middle: The


story begins in 1991, whole package.
when the assassin Anthony Russo adds, By our
Winter Soldier nature, working as a directing team, we
(Sebastian Stan) in
fact the brainwashed love collaboration. And we gravitate
Bucky Barnes is toward people who have a comprehen-
awoken at a facility sive view of what filmmaking and story-
in Siberia and given a
critical assignment telling are, and how we can use all the
from the villainous tools at our disposal to realize that. Trent
Hydra organization. has a great eye for what works in terms of
Bottom: Opaloch
eyes the onboard story, and we consult with him very
monitor as an Arri closely.
Alexa XT is Opaloch says that he and the
maneuvered into
position. Russos have shared a visual philosophy
since day one on Winter Soldier: The
pitch we had is that, yes, there are a lot
of fantastic elements youve got
Falcon flying around in a wing-suit, and
Caps shield can stop bullets but to
visually ground [that action] in reality
takes the stink off what could be a far-
fetched world. And Civil War is an
extension of that.
Whereas Winter Soldiers look was
largely influenced by realistic political-
conspiracy thrillers such as Three Days of
the Condor (photographed by Owen
Roizman, ASC), Civil Wars style was
most inspired by director Michael
Manns Heat (shot by Dante Spinotti,
ASC, AIC; AC Jan. 96). With Trent,
Anthony Russo recalls, we asked, As a

40 June 2016 American Cinematographer


Top:
Crossbones/Brock
Rumlow (Frank
Grillo) leads a
band of terrorists
through Lagos,
Nigeria. Middle:
The crew captures
the action as Black
Widow stops one
of the terrorists.
Bottom: A crane-
mounted camera
frames the scene
as Falcon keeps a
birds-eye view on
the mission.

superhero, what makes Captain


America stand out? And what we kept
coming back to is that hes a man, only
a little bit more so. So we wanted to
approach his story on a human scale.
Thats why we gravitated to that Heat
style of being right there in the action.
We do a lot of intimate, handheld work.
Cap shines brightest when the camera is
close-up and embedded with him
during whatever hes going through.
Opaloch had 12 consecutive
weeks of prep on Civil War, plus three
or four weeks of additional, noncontin-
uous time. He says hes grateful to have
been brought into the process earlier
than a cinematographer might normally
be. I value that time with Joe and
Anthony because so much of a films
design is done early, Opaloch says.
Generally the [cinematographer]
would come in and all of that design is
already roughed into place; then youre
playing catch-up and trying to keep
your hand on the steering wheel. The
earlier the better for the cinematogra-
pher to plug in.
He adds that due to the films
scope, much of the early planning was
done with previs and storyboards. The
cinematographer explains, Previs is part
of Marvels working approach, and its

www.theasc.com June 2016 41


Heroes Divided

Top: Captain
America searches
for Barnes, who
was a childhood
friend and fellow
soldier in World
War II. Middle: In
an effort to
protect Barnes,
Captain America
clashes with the
police. Bottom:
Barnes
commandeers a
motorcycle to
escape his
pursuers.

great because of the Russos relationship


with it. We work it and work it, and it
becomes our master document espe-
cially if its a complex visual-effects
sequence but theres still freedom to
push in other directions on set.
Principal photography got under-
way in Atlanta on April 27, 2015; most
of the productions sets were constructed
at Pinewood Atlanta Studios. After
about 84 shooting days, filming wrapped
in Germany on Aug. 21.
As with Winter Soldier, the film-
makers shot primarily with Arri Alexa
cameras, in this case about 70 percent
with the XT Plus, recording 4:3
anamorphic footage for a final aspect
ratio of 2.39:1 in ArriRaw format
with a resolution of 2880x2160 active
pixels. Additionally, the 17-minute
sequence in which the two superhero
squads square off will be presented in the
1.90:1 Imax format in Imax-equipped
theaters, and was shot with Alexa 65
cameras at 6560x3100 resolution; the
filmmakers dubbed this the splash-
panel sequence, referring to a one- or
two-page comic-book layout comprised

42 June 2016 American Cinematographer


Heroes Divided

Top: Captain America chases after Black Panther/TChalla (Chadwick Boseman), who believes Barnes is guilty of a recent and personal act of
terrorism. Bottom: A Libra remote head supports the camera for a fight between Black Panther and Captain America.

of a single attention-grabbing image effects supervisor Dan Sudick as Blackmagic Pocket Cinema Camera
instead of multiple panels. All of the Hawkeye and Scarlet Witch run toward was used for security-camera footage
Alexa cameras recorded to 512GB an objective. In another scene, a Dragon that was played back via on-set moni-
Codex XR Capture Drives, which was mounted to a remote-controlled car tors.
yielded 35 minutes of footage for the to provide the point of view from one of The second unit will go for a
XT Plus and 10 minutes for the Alexa Falcons reconnaissance drones as it cameras form factor over anything else,
65. maneuvers underneath a moving truck. Opaloch notes. Spicer adds, We always
Red Epic Dragon cameras, For car-chase sequences, GoPro tried to capture the footage from each
which recorded Redcode raw at Hero4 Black units were rigged as crash camera uncompressed and at the maxi-
6144x3160 resolution to Red Mini- cameras and captured 3840x2160 in mum resolution possible.
Mags, were also used for certain action Protune mode with the Flat color The Russos like to shoot action
scenes. In the splash-panel sequence, for profile. This allowed us to add an input scenes with a 45-degree shutter angle
example, one was installed in a drone to color transform to match closer to the and at 22 fps, which results in a slightly
provide an aerial view of multiple prac- Alexas look, explains digital-imaging stuttering effect when played back at 24
tical explosions overseen by special- technician Kyle Spicer. Additionally, a fps. The characters are superheroes, so

44 June 2016 American Cinematographer


Heroes Divided

Top: Wilson, Rogers


and TChalla are
brought into
custody for
interfering in the
authorities pursuit
of Barnes. Middle:
Barnes is detained
in a maximum-
security cell.
Bottom: Rogers
strains to keep a
helicopter from
taking flight.

theyre supposed to move faster than a


normal human, says Joe. This combi-
nation creates very kinetic and dynamic
movement from the actors and stunt
players.
Opaloch adds, Well almost
always keep [the shutter] at 45 degrees
for action work if we can afford the T-
stop, but if it starts to strobe or gets too
crazy depending on the context, we
might go to 23 frames or back to 24.
Dialogue would always be at 24
frames.
Opaloch paired the Alexa XT
with Panavision anamorphic prime
lenses, including, in descending order of
use, the G, E and C Series. He also
employed a 150mm lens from
Panavisions new anamorphic T Series,
which the company touts as offering
new optical layouts and mechanical
advances over the G Series. On the day,
the choice of lens series came down to
which one Opaloch considered best at a
given focal length, based on notes kept
by A-camera 1st AC Taylor Matheson.
What Ive always liked about the
anamorphic format is how it focuses

46 June 2016 American Cinematographer


Heroes Divided
Top: Hawkeye/Clint
Barton (Jeremy
Renner) and Scarlet
Witch/Wanda
Maximoff (Elizabeth
Olsen) are among
the heroes who
stand with Captain
America and Winter
Soldier. Middle: Iron
Man is backed by
Black Panther, Vision
(Paul Bettany), Black
Widow and War
Machine/James
Rhodes (Don
Cheadle). Bottom:
Stark also recruits a
young Spider-
Man/Peter Parker
(Tom Holland) to
join the fight.

and shapes the subject against the back-


ground, [guiding the viewers] to look
where you want them to look in a visu-
ally pleasing way, Opaloch notes. As an
example, he points to a dialogue
exchange in a restaurant between
Rogers and Wilson; the out-of-focus
patrons in the background draw the
viewer into the duos predicament and
amplify the characters sense of isolation.
In addition to the primes,
Opalochs lens package also included
Panavision 40-80mm (T2.8) AWZ2
and 70-200mm (T3.5) ATZ anamor-
phic zooms, but the crew called on them
only when in a pinch. One example is a
scene in which Rogers uses his bare
hands to try to prevent a helicopter from
taking off. With daylight fading as
Evans strained against a crane-
supported helicopter, the crew threw up
the short zoom. When the cameras on
a crane and were up against the sched-
ule, Opaloch notes, theres a benefit to
how much footage were able to capture
by not changing the lens and rebalanc-
ing the head.
With a preference for the long
end of the focal-length spectrum, the
directors typically wanted close-ups to
be shot in the 75mm-135mm range, but
they occasionally employed the 150mm.
We love [optical] compression, Joe
Russo explains. We almost never go
wider than 40mm. On Winter Soldier we

48 June 2016 American Cinematographer


played up to the 200s, but we backed off characters performances could be read dueling superhero teams charge one
on Civil War because of the number of in a medium shot or close-up, the actors another, the characters seen running on
characters in frame. This movie has a would be present in a partial suit that the ground were filmed on location or in
slightly more epic look, and holding the would then be filled out with visual front of the greenscreen, while those in
frames a little wider complemented that effects. Vendors included Industrial flight Iron Man, Vision, War
scale. Light & Magic, which handled Spider- Machine, Scarlet Witch and Falcon
In front of the lenses, the cine- Man and was the main shop for Black were entirely CG. Noting the weaving
matographer used IRND filters and Panther; and Legacy Effects, which together of CG and live action for this
selective ND grads and polarizers, but animated Iron Man, Winter Soldiers sequence, Opaloch offers the example of
never any diffusion. Opaloch generally prosthetic arm, and Falcons backpack Visions transition from air to land. We
shoots at T3.5; any wider-open, he says, and wings. For the moment when the would do takeovers of the Vision stunt
and the anamorphic image starts to fall
apart, but any higher and he would
sacrifice the desired shallow depth of
field. Its a hell of a challenge for Taylor,
but I have a lot of confidence in his
focus-pulling capabilities, the cine-
matographer says. If its a daytime exte-
rior, we might shoot at T4-T5.6 to help
things out a bit.
The Alexa 65 footage was shot
with Arri Prime 65 lenses, which incor-
porate Fujinon-manufactured optics
from Hasselblad HC lenses in housings
co-developed with IB/E Optics. The
splash-panel sequence, the filmmakers
reveal, was a trial run for the Infinity
War movies, which the Russos plan to
shoot entirely on the Alexa 65 for a
complete Imax viewing experience.
The Alexa 65 is off-the-charts beauti-
ful, Joe Russo effuses. The amount of
information it can [gather] on its chip is
massive, which is very helpful for a
huge, visual-effects-driven sequence.
Anthony Russo adds, We like to
shoot a lot [of footage]. We needed a
camera that was a little more versatile
than what [Imax] had available up to
that point. The 65 is a great step
forward in terms of being able to move
the camera in ways we like.
The splash-panel sequence
entailed the productions most compli-
cated logistics, in part because not all of
the actors who appear in the scene trav-
eled to Germany, where the battle was
staged on the tarmac of the
Leipzig/Halle Airport in Schkeuditz.
The actors who didnt make the trip
overseas instead shot their action on the
Pinewood Atlanta back lot in front of
500' of horseshoe-shaped greenscreen.
Often, if certain fully costumed
Heroes Divided

skinned with Quarter Grid and


suspended from a construction crane
set up by key grip Michael Coo and his
team. For tighter coverage, the crew
added Light Grid on a 20'x20' flyswat-
ter for further diffusion. Opaloch then
created backlight with remote-
controlled LRX 18K HMI Pars from
above, which were mounted on
Condors based behind the greenscreen.
On several occasions, gusting
winds and flash thunderstorms sent cast
and crew scurrying to Stage 2, where
they would shoot interior-for-exterior
footage including close-ups of Scarlet
Witch and Vision, and Mackie flying
on wires in front of greenscreen. Its
always challenging to mimic that real-
world environmental wrap on the
subject [when shooting indoors],
Opaloch says. We would try to keep
those shots as small as possible so they
could be lit on set. My goal in those
situations is always to reproduce what
your eyes would see in reality. To
approximate the ambient sky, the crew
built two 40'x40' soft boxes fitted with
Top: War Machine and Iron Man fly into action. Middle: The battle takes its toll on
the evacuated Leipzig/Halle Airport. Bottom: Black Widow stands between Captain America Kino Flo Image 85s and diffused with
and his escape. Light Grid and Full Grid some-
times simultaneously for double diffu-
double on a wire as he was coming in to Natural daylight served as sion and they placed 20Ks with Half
land on the ground. CG-Vision would Opalochs primary source on the back Blue as high as possible behind the
fly around and then transition to guy- lot and was controlled in all but extreme greenscreen to emulate the LRX sun
on-wire for landing. wide shots by a 60'x60' truss frame backlight.

50 June 2016 American Cinematographer


Stark stops fighting after Rhodes is injured in the battle.

For the films handheld action Russo notes. We know were covered
sequences, the crew used a bungee on our A and B [cameras], so we force
camera-support system that Coo built the C into interesting positions and
out of 30' to 40' of surgical tubing wind up with a dynamic frame. And
suspended from a Condor. The tubing three cameras will give you a lot more
would be tethered to the top handle of coverage a lot quicker. Working
the XT Plus or Alexa 65, lightening the through seven actors in costume on a
load for the operators. Ive never been hot summer day in Atlanta with one
a big fan of some of the other support camera is not preferable.
systems, because they usually place the However, Opaloch points out,
cameras center of balance at the top of Once you roll in a third camera, you
the camera instead of on your shoul- have to compromise your lighting. It
der, Opaloch says. With this system, normally means moving your diffusion
once you achieve the camera height, or neg frames out of [the cameras] way.
youre not fighting it at all. You can hold But every now and then on Winter
the camera above your head and you Soldier there was a C-camera shot I
wont be fighting to pull it down. It has didnt think would work, but wed get a
this really cool zero-g effect. great moment and Id be glad we did it.
When not handheld, cameras I try to be flexible and learn from the
would most often reside on dollies or process.
Technocranes. Steadicam, handled by One three-camera setup that
A-camera operator Mark Goellnicht, proved particularly tricky features U.S.
was used for only a handful of shots. I Secretary of State Thaddeus Ross
am not a fan of the Steadicam look, (William Hurt) reading the riot act to
Opaloch explains. It feels like TV the Avengers at the super-groups head-
hospital-drama to me. We pulled it out quarters. Ross, engaged in a long
only when we otherwise would see monologue in a glass-walled meeting
dolly track or if a crane arm couldnt fit room, walks about before coming to
in the space. rest in front of a large monitor; the
Per the Russos preference, the Avengers seated around the board table
crew usually ran three cameras, with watch somberly as the monitor shows
Goellnicht on A, Maurice McGuire on scenes of carnage related to their activi-
B, and Kent Harvey who also served ties.
as splinter-unit director of photography The scene was shot on location
on C. Sometimes that third camera inside Porsche Cars North Americas
gets the most interesting shot, Joe headquarters beside the Hartsfield-
Heroes Divided
Top, from left:
Stan, co-directors
Joe Russo and
Anthony Russo,
and Evans discuss
a scene inside the
Quinjet set.
Middle: A remote-
operated camera
keeps the hero in
frame as Captain
America enters the
Siberian facility
where Winter
Soldier had been
held for decades.
Bottom: Iron Man
and Winter Soldier
duke it out inside
the facility.

Jackson Atlanta International Airport.


I found it a bit stressful, Opaloch
recalls. We were trying to keep [the
space] open for three cameras, so the
lighting all had to come down from the
ceiling or up from the floor. It was chal-
lenging to light for that many people
and their looks in either direction.
A solution was found by using
long, diffused soft boxes built overhead
in the background kitchen and lounge
areas, with a third functioning as a prac-
tical fixture above the board table. Chief
lighting technician Jeffrey Murrell and
his team placed Quasar Sciences Bi-
Color LED T12 4' tubes in the soft
boxes, which had a soft Plexiglas coat-
ing supplied by the art department.
With the Quasar tubes, you can switch
between tungsten and daylight
settings, Murrell says. Traditionally,
you would use fluorescent tubes, but
theyre not as controllable. A dimmed
fluorescent gets very magenta and starts
to flicker, whereas LEDs dont. You can
dim them down to 2-4 percent, and the
color stays consistent.
The tubes were fed into a 1.2K
dimmer, which separated the tubes into
groups that could be manipulated by

52 June 2016 American Cinematographer


Heroes Divided
box a 2'x2' flat panel with strips of
LiteGear LiteRibbon hybrid LEDs
attached aimed into Ultrabounce
and then diffused through Light Grid.
Most often, however, a three-quarter
key light was positioned from the floor
Opaloch checks and motivated by the rooms large
the frame for a window; this key-light configuration
shot with the
Arri Alexa 65 often incorporated pizza boxes pushed
camera. through 4'x4' Lee Heavy Frost or
White Diffusion. If there was more
space, the crew would use Kino Flo
Celeb 401Q DMX LED soft panels or
Celeb 800s through 8'x8' Light Grid or
Full Grid. The set dressing also
included practical standing lamps, and
when Opaloch wanted harder edges, he
lighting-console programmer Scott a great soft source when you have three turned to color-changeable Arri L5, L7
Barnes, who worked on a High End cameras and need open air among a and L10 LED units.
Systems Hog 4 console. We knew wed group of actors. Technicolor provided a show
have to bounce around the room for When the soft box served as the LUT that, after testing, was further
coverage, Opaloch explains. That way, key light, the crew would sometimes finessed by Opaloch, Spicer and visual-
when we turned around, we could [dim] add fill with a book light on the table. effects supervisor Dan Deleeuw. While
down on the camera side and bring up The book light would consist of either a Opaloch naturally leans toward less
the background for a little backlight. Its Celeb Q or Murrells homemade pizza saturation, the filmmakers strove to

54
ensure the heroes costumes featured the he wanted. For example, if the cine- movies will be radical, promises
color levels Marvel wanted and comic- matographer wasnt able to get the Anthony Russo. It will be a real depar-
book fans would expect. During desired contrast on a character ture for all of us in terms of the ground
production, images were evaluated on perhaps because the dolly tracks from weve tread up to this point, and were so
set on Sony PVMA250 OLED moni- multiple cameras prevented the proper grateful that Trent is coming with us.
tors. Under Opalochs direction, Spicer placement of negative fill it could be
created CDLs that, along with detailed added or accentuated in the grade. Its
notes, were sent to dailies colorist Scott like rotoscoping-in a fill side, Opaloch
Fox at Shed in Atlanta. says. Its a fantastic way to work,
Technicolor reports that 320 because Im trying to make the Russos
hours were spent on the final grade for and the studio happy while also trying
the 2D release, operating with an end- to get our [days work] done. [I have] a
to-end 16-bit half-float linear EXR good sense of security knowing that as
workflow. (Technicolor also provided long as the lighting direction and broad
3D and Imax 3D versions.) ASC asso- strokes are there, I can finesse things TECHNICAL SPECS
ciate Steven Scott Technicolors vice later.
president of theatrical imaging and The cinematographers schedule 2.39:1, 1:90:1 (Imax)
supervising finishing artist worked will not get any easier, with 180 days Digital Capture
with Autodesk Lustre 2016 Extension lined up to shoot the Infinity War
2 on an HP Z840 workstation. movies beginning this coming Arri Alexa XT Plus, Alexa 65;
Faced with the speed of produc- November. Slated for release in 2018 Red Epic Dragon;
tion and the three-camera shooting and 2019, the features will propel the GoPro Hero4 Black
method, Opaloch was confident that he largest-ever assemblage of Marvels Panavision G Series, E Series,
and Scott would be able to use the DI onscreen heroes beyond the Earth and C Series, T Series, AWZ2,
process to bring the images to the level into an intergalactic adventure. The ATZ; Arri Prime 65

55
Time and
Space James Neihouse, ASC and
a team of astronauts offer
a unique view of Earth and
humanitys impact on it
in the Imax feature
A Beautiful Planet.
By Jay Holben

56 June 2016 American Cinematographer


I
n 1990, Imax released Blue Planet, a
pioneering film that offered an astro-
nauts view of Earth as seen from
space. Directed by Ben Burtt, that
film came about from seeing all the
great shots of Earth that came from the
first Imax space film, The Dream is Alive,
which was Imaxs first movie that was
actually shot in space, recalls director of
photography James Neihouse, ASC.
Neihouse shared cinematography duties
on Blue Planet with David Douglas, and
hes been involved in each of Imaxs
space-bound projects since The Dream
Photos by Marsha Ivins and Bill Ingalls, courtesy of NASA and Imax Corp.

Is Alive including the latest, A


Beautiful Planet, which reteamed him
with filmmaker Toni Myers.
Myers had written Blue Planet, Opposite: Aboard the International Space Station (ISS), astronauts capture images of Earth,
went on to direct Hubble 3D on creating a heightened awareness of the planet and humanitys impact on it in the feature A
Beautiful Planet. This page, top: NASA Commander Barry Butch Wilmore captures footage
which Neihouse again served as while on a spacewalk to repair the exterior of the ISS. Bottom, from left: Cinematographer James
cinematographer (AC April 10) and Neihouse, ASC; writer/director Toni Myers; and Wilmore during an Imax camera-training session.
directed A Beautiful Planet. Neihouse
recalls, When Leonardo DiCaprio came captured the views presented in A totally black apart from [Pyongyang].
in to record his voice-over for Hubble 3D, Beautiful Planet. Neihouse enthuses, In The oppression of North Korea is
he told Toni Myers that he had loved Blue the night shots, you can tell where the painfully apparent from space. The same
Planet and that we should make another human populations are from the city thing with the border between Pakistan
film like that today. We decided it was lights. The whole boot of Italy is one solid and India you can see where it falls
time to have another look at the Earth band of lights; you can see a ribbon of light from space.
from space. What impact would we see a down the Nile, through the darkness of We look at the Chesapeake Bay,
quarter of a century [after Blue Planet], Northern Africa. You can see North and he continues, which was so polluted in
with seven billion people on the planet? South Korea Seoul is very heavily lit, the Seventies that no one would eat
Astronauts aboard the one of the brightest [places] in the world, anything from it, but now its one of our
International Space Station (ISS) and the north side of the border is just success stories; today the bay is thriving.

www.theasc.com June 2016 57


Time and Space
Top: A view of
Californias coast
and Central Valley
from the ISS.
Bottom, left:
Neihouse trains
NASA astronaut
Scott Kelly at the
Space Station
Mockup and
Training Facility
(SSMTF) at NASAs
Johnson Space
Center in Houston.
Bottom, right:
European Space
Agency astronaut
Samantha
Cristoforetti and
NASA astronaut
Terry Virts during a
camera-training
session at SSMTF.

We talk about the California drought. he adds, I tell everybody that Im the fundamentals of Imax photography and
We have great shots of the West Coast only [cinematographer] who has to train the functions of the camera so that the
and Lake Powell and Lake Mead, and his first unit how to shoot. astronaut could operate reasonably well
we talk about the water situation there. We had three different astronaut and make lens, exposure and composition
Thats the kind of film A Beautiful Planet crews on this film, he continues. Barry decisions. Eight hours was crazy,
is. Butch Wilmore [ISS Expeditions 41 Neihouse admits. Butch really put a lot
Although he photographs the and 42], Terry Virts [42 and 43], and of extra effort into getting up to speed on
requisite terrestrial footage for these Imax Kjell Lindgren [44 and 45] were the our cameras.
films, Neihouse has never been in space, primary shooters. Additional crew were [Shooting] with digital really
and his primary responsibility as director Samantha Cristoforetti [42 and 43], helps, the cinematographer continues.
of photography is to properly train the Kimiya Yui [44 and 45], and Scott Kelly [The astronauts] would get feedback
astronauts to serve as proxy [44 and 45]. right away, and they could download
cinematographers capable of shooting The time Neihouse had to train proxies for us to see what they were
the footage themselves. I have trained all the astronauts was extremely limited. shooting. When they needed help, theyd
the crews on the Imax space movies since With Wilmore, Neihouse was given a reach out about what exposure or focal
1988, he explains and with a laugh, scant eight hours to teach him the length Id suggest for this or that situation.

58 June 2016 American Cinematographer


Top: A view of
Canadas
northeast, the
United States
and beyond as
seen from the
ISS. Bottom, left:
Onboard the ISS,
Wilmore
prepares for a
shoot. Bottom,
right: Wilmore
enjoys zero
gravity.

That was often done via email, but Id back. When we went digital, we were and Canon Cinema EOS C300. We
sometimes get a phone call. I have to say, bringing back Codex data packs the size shot side-by-side tests against [15-perf
its fun to get a call when the caller ID of a cell phone with 30 minutes of 65mm] Imax, then compared each
comes up as International Space footage. We also increased our low-light camera, Neihouse explains. We went
Station. capture substantially; we never would away from the F65 because of the size,
With the retirement of NASAs have gotten some of the shots [in A power consumption and complex menu
Space Shuttle program in 2011, Beautiful Planet] with film. We were able selections. Although these astronauts are
transportation to and from the ISS to shoot clean audio without hearing the geniuses, they can get space brain and
became extremely limited, impacting the roaring sound of the camera which become unable to perform relatively
choice of shooting format for A Beautiful sounded like a pissed-off sewing simple tasks because they have so much
Planet. The Space Shuttle was a space machine on steroids permeating every to focus on every day they just get
truck, says Neihouse. It would ferry shot so we can actually use audio from overloaded. So we try to keep things as
things back and forth as needed, but its the astronauts and get real moments. simple in orbit as possible. We also want
not flying anymore. Now, you can get And we were able to shoot a lot more to keep it simple so that it doesnt take
things up to the Station you just cant footage, especially inside the Station, and much time for them to execute the shots.
get stuff back [on a regular schedule]. capture some really wonderful, candid, The Phantom 65 had the same
That was one of the key reasons we went interpersonal moments that we never issue it was just too complex and
digital. could have imagined getting with film. menu-intensive, Neihouse continues.
Digital gave us other advantages, The cinematographer tested We rejected the Alexa M because, at the
too, Neihouse continues. When we several digital cameras for A Beautiful time, it was a two-piece system with a
were shooting film, three minutes worth Planet, beginning with a Red Epic cable from the camera down to the
of [15-perf 65mm Imax] film weighed 10 Mysterium-X, Vision Research recorder. Power was another issue the
pounds thats a lot of volume to bring Phantom 65, Sony F65, Arri Alexa M camera is power-hungry. That left us with

www.theasc.com June 2016 59


Time and Space
Red and Canon. When we were looking
at the test footage side-by-side in an Imax
theater with digital laser projection, people
were picking out the C300 as the best-
looking of the bunch. An additional factor
was that [NASA was] already using
Canon cameras on the Space Station,
which meant that the batteries were
already certified for space. Everything we
send up needs to be tested and certified
we cant have anything outgassing some
unknown chemical into the air. Since the
Canon battery system was already
certified, we saved a lot of money in
certification costs.
Before we started actually
shooting, Canon came out with the
[Cinema EOS] C500, he adds. We were
all completely impressed with the image. I
became a real believer in the need to shoot
uncompressed images, and the C500
offers a 4K uncompressed option that was
significantly superior to the other
contender. Neihouse and Myers therefore
opted to work primarily with C500
cameras, capturing raw 4K files to a Codex
Onboard S Plus recorder. We flew three
C500s total, Neihouse notes, but they
were only used one at a time. The camera
bodies were switched when the sensors
became too badly damaged from
radiation.
Additionally, they incorporated
Canon EOS-1D C cameras to shoot the
Earth in sequential still frames at about
four frames per second. We flew three 1D
Cs, Neihouse says, but only two made it
to orbit, as one was lost when SpaceX 7
failed. As with the C500s, the crew shot
with one camera at a time, with the camera
bodies being switched out when the
Top: Astronaut sensors showed considerable pixel
Kimiya Yui of the damage, Neihouse explains. The first
Japan Aerospace camera shot over 149,000 frames, and the
Exploration
Agency strikes a second more than 101,000 frames during
Superman pose the production. The raw CR2 files from
while floating the 1D C were then processed in post in
through the ISS.
Middle: Wilmore order to interpolate between the frames
poses with the and create full-motion 24-fps footage.
camera. Bottom: We used the full sensor, 5208x3477
Virts preps for
shooting. [effective pixels], which is a 1.5:1 aspect
ratio, explains Neihouse. Thats pretty
close to the 1.44:1 Imax aspect ratio, so we
lost less information that way. Plus, using

60 June 2016 American Cinematographer


Time and Space

Top: The Cupola is


a panoramic
observation
platform on the
ISS, from which
outside operations
and Earth can be
seen. Middle:
Wilmore preps the
camera. Bottom:
Virts prepares to
shoot through the
Cupola windows.

the camera in still mode enabled us to do


some longer exposure times for our night
passes of the Earth.
At night, if theres no moon, then
you can only see the lights from Earth,
Neihouse continues. With a full moon,
you can see the ground and get some
really amazing images. We were shooting
as high as 10,000 ISO on the 1D C with
a [Canon 24mm (T1.5) CN-E Cine
Prime, which was the primary lens for
night work] shooting anywhere from
110 of a second to 12 of a second

exposures. Theres a shot coming over


Florida, flying into the Bahamas, where
you see the reefs in the moonlight. That
was totally unexpected.
The cinematographer says that any
resulting trailing artifacts were still
acceptable even when the 1D C was set
for as slow as a 12-second exposure.
Although the ISS is orbiting at 17,500
miles per hour and the Earth itself is
rotating at about 1,000 miles an hour, at
about 250 miles away from the Earth, the
amount of trailing blur you see at those
slow exposures is really minimal, he
explains. We didnt use any tracking or
motion mounts like an Earth-bound
astro-photographer would use.
Everything was hard-mounted to the
Station.
Neihouse paired the 1D Cs with

62 June 2016 American Cinematographer


Time and Space
14mm (T3.1) and 24mm (T1.5) Canon
CN-E lenses. The 24mm Canon was
pretty close to our typical Imax 40mm
standard wide lens, and I liked that one a
lot, he notes. Neihouse also employed a
Nikon adapter in order to take advantage
of the complement of Nikon lenses that
were already aboard the ISS. They have a
ton of Nikon lenses up there, he says. We
used the 58mm [Noct-Nikkor f1.2] and
the 180mm [Nikkor] f2.8. For the C500
we flew a 12mm [T1.3 Arri/Zeiss] Master
Prime and a lightweight 15.5-47mm
[T2.8] Canon Cine Zoom.
Without the Space Shuttle,
supplies for the ISS are now sent up on a
variety of launch vehicles, only one of
which, the SpaceX Dragon, returns to
Earth; all the other supply vehicles burn
up on re-entry into the Earths
atmosphere. When the supplies arrive, the
astronauts unload them, then pack the
non-return vehicle with trash so it can be
disposed of as the vehicle enters the
atmosphere. Thats how they get rid of
trash up there, Neihouse explains. You
put it in an empty supply capsule and send
it out, and it is totally incinerated in the
atmosphere. In the case of the Dragon,
he adds, it is packed with items requiring
return to Earth, and it then re-enters [the
atmosphere] and splashes down off the
coast of California.
After completion of the film, the
camera equipment was scheduled for
disposal aboard the non-return vehicles.
The plan was always to burn up the
equipment, Neihouse notes. None of it
was to return. The 12mm Master Prime,
the 15.5-47mm Canon Cine Zoom, a 1D
C and C500, and all of our accessories
have already burned up, and we just found
out that the remainder of our equipment
will be disposed of on the next non-return
vehicle. We had hoped to get it back to do
some post-mortem on the sensors, but
there is very limited space for returning
equipment and experiments, so anything
that does not absolutely have to be
returned is burned up. It applies to all
payloads, and is also a reason we couldnt
Top: The Strait of Gibraltar, Spain, the Mediterranean Sea and North Africa captured from the ISS.
Middle: NASA astronaut Kjell Lindgren aims the camera over an empty space suit. Bottom: fly film there just isnt enough room to
Cristoforetti takes her first look at Earth upon arrival in the Russian Service Module of the ISS. return it to Earth.
To capture a first-person perspective

64 June 2016 American Cinematographer


Time and Space

Top: The 25-mile-


wide eye of
Typhoon Maysak.
Middle: The Great
Lakes of North
America beneath
ice and snow.
Bottom:
Thunderheads roll
over Central
Africa.

during space walks, the astronauts wore 4K


GoPro Hero4 Silver cameras on their
helmets. Neihouse notes, We used that
footage sparingly, but when its real close
and in your face, it works fairly well. A
couple of the shots look really good; a
couple are not so good, but good enough to
tell the story. Whats really surprising is that
you hear noise. Because the camera is
connected directly to the astronauts
spacesuit and there is atmosphere inside the
space suits, you actually hear bumps and
scrapes. Its really cool to hear that, and it
really helps draw you into the scene.
Inside the ISS, additional lighting
was mostly accomplished with portable
work lights. [The] original-model
Litepanels Brick lights that NASA uses for
work lights were pressed into service,
Neihouse says. During the training, I teach
the astronauts three-point lighting and how
to match levels. One of the hardest shots
that they pulled off was a shot of Samantha
Cristoforetti looking out the window
during daylight. To get that shot within the
dynamic range of the C500, we had to
really pump light into the Cupola
[observatory module], but we had to do it
delicately so that it didnt look fake or feel
like it was lit. They also did a scene at night
with Samantha sleeping that was lit totally
with the screen of her laptop. She has a
beautiful cool blue light on her, and you

66 June 2016 American Cinematographer


Time and Space
dont see that its the laptop until the
camera comes around.
All of the footage of Earth was shot
from inside the ISS, looking out through
existing windows. To eliminate any
reflections from inside, Neihouse built
window shrouds flat cloths with a hole
in the middle for the lens. One of the
areas that we struggled with was the big
Cupola. There are seven windows in the
back porch of the Station, and theyre
covered with what NASA calls scratch
planes basically cheap plastic coating.
So theres this beautiful view with these
incredible quartz optical-glass windows,
and its ruined by these 27-cent, scratched
plastic panels, which are also covered in
nose grease and fingerprints from
astronauts ogling Earth over the years. We
came up with a bump shield, a clear
plastic replacement for the scratch shield.
We built these little French doors into it
so you could open the doors and shoot
through the perfect window. Those helped
a lot, and NASA liked them so much that
they said, Were keeping these! So that
was our little contribution to the future of
space photography.
High-energy particles were perhaps
the most significant concern with regard
to the cameras performance throughout
the shoot. Without Earths atmosphere to
shield them from this galactic cosmic
radiation, as Neihouse explains, the
cameras sensors would receive high hits
of pixel-killing radiation. The higher you
get, the more radiation damage you start
picking up, he notes. You cant really
shield against it. NASA has tested several
ways to shield film and then digital
cameras from this damage, [but] none
have proven very effective.
Top: A view from Instead, he explains, When they
Wilmores helmet werent shooting, [the astronauts] would
as he looks down
at Earth. Middle: pack water bags around the equipment.
Earths aurora in The water like water vapor in our
action. Bottom: atmosphere shields against the high-
The deforestation
of Madagascar as energy particle radiation; it really slows it
seen from the down. In the end, we had to do a lot of
ISS. post work to clean up dead pixels, but
other than losing pixels, we had no
technical issues at all, which is
astounding.
The dead pixels also prompted

68 June 2016 American Cinematographer


Neihouse to direct the astronauts away
from pushing the ISO on the C500s.
When you crank up the ISO, you really
start to expose dead pixels, the
cinematographer explains. We did do
some low-light shooting with [the C500]
inside the Space Station where the
astronauts [conduct] a lettuce-growing
experiment. It was actually under a
pinkish-fuchsia light, and they bumped up
the ISO [to 10,000] to shoot in there.
Unfortunately, we had to do a lot of dead-
pixel cleanup on those shots. Otherwise,
about the most we pushed the C500s was
up to 1,600 ISO.
Although the production focuses
on the planet from space, there are three
terrestrial shots in the movie, including a
piece of vintage footage that was actually
the opening shot of 1971s North of
Superior, which was probably the very first
aerial shot that was ever done for an Imax
movie, Neihouse explains. Its a shot of
Lake Superior, flying low. [In A Beautiful
Planet, as] the shot continues up into the
hills, it becomes a CGI shot, and the
world transforms to the landscape of
Mars.
The cinematographer goes on to
detail a new shot he personally
photographed: We did a shot of the sun
with the Space Station flying in front of
it. It was a real-time shot, and it required
our being in a very specific spot on Earth,
within a very narrow 5-kilometer band at
a specific time, in order to get the perfect
positioning of the Space Station as it
crossed between us and the sun. We
started by Big Bear Lake [in California]
and ended up in Idaho over four days of
leapfrogging. I wanted to get up as high in
the mountains as we could to avoid the
thicker part of the atmosphere and get a
clearer image; we also had to time it so
that we could shoot it right about high
noon, when the Station would be closest
to the camera. The Stations crossing of the
sun only lasts .53 seconds, so we shot it
with a Phantom Flex4K at 1,000 fps, with
a [Canon EF 800mm f5.6 L IS USM]
and a 2x extender on it. [That frame rate]
turns .53 seconds into 18 seconds on
screen, and we captured a perfect
silhouette of the ISS passing in front of the
Time and Space
continues. Marsha Ivins, our space-
operations guru and five-time shuttle
astronaut worked with Codex and
NASA to develop the protocol for remote-
accessing the 4K footage. Getting it off of
the recorder was like a second per frame; it
Cristoforetti
photographs just wasnt made to do this.
Earth from the The crew connected the Codex
Cupola. recorder to an onboard laptop, Ivins
explains, and the ground through the
ISS space-to-ground data link was able
to transfer the full-resolution Codex data
from the Codex drive to the laptop hard
drive. Then that data was downlinked on
the same path that all onboard imagery gets
sun, with sunspots flying around and exploded after launch during mission to the ground. Once on the ground, the
everything. CRS-7 in June of 2015, the production Imax data was then ported to Imax directly
The cameras for A Beautiful Planet lost its primary source of transport on a secure server. The transfer rate from
were launched up to the ISS on Sept. 21, between Earth and the ISS. When they Codex to laptop was 12GB per minute.
2014, on a SpaceX Dragon unmanned lost their vehicle, we couldnt get any more We were limited by the amount the laptop
cargo spacecraft. Codex drives from the data packs back, recalls Neihouse. They hard drive could hold, so when we filled the
C500 were returned to Earth on the were all stuck in orbit. hard drive, we had to stop and that had
SpaceX Dragon vehicles, and then re- We had always intended to fly the to be downlinked, the drive wiped, and [we
flown to the station on the next Dragon data packs back with the SpaceX would] start again. So it took us something
launch. However, when a Dragon vehicle missions, and this threw us for a loop, he like six weeks to get 1.4TB of data to the

70
ground. And not one byte was lost! They were really wonderful. A Beautiful Planet to the screen, Neihouse
Photography wrapped in mid- In comparing the conversion offers, Its been a very fun project to do,
December, 2015. The final color grade process to shooting in native 3D, and the crew was just incredible. The film
was performed by Brett Trider with Neihouse notes, Im a fan of shooting compares living on the planet to living on
Autodesk Lustre at Technicolor 3D natively, but that really was not an the Space Station. We have all these
Toronto. Final DCP was 4K, as was the option for this project. The amount of things that we just take for granted
color-grading resolution, Neihouse data would have been overwhelming; if water, air but when those things are
says. The cinematographer further notes it had been in native 3D, [the existing] limited like they are on the space station,
that because the C500 was generally number would have doubled. There were everyone has to do [his or her] part to
used for interiors and the 1D C other reasons that led us to shoot 2D and conserve. The people on Earth need to
primarily for Earth shots and that the post-convert, such as not wanting to fly a be treating each other like crewmates,
GoPros and Phantom were used in such 3D rig and having to deal with the respecting our needs and taking care of
different kinds of environments there challenges that brings to the table. our resources. Theres no free ride.
were no substantial issues with matching Its hard to believe that Im saying
the footage between cameras. this, because Im an old film guy,
The film also underwent a Neihouse continues, but I was amazed TECHNICAL SPECS
stereoscopic post-conversion performed seeing the results of the C500 footage
1.44:1
by Legend3D. Hugh Murray was our through Imaxs new xenon laser dual-
stereographer, and he supervised the projector system on a full Imax screen. Digital Capture
conversion process, Neihouse says. I sat The way the stuff looks on the laser
in on some of the depth-approval system really does rival [15-perf ] 70mm Canon Cinema EOS C500,
screenings. I was very impressed with the film especially Imax 15/70 original EOS-1D C; GoPro Hero4 Silver;
Vision Research Phantom Flex4K
job Legend3D did with the conversions, film that goes through a DI process with
and even more impressive was the a filmout at 5.6K. Canon EF, Nikon Nikkor,
excitement they had for the project. Reflecting on the journey to bring Arri/Zeiss Master Prime

71
Old-School
Thrills Employing modern
technology for a vintage look,
Philippe Rousselot, ASC, AFC
helps re-create 1970s Los Angeles
for The Nice Guys.
By Iain Marcks

72 June 2016 American Cinematographer


Opposite and this
page, top: Private
detective Holland
March (Ryan
Gosling, left) and
freelance enforcer
Jackson Healy
(Russell Crowe)
team up to find
runaway Amelia
(Margaret Qualley)
and investigate
the seemingly
unrelated death of
a porn star in The
Nice Guys. Middle:
Cinematographer
Philippe Rousselot,
ASC, AFC (behind
the camera) lines
up the Arri Alexa
XT Plus 4:3.
Bottom: Director
Shane Black and
Rousselot plan
their coverage.

T
he year is 1977. The place: Los
Angeles. The story is a sharp-
edged, Chandler-esque thriller in
which a private detective named
March (Ryan Gosling) and a freelance
enforcer named Healy (Russell Crowe)
team up to track down a runaway girl
(Margaret Qualley) with a devastating
secret. The Nice Guys is Shane Blacks
third feature as a director, and its close
Unit photography by Daniel McFadden, courtesy of Warner Bros. Entertainment Inc.

to No. 70 for Oscar-winning cine-


matographer Philippe Rousselot, ASC,
AFC.
In prepping the film, the director
of photography found himself thinking
of Diva, the now-classic French thriller
he shot for director Jean-Jacques Beineix
in 1981. I entertained going rather bold
with colors, the way I did on Diva when
I played a lot of hard blue against the
occasional drop of bright yellow, says
Rousselot. Over the course of his prepa-
ration for The Nice Guys, however, the
locations, sets and costumes began to
conflict with that concept. Every film
dictates its own style, and L.A. in the late
1970s is not Paris in the early 1980s, he
elaborates. The cameraman is given
things to film, and it is the job of the
cameraman to go with the flow.
This meant relying on production
designer Richard Bridgland and

www.theasc.com June 2016 73


Old-School Thrills

Top and middle:


March conducts a
stakeout from his
car. Bottom: Two
cameras capture the
action as March is
wheeled out of a
medical center.

costume designer Kym Barrett to convey


the films sense of time and place by
embracing what they all considered to be
the most atrocious things about the
Seventies in the periods colors, textures
and locations while Rousselot sought
a more straightforward, contemporary
approach to the cinematography. I dont
want to go back in time, and there isnt a
1970s style of cinematography because
all the cinematographers were different,
he says. Its more like, who do you want
to emulate? No matter who you choose,
it will end up looking very dated and
zooming in and out like Claude Lelouch
would distract from the story.
Creatively, much has changed for
Rousselot in four decades. I do not still
use the same techniques that I did in the
Seventies, because whatever [equip-
ment] you could get, we dont use
anymore, he says. My taste has evolved,
but I still have the same idiosyncrasies. I
never use backlight unless it is totally
justified; I like when the foreground and
background blend into each other, and I
try to leave in the dark whatever I dislike
or deem unnecessary to the story. I wish
I could achieve something as beautiful as
the light in the early Italian Renaissance
paintings of Piero della Francesca so
simple, no effect, no artificial drama, so
strong.

74 June 2016 American Cinematographer


Top: March escorts
his daughter Holly
(Angourie Rice) to
a cab as Healy
looks on. Middle
and bottom: The
crew preps the
driveway of the
Sandy Springs,
Ga., house that
stood in for a Bel
Air mansion.

Taste is in the details, he adds, like


a preference for using one light source, or
no source, in a given scene. There was a
period of time when he stopped using
hard lights altogether, but over the past
few years he has reintroduced them into
his repertoire. The Nice Guys is another
stage of evolution for Rousselot, as it is
his first feature shot digitally with
Alexa XT Plus 4:3 cameras and
marks his most extensive use of LEDs to
date. These choices were dictated partly
by a tight 50-day schedule, when a
feature with as much action and as many
locations as The Nice Guys would
normally call for something closer to 70.
Hed used the Alexa before, but only on
commercials, and since The Nice Guys
takes place mostly at night, having the
ability to raise the cameras ISO to 1,280
meant that Rousselot wouldnt have to
spend time setting up numerous 18K
HMIs on Condors for his night exteriors
though some were indeed used.
With LEDs, Rousselot could
place two 4'x4' panels against a wall and
shoot a complex dialogue scene in two
hours instead of eight. Adopting this
technique was a decision he made with
gaffer Joshua Stern, who designs and

www.theasc.com June 2016 75


Old-School Thrills

Top and middle:


For the Bel Air
party, guests cross
over steel-deck
platforms rigged
with RGB LED
ribbons disguised
as practicals.
Bottom: The crew
captures a fight
scene featuring
Crowe and actor
Keith David.

builds his own units under the banner of


Grounded Production Services (GPS).
When you work with Philippe, Stern
notes, you work with carts of Jem [Paper
Lantern] Harps, Jem Balls and Skylight
Skyballs anything thats round. I
knew I wasnt going to get away from
that, but here was an opportunity to
show him the tools Id built and used
with other people.
Their workhorse units were GPS
d-Light Albatross 4'x4' Hybrid lights,
and narrow and medium d-Light hybrid
Singles. The narrows are 212 inches
wide and the mediums are 5 inches wide,
so we would often rig them just above
frame to augment a practical, says Stern.
Now instead of a 4-foot diameter
sphere, you can have a 4-foot square
thats 4 inches deep. It has an egg crate,
so we can make it more directional, and
we can put it right up against the actors
because it doesnt generate any heat.
The GPS LED lights boast a
higher-than-95 CRI rating and the
diffused-incandescent quality of a paper
lantern. As long as the light is fairly
balanced, I dont care what its made of,
the cinematographer says. The thing is
where to put the light, and how soft it is.
Im not saying LEDs should replace
everything, but because of the short time

76 June 2016 American Cinematographer


we had on this film, they proved to be copter shot photographed by cine- Los Angeles with an eye to smog both
very useful. matographer Ryan Hosking during during the day and at night when it
The unpredictable fall weather in which the camera swoops up the dissipates, as well as population density
Atlanta made it difficult to use lighting Hollywood side of Mt. Lee and ends and architectural replacement, says
balloons, so 6K Skyballs were rigged to inside a set in Atlanta. The Hollywood Saeta.
Mombo Combos and bathed large areas sign was digitally re-created in its crum- The scene in which Healy and
with soft light. Jem Lighting 14" and 19" bling late-1970s condition, and even a March investigate a swinging Bel Air
rigid Paper Lantern Harps were mounted heavy blanket of brown smog, which bacchanal was filmed in Sandy Springs,
on C-stands for eye lights, or to carbon- plays a small background role in the Ga., at a mid-century home surrounded
fiber boom poles for walk-and-talks. If a films story, was painted back into wide by dense woods. We put greenscreens
tungsten light needed any adjustment, shots of the city. We were periodizing all around the house because its
one of three things would happen: It was
moved, diffused, or, as Stern explains, the
most likely scenario is youll dim it down,
which warms it up. Stern did away with
much of the need for CTO or diffusion of
any kind on his hybrid LEDs which
were used primarily for lighting actors
by engineering them with adjustable color
temperature ranging from 2,800 degrees
to 6,500 degrees Kelvin. Rousselot also
relied on RGB and RGBAW LED Par
cans, as well as Philips Color Kinetics
ColorBlast TRXs. Tungsten Fresnels and
Source Fours were bounced onto walls
and ceiling corners for background sepa-
ration when desired.
The Nice Guys is set in Los Angeles,
but most of the film was shot in and
around Atlanta, Ga., where Marchs
house, Healys apartment above the
Comedy Store, process shots for driving
scenes, and many other interiors were
constructed on stages in converted ware-
houses around the city. Rousselot spent
three weeks in Los Angeles filming the
exteriors of Marchs house, the Comedy
Store, City Hall, House of Blues and the
Burbank Holiday Inn, as well as Griffith
Park and various city streets.
We had a lot of conversations with
our visual-effects team about set exten-
sions and modifying the streets, says
Rousselot. Lead visual-effects supervisor
Josh Saeta worked closely with Lipsync
Posts visual-effects supervisor George
Zwier to create a near-seamless compos-
ite of the two cities with Saeta often
communicating via FaceTime from the
set in L.A. or Atlanta with Zwier at the
post house in London.
Saeta was also tasked with coordi-
nating the L.A. background plates for
process shots, as well as the opening heli-
Old-School Thrills

Top: Multiple
cameras are
rigged for a
driving scene in
Marchs
convertible.
Middle and
bottom: Marchs
driving goes
awry.

supposed to be on a hill above Los


Angeles, and you should see the city in
the distance, says Rousselot, who
describes the house as very weird and
quite small, especially the interior. It was
one of the first scenes to be shot, and
with all of the action, dialogue and back-
ground that it called for, it was one of the
films largest and Rousselot only had
four days to get it rigged. It wasnt just
the house, says Stern. Its the drive up
to the house, the pool in the back, the
pond in the front, and the valet stand.
Guests have to cross a series of
steel-deck platforms over the pond to get
to the main house. Stern and Atlanta
rigging gaffer Michael Tyson decided to
wrap the undersides of the platforms
with waterproof RGB LED ribbons
filtered with Lee 216 diffusion
disguising them as practicals and
lined the edges of the rooftop with
LEDs encased in frosted tubes. Inside
the house, the filmmakers used practical
lamps wherever possible, and swapped
the recessed ceiling lightbulbs with Wi-
Fi-controlled Philips Hue LED Par
lamps. We went through the entire
rainbow at that party, says Stern, but
we didnt do any color shifting or moving
lights, the rationale being that there
werent a lot of color-changing lights in

78 June 2016 American Cinematographer


Old-School Thrills

Top and middle:


Cast and crew
work at the
Atlanta set that
was employed for
much of the
footage at
Marchs house.
Bottom: The crew
preps a
greenscreen stage.

the Seventies, and if they did move, they


were likely huge and unlikely to be
hanging in someones home.
The films other major set piece is
the 1978 Los Angeles Auto Show, a
flashy exhibition filmed on the third-
floor pool deck of the Hilton Hotel in
downtown Atlanta. Philippe wanted
color and light everywhere, so our lights
needed to be part of the set, says Stern.
We built our LEDs into the set in an
indirect manner under bars, behind
diffusion panels. There was a lot of
chrome and vinyl and shiny Mylar
surfaces, and we took every opportunity
we could get to reflect the light.
Stern also researched commercial
lighting of the 1970s and learned that a
big car show might have featured a
handful of Sky Tracker xenon search-
lights, which prompted him to order two
controllable four-xenon pods that were
built into both ends of the convention
set. Hundreds of glitzy 7-watt cande-
labra carnival lights were attached to the
step faces of rotating platforms where
the latest automobiles sat on display, and
both sides of the hoops that arched over
them were lined with hundreds of 11-
watt carnival lights. Set decorator
Danielle Berman built 7' mirrored
towers of clear 40-watt vanity bulbs and
placed them around the convention floor

80 June 2016 American Cinematographer


Old-School Thrills

Top: Healy and


March find
trouble at the Los
Angeles Auto
Show. Bottom
left: The crew
preps an auto-
show scene.
Bottom right: The
Alexa is mounted
on a high hat and
dolly wheels.

so Rousselot could use them as light departments as highly practical. Im not With the exception of NDs, Rousselot
sources, and to add some visual interest. telling them what he or she should do, eschewed filtration. I was never fond of
The integration between the art he says. Its not my job; they dont need doing things like bleach bypass, or flash-
department and lighting department is my advice. Set design is a bit more ing, or putting a lot of stuff in front of
important, because the more you can involved, but they still dont need me to the camera, he explains. Sometimes I
build into the set, the less you have to tell them what color to put on the wall. did, but not very often. My policy is to
inconvenience your cast and crew with The aesthetic is theirs. be as simple as possible and then do all
lighting instruments that are in the way, G and E Series anamorphic the tricks later in the DI and then I
says Stern. If you can light a room with prime lenses were rented from go into the DI, and I dont use any tricks,
just one additional light instead of 20, Panavision Woodland Hills, and an or very few!
that gives the actors more freedom to Optimo 56-152mm A2S (T4) compact This may seem controversial,
move around, and helps you bring an anamorphic zoom was provided by Rousselot continues, but I care more
audience into the story. Angenieux. A Red Epic Dragon with about what the film is going to be as a
Rousselot agrees, and sees his Kowa anamorphic primes was used for whole than my cinematography, because
relationships with the other design drone shots of the hedonistic party. my work will never be better than the

82 June 2016 American Cinematographer


Old-School Thrills
Phillippe is very relaxed and confident
with his material and in his approach to
the grade, which creates a great environ-
ment [in which] to be subtly creative,
Inglis enthuses. We were never going to
do a super-strong look like we did with
Sherlock Holmes its just not that kind of
movie. Nice Guys has a strong visual style,
but its not something weve invented in
the grade; the DI is just part of the overall
process.
Philippe told me he feels that
grades should be like a piece of music, that
no one scene exists in isolation, but [each]
is dependent on its place within the
whole, the colorist continues. This is
something I strongly agree with. We
The crew captures a scene with Gosling while working on location at the Los Angeles house
would often run the film with sound and
that provided certain exteriors for Marchs home. just watch it as a whole to see how it flows.
This is an approach I find to be very effec-
film itself. You can say this about most ArriRaw, graded on a FilmLight tive: get the film broadly graded as quickly
technical things, that the quality of the Baselight system at Lipsync by Adam as possible, get a sense of its structure and
combined thing is the quality of its Inglis with whom Rousselot had what direction it wants to go, and then
weakest element. collaborated on Guy Ritchies Sherlock refine with each pass.
The Nice Guys was captured in 3K Holmes films and delivered in 2K. Some films are more DId than
TECHNICAL SPECS
2.39:1

Digital Capture

Alexa XT Plus 4:3,


Red Epic Dragon

Panavision G Series, E Series;


Angenieux Optimo; Kowa

Multiple cameras are lined up on Gosling for a night-exterior scene in the woods.

others, Rousselot adds. The Nice Guys extremely fine details, sometimes to
DI was useful for matching the different bridge shots in the same scene that were
mattes and visual effects; compared to actually filmed in different places. There
timing on film, you can have almost was no blanket style. It was all according
perfect color. We were working with to taste.

85
Against the
Clock
Stuart Dryburgh, ASC, NZCS and
a host of collaborators employ a
mix of digital and physical tools to usher
Alice Through the Looking Glass.

By Neil Matsumoto

86 June 2016 American Cinematographer


B
ack in the real world after Opposite and this
page, top: Alice (Mia
her fantastical adventures in Wasikowska) returns
Unit photography by Peter Mountain, Susie Allnutt and David Appleby, courtesy of Disney Enterprises.

Wonderland, Alice (Mia to Underland a.k.a.


Wasikowska) has found herself Wonderland to help
her friend the Mad
institutionalized with a diagnosis of Hatter (Johnny Depp)
hysteria. After a deft escape from in Alice Through the
captivity, she is summoned back to the Looking Glass. Middle:
Director James Bobin
magical realm to save her friend the (left) and
Mad Hatter ( Johnny Depp) from the cinematographer
nefarious machinations of Time Stuart Dryburgh, ASC,
NZCS on set.
(Sacha Baron Cohen). Bottom: Dryburgh
A sequel to Tim Burtons Alice considers a frame.
in Wonderland (photographed by
Dariusz Wolski, ASC; AC April 10),
Alice Through the Looking Glass was
directed by James Bobin and shot by
Stuart Dryburgh, ASC, NZCS. Rich
in visual effects, the feature required
substantial storyboarding and previs
work. By the time I came on to the
picture during prep in March of 2014,
a lot of the concept art was well in
place, explains Dryburgh, who was
hired after a successful Skype meeting
with Bobin. There are some scenes
that we just storyboarded, but a lot of
it had to be created very accurately in
previs due to the effects and the three-
dimensional virtual architecture that

www.theasc.com June 2016 87


Against the Clock

Top: Alices
mother, Helen
(Lindsay Duncan,
holding
Wasikowskas
hand), worries
about her
daughters sanity.
Bottom, left and
right: Alice travels
through the
looking glass,
returning to
Underland.

we had to match on stage. appeared in the prior project, though says. James and I were thinking in
In addition to his collaboration different aspects of the environment terms of the live action and what
with Bobin, Dryburgh worked closely are presented. Indeed, to maintain a camera was going to give us the best
with production designer Dan look for Underland that was consistent results, but also fulfill the needs of the
Hennah and visual-effects supervisor with that of the first feature, Dryburgh visual-effects department.
Ken Ralston, the latter of whom had and the effects team continually Shooting interiors, exteriors and
worked on Burtons Alice in referred to the world that Burton and night shots around the Disney lot, they
Wonderland. As Dryburgh notes, the Ralston had previously designed. tested an Arri Alexa XT against a
world of Underland which, as Shooting camera tests was a top Sony F65 and F55. Ralston and his
explained in the first movie, is priority during prep. We wanted to co-visual-effects supervisor, Jay Redd,
Wonderlands actual name is determine what would be the best were firm that they needed 4K for
instantly recognizable as the place that camera to shoot the movie, Dryburgh visual-effects shots, especially those

88 June 2016 American Cinematographer


Against the Clock

involving the Mad Hatters eyes and


the face of the Red Queen (Helena
Bonham Carter). The angrier and
crazier she gets, the bigger her head
gets, Dryburgh notes. They take her
face and expand and morph it, so you
need more pixels.
The cinematographer therefore
opted to use the Alexa XT for the real
world of Victorian London, and the
F65 for all of the Underland scenes,
which occupied most of the approxi-
mately 15-week shooting schedule,
and where the majority of visual effects
were required. Although Dryburgh
preferred the dynamic range of the
Alexa XT, the fact that the Underland
scenes would be shot on a stage meant
he could control the light to preserve
his highlights.
The movie was framed in the
1.85:1 aspect ratio instead of
widescreen for several reasons, includ-
ing the sentiment that it would ease
the post conversion to 3D. There was
also a preponderance of vertical
elements throughout the shoot, partic-
ularly in the case of tall and tall-hatted
characters. Time, for instance, was
Top: Alice finds Absolem (voiced by Alan Rickman), who has transformed from a caterpillar to a
butterfly. Middle: Alice finds herself shrunken down to the size of chess pieces. Bottom: Alice
7'2", so frame height was a priority for
encounters the Red Queen (Helena Bonham Carter). scenes in which he and Alice appear
together.
90 June 2016 American Cinematographer
Against the Clock
For the Alexa XT, which shot in
Open Gate mode at 3.4K, Dryburgh
selected his favorite lenses Vantage
Film Hawk V-Lite anamorphics with
a 1.3x squeeze. Though one might
typically use 1.3x-squeeze lenses on a
16:9 chip to obtain a widescreen
image of 2.39:1, Dryburgh used it to
stretch the Alexa XTs 4:3 Open Gate
sensor to 1.85:1. The cinematographer
notes that his preferred focal lengths
for Alice Through the Looking Glass
were 28mm, 45mm, 55mm, 80mm
and 110mm.
Dryburgh used a full set of
spherical Arri/Zeiss Master Primes
with the F65, generally sticking to
standard and wide lenses as wide as
16mm if they were working in a
smaller room. I wasnt too worried
because its a magical world, he says.
If it looks a little distorted, thats not
Top: The camera is
mounted on a crane such a bad thing. His favored focal
to follow Alice lengths were 21mm, 27mm and
through the town 40mm, though longer lenses were
of Witzend. Middle:
The crew preps a occasionally employed if they were
bluescreen scene in pushing into characters faces. In terms
which Alice of exposure, Dryburgh was generally
interacts with
virtual characters. shooting at T4 to 5.6 on stage, and at
Bottom: T2.8 to 4 on practical, low-light loca-
Wasikowska leaps tions. We also used the tried-and-
through a
bluescreen set. true Angenieux Optimo 24-290mm
[T2.8] zoom, especially on our B
camera, Dryburgh adds.
For previs, the production
worked with Halon Entertainment to
determine which digital enhance-
ments were needed and what the
effects would look like. We can do a
really fast pass of all the shots so they
can get it into the editing room and
they can see a completed sequence
with [temporary] effects, explains
Halon Entertainment supervisor Tefft
Smith II. Its not going to be the final
pretty shots that Sony [Pictures
Imageworks, the projects principal
visual-effects vendor] ends up doing,
but its enough to tell the story so the
[filmmakers] can understand what
action is happening and the look of
the environment Alice is in.
In cooperation with Bobin and
Dryburgh, Halons previs process

92 June 2016 American Cinematographer


Against the Clock
Top: One of
Times steam-
powered
Seconds, Wilkins
(voiced by Matt
Vogel), studies a
book. Middle:
Wilkins is on the
move with a
team of his
fellow Seconds.
Bottom:
Dryburgh plans a
shot of Sacha
Baron Cohen
(reclining), who
portrays the
villain Time.

involved creating 3D digital versions


of the characters. Alice or the White
Queen (Anne Hathaway), for exam-
ple, might be animated to demonstrate
how they would appear in a particular
environment, complete with an indica-
tion of whether the shot would be
medium or wide, and even which focal
length would be used. Then Anne
and Mia will see roughly what it looks
like, explains Smith. And once
theyre on set, they will use the previs
as a base, but not be locked to it. The
other good thing is that with previs,
[the filmmakers] now have an edited
sequence that they can show to
producers to get a feeling of how the
story is being told.
Underland scenes were shot on
stage at Shepperton Studios part of
the Pinewood Studios Group in
Surrey, U.K. For the main street in the
fanciful town of Witzend, Hennah
and his crew built storefronts and
gables a set that reached approxi-
mately 40' in height, with everything
above that being realized via visual
effects. And though a stage-based set
might lead to a general reliance on
CG, the production took pains to
build as many practical elements as
possible, including a royal palace and
medieval cathedral. For the Mad
Hatters tea party, the table had real

94 June 2016 American Cinematographer


Against the Clock
cakes, jellies and cookies, though
Ralstons team created the surrounding
environs by trailing the grass off into
blue carpet.
Dryburgh and the effects team
chose to work with bluescreen rather
than green due to the nature of the
movies onscreen surroundings. If
youre working with an environment
that is more in cool tones, if you get a
little bit of blue fringing or pollution
on a foreground element or face, its
much more forgiving, says Dryburgh.
You make this choice per project.
While in the first picture the
Victorian London scenes were limited
primarily to a country house and a
garden party, the aboveground scenes
for Alice Through the Looking Glass were
more ambitious. One of Dryburghs
main inspirations for the look of these
scenes was Autochrome Lumire, an
Top and bottom: early color-photography process that
The crew
captures the was patented by the Lumire brothers
sequence in in 1903. The medium consists of a
which Alice is glass plate coated with tiny potato-
attacked by
pirates during starch grains that were dyed red-
her voyage home orange, green and blue-violet.
to London. Lampblack fills the spaces between the
Middle: Dryburgh
readies for action grains and a black-and-white silver-
on the ship set. halide emulsion coats the top of the
filter layer. It was a very early process
similar to daguerreotype, explains
Dryburgh. In terms of color and
lighting, it really became our main
reference.
The movie opens with an action
sequence that depicts Alices voyage
home, a trek that involves fleeing from
pirates. The nighttime storm is infused
with blacks and cyan, with flashes of
lightning and flame as the pirates
attack a sequence that was shot on
a full-sized gimbaled ship on the back
lot at Longcross Studios. For Alices
arrival in London, Dryburgh crafted a
smoky, sepia look. The production
shot several sequences at the historic
Gloucester Docks, a Victorian-era
shipping port. It is being treated
as a heritage site, so its all pristine
1800s warehouse architecture, says
Dryburgh. We brought in a bunch of
tall ships so we were able to re-create

96 June 2016 American Cinematographer


this harbor scene for when she returns
home.
For both the Alexa XT and F65,
Dryburgh generally stuck to their
respective base ISOs of 800, although
for practical night locations with the
Alexa, he would push to 1,600. Ive
always hated the idea of stacking up
filters on a digital camera, and I used to
rate at a lower speed if I could, he
explains. But I realized that all you do
[by lowering the cameras sensitivity] is
compress the top end of the signal.
And the image quality at the top end,
the cinematographer contends, is one
of the elements that makes the Alexa
such a great camera. In my experience
particularly with Open Gate 3.4K
Ive never experienced any issues
[rating the camera at 800 and using
ND filters in front of the lens], as long
as you end up with a good exposure
and not drag too much out of the
bottom end.
Pete Cavaciuti served as
Dryburghs A-camera/Steadicam
operator, with Ashley Bond as A-
camera 1st AC. The Alexa captured
ArriRaw to Codex XR Capture
Drives, and the F65 captured 16-bit
4K raw files to Sonys proprietary SR-
R4 recorder that docks to the camera.
In both cases, the cards were backed up
on set and then sent to Deluxes
Company 3 in London for storage,
archiving and dailies creation, the
latter of which was performed with
Colorfront On-Set Dailies. Once the
dailies had clearance and the LTOs
were struck for archival purposes, the
cards were sent back to the set for re-
use.
Dryburgh worked closely with
digital-imaging technician Peter
Welch in developing base LUTs for
both camera systems. We shot some
tests in a variety of situations faces,
bright backgrounds, dark back-
grounds, night exteriors, the cine-
matographer says. We took the files to
Company 3 and basically refined the
look we wanted in terms of gamma
and saturation. Having made those
adjustments in the DI suite, you can
Against the Clock

The production prepares to shoot on location at the Gloucester Docks.

create a LUT, which you can then re- day I have to restrain myself from
import either directly to the camera as grabbing the lights [or at least]
an Arri LUT or in a LUT box minimize it so I dont drive my light-
between the DIT station and the ing crew completely bonkers.
camera. On Alice Through the Looking
In the old days we would say Glass, Dryburghs lighting for daytime
we want a blue-green soft look, so location work was heavy on HMIs,
were going to shoot Fuji, continues with a number of Arrimax M18s and
Dryburgh. If we wanted a high- M40s. In the studio, he typically used
contrast and colorful [image], we 5K tungsten units and Arri T12s.
would go with Kodak 5245. For digital Perhaps the cinematographers
youre making similar decisions, but most difficult location was the Syon
essentially youre creating your own House an 18th-century estate in
film stocks. Im an old film guy, so I west London that is owned by the
cant describe it any other way. The Duke of Northumberland which
LUT is the film stock and the CDL is served as the residence of Lady Ascot
the subsequent grading decision that (Geraldine James) and her son
you make on set, which is conveyed to Hamish (Leo Bill), who were partners
the dailies colorist. The production with Alices father. The locations
crew viewed dailies at Shepperton historic designation placed numerous
Studios on a 12' screen using a 4K restrictions on gaffer Harry Wiggins
projector. and key grip Kevin Frasers crews.
A graduate of University of You couldnt put a nail into a wall, so
Auckland with a degree in architec- we couldnt put up spreaders, says
ture, Dryburgh came up the ranks as a Dryburgh. Candles were allowed, so
gaffer, shooting low-budget movies Dryburgh had the props department
and music videos in the mid-1980s. use as many as possible in each room
Early on my strength was lighting, in order to get a base exposure for the
he says, and I had to learn the skills of Alexa. As toplight was difficult, any
camera operating on the job. Lighting light from above was accomplished by
is a very technical business, and to this hanging a soft light typically a Jem

98
Ball on a boom pole.
Dryburgh also employed a fair
amount of ground bounce laying
white sheets on the floor and bounc-
ing Par cans off of them to raise his
ambient light level. We did use a lot
of what my British gaffers call coop
lights, which are a wireframe ground
row with a lot of light bulbs, says
Dryburgh. You can wrap your gels
around them and hook it up to a
flicker box. We were hiding those
behind the furniture or in the fire-
places, jamming them in wherever we
could. Pretty much everything was
candlelight, ground bounce and small
units carefully hidden. But you still
feel that youre keying off the candles.
The balance was the most challeng-
ing.
Another challenging lighting
scenario was Times castle. With a
swirling ocean below, Dryburgh
bottom-lit with an array of Vari-Lites
for moving light effects. And for
Times clock room, the art department
created gobos of gears, spindles and
springs through which light could be
projected. Time also has a glowing orb
called a Chromosphere that is about
the size of a baseball and, when
thrown, turns into a time machine.
When Alice steals it from Time and
is holding it in her hand, we needed it
to glow, so gaffer Harry Wiggins
worked with the art department to
create a 3D-printed sphere that was
full of LED lights, says Dryburgh. It
had an interior battery, so you could
literally pick it up, throw it, and it still
glowed. As long as we kept the ambi-
ent light level down, it became the
dominant source in the space. Thats
kind of amazing that you could create
so much light energy in such a small,
self-contained unit.
Above the set for Witzend, the
crew positioned more than 250 space
lights, with very large 20-foot-wide
strips of soft blue diffusion extending
over the entire stage, below the space
lights, Dryburgh explains. Also
employed were Dinos and Maxi-
Brutes that provided a strong side key
Against the Clock
expensive. Plus we had such a high
electricity load that they had to bring
in massive generators. When we came
back to do some additional photogra-
phy, I was delighted to see that the
production manager had suggested to
the gaffer, You know what? Why dont
we use LEDs this time? At the end of
the day, they had spent more money on
air conditioning and generators than
they would have spent renting LEDs.
At the time of this writing,
Dryburgh is keen to begin color-grad-
ing sessions at Company 3 in Los
Angeles with colorist and ASC associ-
ate Stefan Sonnenfeld, who would be
working with Blackmagic Designs
DaVinci Resolve for a 16-bit finish
A telescopic crane moves the camera into position for a medium shot of Anne Hathaway
as the White Queen. optimized for HDR versions, with a
resolution of 1998x1080 for the 1.85:1
along the width of the street. Though dismay over the decision, Dryburgh aspect ratio. Versions will be delivered
Wiggins had suggested the use of recounts, What they discovered was for 2D, 3D, Imax Laser and Dolby
LED panels for the overheads instead that the stage got so hot that they had Vision.
of space lights, the notion was nixed to bring in two truck-size air-condi- Whats great about working
due to the high rental cost. Noting his tioning units, which are unbelievably with Stefan, Dryburgh attests, is that

100
TECHNICAL SPECS
1.85:1

Digital Capture

Arri Alexa XT, Sony F65

Vantage Film Hawk V-Lite,


Arri/Zeiss Master Prime,
Angenieux Optimo

Bobin (left) studies the action as Wasikowska stands aboard a rig worthy of Wonderland.

he is inclined to let the on-set photog- and hes got a great sense of taste and a
raphy speak for itself, rather than great sensitivity thats relative to
saying, Ill make this look high- photography. Hes a brilliant artist in
contrast in red just because I can. Ive his own right.
done several movies with him now,

101
New Products & Services
SUBMISSION INFORMATION
Please e-mail New Products/Services releases to
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.

CW Sonderoptic Adds Leica Lenses, Diopter stacked to increase the effect. Regular or
CW Sonderoptic, sister company to Leica Camera, has added clamp-on matte boxes can also be used. A
two lenses the 40mm and 15mm (both T2.0) to the Leica double-screw tightening system allows the
Summicron-C cine lens family. These lenses bring the growing diopter to be safely and securely attached or
Summicron-C family of primes to 11 focal lengths, all of which are removed from either side of the camera.
T2.0. For additional information, visit
Both the 40mm and 15mm share the creamy sharpness www.cw-sonderoptic.com.
image quality that distinguishes Leica cine products, rendering favor-
able, natural skin tones Mole-Richardson
without sacrificing clarity or Illuminates Tener LED
resolution. The primes also Mole-Richardson has introduced the Tener LED Fresnel. The
maintain the compact, tungsten-balanced version boasts output comparable to a 10K
lightweight and reliable Molequartz Tener Solarspot, while the daylight-balanced unit is
build quality of the other comparable to a 2.5K HMI Fresnel. Mole-Richardsons proprietary
Summicron-C focal lengths. LED technology offers a high CRI (95 for the Tungsten Tener, 90 for
While all lenses have the Daylite Tener) and full-spec-
matched focus- and iris-ring trum color.
locations and a 95mm front diameter, the 15mm prime is slightly The Tener LED fixture
longer, with a body similar to the 135mm. includes a 14" glass Fresnel, a
The Leica Summicron-C 40mm is expected to deliver this traveling flood/spot mech-
month, with the 15mm to follow in October. Leica cine lenses are anism, local and DMX
available from CW Sonderoptics worldwide network of resellers, dimming control, and
which can be found at www.cw-sonderoptic.com/resellers. flicker-free dimming from 100-0
CW Sonderoptic has also introduced the Leica Cine percent. The fixture measures 24"
MacroLux +1 diopter, which allows cinematographers and lens deep, 23" wide and 33" high; the
owners to decrease the minimum focus distance of lenses and offers head weighs 42 pounds and the
a creative way to get different looks and extend the performance of external ballast weighs 28 pounds.
spherical and anamorphic primes and zooms with 95mm front At 1,800 watts, the Tener LED only pulls
diameters. The custom coatings offer high resolution and contrast a maximum of 14.5 amps, and its universal
along with a color temperature matched to the natural, neutral look power supply works on 90-250-volt AC, 50-60Hz.
of the Leica Summilux-C and Summicron-C lenses, although it also For additional information, visit www.mole.com.
pairs well with other lenses.
Often diopters are thought of as a tool for tabletop work on SmallHD Goes Big
longer lenses, but the creative possibilities extend well beyond SmallHD has unveiled a line of daylight-viewable HDR
macro imaging. The secret of the Leica Cine MacroLux is not just production monitors in 17", 24" and 32" sizes. Designed to endure
about what happens in focus, but what happens out of focus, says years of heavy use, every monitor housing is milled from billet
Gerhard Baier, managing director of CW Sonderoptic. Using the aluminum and holds a 3mm-thick, user-replaceable polycarbonate
Cine MacroLux on wide or mid-range focal-length lenses throws the screen protector. Out of the box, the 1700 Series, 2400 Series and
background further out of focus and accentuates beautiful 3200 Series monitors can drop straight onto a C-stand, table or cart,
elements like focus falloff and bokeh. and the built-in RapidRail system enables quick mounting and
The modern lens design of the Leica Cine MacroLux creates powering of third-party accessories.
a high-performance optic with no perceptible light loss, spherical High-end software features include HDR preview capability
aberrations, color fringing or centering issues. In an interview setup when used with high-dynamic-range cameras, multi-view mode
with a close background, for example, the cinematographer can with ColorFlow for viewing multiple sources with varied postproduc-
create more separation without distorting the subject. It is also tion LUTs applied, 10-bit color processing, 10-bit HD waveform and
useful for creating separation when shooting at a deeper stop. scopes, and automatic display calibration. Looks in the form of
The Leica Cine MacroLux quickly clamps onto the front of the 3D LUT files and HDR can be applied and compared side-by-side
lens, and the mechanical design allows for two or more to be to the raw SDI and HDMI signals using the multi-view function.

102 June 2016 American Cinematographer


postproduction preview. With the Page-
builder menu, presets can be configured to
allow the shooter to quickly toggle
between frequently used pages of in-moni-
tor tools.
A full-sized SD card slot allows users
to conveniently transfer images and LUTs.
Users can opt for custom LUTs or SmallHDs
free 3D LUT collection. The SD card also
allows the capture of on-screen images
Independently, a separate LUT can be sent from the monitor and the overlay of nearly
downstream via SDI and HDMI. Any active any JPEG over live video.
LUT will be documented when the image- For additional information, visit
capture button is pressed, placing the www.smallhdr.com and
captured image and the corresponding 3D www.smallhd.com/lp/700-series/.
LUT next to each other on the users SD
card. SmallHD production monitors also
incorporate a built-in Color Intelligence
Engine that enables them to automatically
calibrate by self-generating a 3D calibration
LUT based on data received from a USB-
connected color probe.
A custom flight case holds every
accessory needed and has been designed
so that wireless systems do not need to be
removed from the rear of the monitor when
stored. The monitors built-in top handle,
table stand and C-stand mount plus the
optional sun hood, polycarbonate screen Hive Lighting Boosts Output,
protectors, Gold Mount and V-Mount Opens Stage
battery plates, USB color probe, power Hive Lighting has introduced a
cables and signal cables all pack comfort- 1,000-watt plasma bulb, which uses only
ably and quickly into the protective case. 9.5 amps on 120-volt power and is five
times brighter than Hives 250-watt plasma
bulbs. It produces the equivalent output of
a 2,500-watt HMI or 10,000-watt tungsten
incandescent but costs almost 40 percent
less to purchase and more than 50 percent
less to operate.
Hives 1,000-watt plasma bulb
boasts a full-spectrum 98 CRI. Like all of the
companys plasma products, it is 100-
percent flicker-free at any frame rate, is a

SmallHD has also added two high-


definition on-camera monitors to its
feature-rich 700 Series. Both the 701 Lite
and 702 Lite combine 450-nit 720p displays
with durability and on-set versatility.
The 701 Lite and 702 Lite offer an
intuitive operating system with built-in
professional software tools, including focus
assist, exposure assist, waveform, RGB
parade, audio meters and more. Users can
apply 3D LUTs to the image in real time as
single-point-source arc lamp, has an
extremely long bulb life (50,000 hours), and
can offer color-temperature adjustment
between 4,600K and 6,500K.
Hive has also introduced the Hive
Antenna, an affordable pocket color meter.
The compact Hive Antenna reads CCT in all
degrees Kelvin, is operated by a single
button, and can be charged with a phone
charger.
Additionally, Hive Lighting has part-
nered with Drone Dudes, a pioneer of UAV
camerawork, to present a new stage space
designed for high-speed video, photogra-
phy and visual effects. The 1,500-square-
foot stage houses a 30'-long by 17'-wide by
14'-high covered hard cyc (white, green or
blue) that is fully pre-lit with Hive Honey-
bees; the cyc lighting is fully dimmable and
can be pre-set to 5,600K or 3,200K,
chroma-key green or blue, or an almost infi-
nite variety of colors.
Hives entire rental inventory is stored
onsite, allowing stage clients to rent addi-
tional Honeybees, Wasps and Bee fixtures
as well as accessories including soft boxes;
Leko lenses; and two-, four- and six-light
frames. Hive also has a variety of standard
grip and production gear available for
rental.
Hive Speed Studio and Rentals is
located at 1732 E. 14th Street, Los Angeles,
Calif., 90021. To arrange a time to visit the
space, contact rentals@hivelighting.com.
For additional information, visit
www.hivelighting.com.

Codex Streamlines Workflows


Codex has launched Codex Produc-
tion Suite 4.5, an all-in-one software pack-
age that enables the color grading, review,
metadata management, transcoding,
QCing and archiving of media generated
by the latest digital cinematography
cameras. From ingest to postproduction, enables live HDR on-set grading at the same
Codex Production Suite 4.5 provides a time as SDR. With Codex Live, users can
single, simple, secure and affordable work- also color grade CDLs under HDR output.
flow for multiple types of cameras, from Codex Live features an easy-to-oper-
Arris Alexa 65 to GoPros. ate interface and enables users on set to
Codex Production Suite is available create and preview looks and color grades
on several different platforms, including directly from multiple live HD-SDI camera
Codexs own hardware. Production Suite feeds. These looks and grades can be
was developed hand-in-hand with previewed with Codex Review and auto-
customers worldwide, particularly DITs, who matically applied when generating deliver-
now have all of the tools they need to ables via Codex Production Suite. With
deliver color-accurate on- or near-set dailies, Codex Live, the looks created can be
and to securely archive camera-original exported in various formats for application
material in one efficient workflow. downstream in the workflow. Codex Live
Codex Production Suite features a has multiple color controls to adjust the
comprehensive toolset, including split- range of color parameters and is ASC-CDL-
screen or A/B playback of camera-original and ACES-compliant.
material, with correct frame rate, color The technology partnership means
space, LUT and CDL values applied; image- that Codex Live can generate CDLs and 3D
scaling and crop tools; metadata checking, LUTs for the Offhollywood OMOD module.
fixing and appending; QC tools and Codex Live users can grade wirelessly, in
customized reporting; fast transcoding to real-time, directly to the OMOD. Each moni-
common dailies formats; high-quality tor path can have a separate color pipeline
deBayering to DPX and Open EXR for visual- so that, for example, the DIT can grade and
effects deliverables; and archiving using preview in isolation and then share the look
LTFS to LTO-tape and Codex Media Vault when ready.
Library via Codex Archive. For additional information, visit
Codex Production Suite 4.5 also www.codexdigital.com.
includes non-destructive, CDL-based color
grading. Production Suite can import and
process externally created CDLs and LUTs,
so that looks can be applied overall or shot-
by-shot; looks can be baked into editorial
dailies or appended in the metadata of
deliverables. Production Suite offers a full,
end-to-end ACES-compliant color pipeline;
it seamlessly integrates with Codex Live for
a consistent color pipeline from camera
through to deliverables and beyond, and
with Tangent panels for grading purposes.
Production Suite also features an audio-sync
toolset, enabling the import of WAV files,
playback of shots in a proxy window, and AadynTech Updates LED Range
synchronization of audio files to shots based Aadyn Technology has released a
on time code. new line of LED lamps that offer greatly
Additionally, Codex and Offholly- increased light output over the companys
wood the latter of which was recently previous models while boasting the same
acquired by the Vitec Group have efficient power consumption. Four fixtures
announced the seamless integration of the have been improved to deliver at least 30
Codex Live color-management and look- percent more footcandles at 10': The Jab
creation system with Offhollywoods Daylight, Jab V2 Variable, Jab Hurricane and
OMOD camera modules for Red Digital Punch Plus, the latter of which is nearly 50
Cinema cameras. This technology collabo- percent brighter than before.
ration delivers a fast and robust set-to-post In addition, the Jab Daylight, Jab V2
solution for Red camera workflows, and it Variable and Punch Plus now have a built-in

105
user-interface module for enhanced
programming convenience. The Jab V2
Telecine & Variable also has a new digital Kelvin-
temperature readout; that fixture and the
Color Grading Jab Daylight retain their tethered remote-
unit option. Adding to its heightened
Jod is a true artist with programming convenience, the Jab V2 Vari-
a great passion for his craft. ables upgraded software enables users to
John W. Simmons, ASC set the light to a specific Kelvin tempera-
ture.
Contact Jod @ 310-713-8388 AadynTech has also expanded the
Jod@apt-4.com Punch series of LED fixtures with the addi-
tion of the Punch Plus Variable, which offers
variable color-temperature output without
compromising the quality of the light beam.
With a Kelvin range from 2,950-6,200, the
Punch Plus Variable delivers 5,000 footcan-
dles at 10' with a Kelvin reading of 4,377K.
At the same distance at 5,600K it delivers
3,310 footcandles, and at 3,200K it delivers
2,540 footcandles.
Color changes are smooth through-
out the Kelvin range, and the fixture offers
100-0 percent dimming with no change in
color temperature; color temperature and
brightness along with lightning and
strobe effects can be controlled with the
built-in user interface, remote user inter-
face, or DMX/RDM via the built-in wireless
receiver.
The Punch Plus Variable consumes
only 4.78 amps, allowing four fixtures to
operate on a single 20-amp circuit. The
power supply is universal and built into the
fixture; no ballast or ballast cables are
required.
AadynTechs LED fixtures are all
designed, engineered and assembled in the
United States.
For additional information, visit
www.aadyntech.com.

Teradek Expands COLR


Teradek has added three models to
its line of COLR devices. The 4K COLR Pro,
COLR Duo, and COLR Lite join the original
COLR which
combines a real-time
LUT box, camera-control
bridge and HDMI/SDI
cross-converter to
offer cinematogra-
phers and broad-
casters an array of
options for wireless
real-time color
correction and remote
camera management.
The entire COLR lineup offers a
simple ACES-capable solution for wirelessly
grading live video footage with the CDL
and 33x33x33 3D LUT of the users choice.
The COLR, COLR Lite and COLR Duo
devices also function as a wireless camera-
control bridge when connected to a
cameras USB or Gigabit Ethernet port.
Using the cameras native Web interface or
a third-party software solution such as Fool-
Control, COLR can manage camera para-
meters like white balance and tint as well as
start/stop trigger, frame rate and shutter
speed.
COLR Pro is a professional cart or
rack-mounted 4K color-grading system. It
brings additional I/O and bandwidth to the
COLR platform with support for two inde-
pendent 12G-SDI inputs and up to four
12G-SDI outputs, each with independently
applied 3D LUTs with a CDL or 1D LUT.
The COLR Duo offers all the func-
tionality of the original COLR and adds a
second 3G-SDI output. This allows users to
apply unique 3D LUTs with a CDL or 1D LUT
on each of the two outputs or indepen-
dently monitor a clean output signal. COLR
Duo maintains the platforms wireless
camera control via Wi-Fi and easily attaches
to any camera, monitor or DIT cart via -
20" mount or a custom bracket.
COLR Lite is designed for compact
action cameras or small DSLRs and mirror-
less cameras. Built from lightweight and
rugged ABS plastic, COLR Lite features an
HDMI input with a 3G-SDI output, with the
same 3D LUT capability found in all COLR
models. A USB port for camera control
and/or powering an action camera is
included, as well as Wi-Fi for robust wireless
camera control and remote color grading.
For additional information, visit
www.teradek.com.
Schneider Grows Filter Family
Schneider Optics has introduced an
array of front-of-the-lens filters, including
the 1-Stop Circular Polarizer. With only a
single stop of exposure loss, the 1-Stop
Circular Pol minimizes glare and reflections
and maintains full color saturation without
any of the inconsistencies of linear polariz-
ers. The filter is available in popular sizes
including 4"x4", 4"x5.65" and 6.6"x6.6",
as well as custom sizes.
Schneider has also expanded its line
of Emmy Award-winning Platinum IRND
filters, which limit the light that strikes the
cameras CCD or CMOS imager to the visi-
ble spectrum, dramatically reducing IR
spillage. While previously offering 0.3, 0.6,
0.9, 1.2, 1.5, 1.8 and 2.1, the new addition
tops the line at 2.4 (8 stops). These filters
are available in all standard video and cine
sizes.
Schneiders .15 ND MPTV filter has
also made a comeback. The .15-density
light-refining filter rejoins the Neutral
Density lineup, which also includes .3, .6, .9,
1.2, 1.5 and 1.8.
The latest addition to the True-Streak
effects filter line, Schneiders Star filters are
now available in clear and red/white/blue
versions the latter just in time for election
season and the July Fourth holiday. The six-
point star-effect filters join the True-Streaks
(blue, red, orange, green, yellow, pink,
violet and clear), which provide an anamor-
phic-streak look, as well as the Confettis,
which create mini-streaks that appear as a
sparkle or fireworks effect as the filter is
rotated. Custom Star filters can be specially
ordered in a choice of four, six or eight
points, and any of the eight True-Streak
colors can be custom combined.
The company has also unveiled clear
optical flats to fit the 111mm front thread
on the Fujinon Cabrio lens family, and the
112mm front of Canon Cine zooms. The
optical flats utilize Schneiders water-white
glass, which boasts outstanding optical clar-
ity at an exceptional value.
For additional information, visit
www.schneideroptics.com.

Rosco Lights Up Silk 110


Rosco Laboratories has unveiled the
Silk 110 soft-light LED fixture. Developed by
David Amphlett, Roscos product-develop-
ment manager for broadcast lighting solu-
tions, the Silk 110 offers precise color qual-
ity and powerful output in an efficient,
ergonomic form factor.
Building on the success of Roscos
Silk 210, the lightweight Silk 110 features
broad-spectrum daylight- and tungsten-
balanced LEDs, and is tunable from 2,800-
6,500K. Independent tests have measured
a TLCI rating of 97 and a CRI of 98 at
3,200K. The portable and versatile Silk 110
operates under mains power and is also
compatible with Anton/Bauer or V-Lock
batteries.
The Silk 110 weighs only 9.25
pounds and measures 15.9"x15.5"x3.9".
The fixture features both DMX and local
control, and is available with a wide range
of accessories, including magnetic egg-
crate louvers, barn doors and a rain cover.
For additional information, visit
www.rosco.com.

ShareGrid Opens Marketplace


Recently launched peer-to-peer
marketplace ShareGrid enables filmmakers
to rent gear, spaces and resources directly to
and from other members. Every rental is
covered by insurance or damage waiver,
and every member is verified. Currently live
in Los Angeles and New York City, Share-
Grid is gearing up to expand to additional
covers every rental up to $750,000; Share-
Grid also verifies and accepts third-party
insurance policies.
Members can choose where they
want to exchange gear, with provided
check-sheets to ease the prep and checkout
process; a delivery option is available in
NYC. ShareGrid also allows members to
build their own profiles/bios, link social-
U.S. markets, and members can register for media profiles, upload a demo reel, follow
early access in their city. other members and message one another.
ShareGrid was co-founded by Brent Members of the ShareGrid community
Barbano, a Los Angeles-based director of range from students to seasoned filmmak-
photography and member of Local 600; ers, including cinematographers, camera
Arash Shiva, a photographer and e- operators, camera assistants, gaffers,
commerce veteran; and Marius Ciocirlan, a producers, directors and editors.
product designer and Emmy Award- For additional information, visit
winning animator. The trio sought to create www.sharegrid.com.
a community where fellow creatives could
make supplemental income on their equip- Rotolights Anova
ment investments and find affordable rental Pro Streamlines Effects
options for their own projects. U.K.-based LED lighting manufac-
ShareGrid turer Rotolight has unveiled the Anova Pro
renters can browse LED fixture. Up to 43-percent brighter than
or search for specific the companys previous-generation Anova,
gear, sort by popu- the Anova Pro also boasts revised electron-
larity or price, and ics, 10-percent weight reduction, a revised
gauge distance with yoke design, and a new Flash Sync Trigger
a map view, while input for shutter-release synchronization at
gear owners can list up to 150 percent of the maximum contin-
for free. ShareGrid uous light output.
has price-suggesting Anova Pros Bi-Color LED system with
tools that help AccuColor LED-phosphor technology deliv-
owners price their ers exceptional color rendering (CRI of 96+)
gear competitively, and a powerful output (up to 6,545 Lux at
and scheduling tools 3') while using 94 percent less energy than
that help them set a standard tungsten bulb. The fixture
the availability of their gear. features dual controls for fast, tunable color
To ensure security, every member and brightness adjustment, along with an
provides a valid ID and goes through a two- accurate color-temperature display (CCT),
step verification process. Additionally, DMX control and V-Lock battery operation.
ShareGrids security team uses bank-level Wi-Fi control will also be available on Anova
software for background verifications on Pro Air models, which are slated to be avail-
every member before he or she rents.
Members also have the ability to review one
another in order to keep the community
transparent and safe.
ShareGrid has formed an exclusive
partnership with Athos Insurance
(www.athosinsurance.com) to build an
instant online insurance system for creative
productions. Within minutes, ShareGrid
members can purchase a short-term or
annual policy for their rental. ShareGrids
Insurance and Damage Waiver system

110
able in the fourth quarter of this year.
Anova Pro also boasts four unique
innovations: CineSFX, Flash Sync, True Aper-
ture Dimming and Designer Fade. CineSFX
provides an arsenal of customizable lighting
effects for motion-picture applications
strobe, lightning, fire, cycle, throb, police,
TV, spin, weld, spark, film, neon and
gunshot and eliminates the need for
flicker box workflows. These effects are
compatible with the fixtures wired remote-
trigger functionality and the Anova Pro Airs
wireless control. The unit also offers rolling-
shutter compensation.
Flash Sync and remote triggering
allow Anova Pro to be integrated into a
traditional photography workflow while
providing a hyper-accurate modeling light
and control of flash power and duration, as
well as color temperature and offset. True
Aperture Dimming calculates and displays
the correct f-stop for a subject at a given
distance, while also allowing users to adjust
the fixtures brightness in order to work at a
desired aperture. Lastly, the Designer Fade
mode provides custom fade-up and fade-
down effects that can save time in postpro-
duction.
Rotolights Magic Eye iPhone/iPad
App for the Anova Pro Air provides a simple
user interface and advanced feature set that
enables wireless remote control and trigger-
ing of CineSFX modes, as well as real-time
brightness, color-temperature and system-
settings adjustments.
Anova Pro is available in Bi-Color
(3,150K-6,300K) Standard 50-degree
beam angle (for greater straight line
output), Ultrawide 110 (for soft fill, flood
or chroma-key), or fixed-color 5,600K
versions.
For additional information, visit
www.rotolight.com.
International Marketplace

112 June 2016 American Cinematographer


Classifieds
CLASSIFIED AD RATES EQUIPMENT FOR SALE EQUIPMENT FOR SALE
All classifications are $4.50 per word. Words set TJs Grip Design, Inc. HOLLYWOOD STUDIO ANTIQUES
in bold face or all capitals are $5.00 per word.
First word of ad and advertisers name can be set Grip Rigging Accessories www.CinemaAntiques.com
in capitals without extra charge. No agency 58" fittings Mini Ball heads BUY-SELL-TRADE
commission or discounts on classified advertis- www.tjthegrip.com
ing.PAYMENT MUST ACCOMPANY ORDER. VISA, Worlds SUPERMARKET of USED MOTION
Mastercard, AmEx and Discover card are accept- 4X5 85 Glass Filters, Diffusion, Polas etc. A PICTURE EQUIPMENT! Buy, Sell, Trade.
ed. Send ad to Classified Advertising, Ameri-
can Cinematographer, P.O. Box 2230, Good Box Rental 818-763-8547 CAMERAS, LENSES, SUPPORT, AKS &
Hollywood, CA 90078. Or FAX (323) 876-4973. MORE! Visual Products, Inc. www.visual
Deadline for payment and copy must be in the 16,000+ USED PRODUCTION EQUIPMENT ITEMS
products.com Call 440.647.4999
office by 15th of second month preceding publica- www.ProVideoFilm.com
tion. Subject matter is limited to items and servic- www.UsedEquipmentNewsletter.com
es pertaining to filmmaking and video production.
Words used are subject to magazine style abbre- 888 869 9998
viation. Minimum amount per ad: $45

www.theasc.com June 2016 113


Advertisers Index
Aadyn Technology 99 Deck of Aces 113 P+S Technik Feinmechanik
Abel Cine Tech 53 Digital Sputnik Lighting Gmbh 113
A.C. Entertainment Systems 33 Panasonic Communications Co.
Technologies 51 DMG Technologies/DMG 5
Adorama 19, 43 Lumiere 109 Panavision, Inc. C3
AJA Video Systems, Inc. 91 Duclos Lenses 97 Pille Filmgeraeteverleih
Alan Gordon Enterprises 112 Eastman Kodak C4 Gmbh 112
Arri 9, 29 Powermills 112
Arri Rental 45 Filmotechnic 110 Pro8mm 112
ASC Film Manual 104 F.J. Westcott 105
Fluotec Sapi De CV 99 Quixote/Smashbox Studios 65
Aura Productions 106
Glidecam Industries 67 Rag Place, The 104
B&H Photo-Video-Pro Audio
31 Grip Factory Munich/GFM 107 Really Right Stuff 84
Group TVA/Mels Studios RED Camera 36-37
Backstage Equipment, Inc. Revolution 435 D&C/Bolt Stage
103 and post 95
Mexico 93
Band Pro Film & Digital 27 Haskell Wexler 3-pack 100 RTS 25
BBS 8 Hawk 83
Blackmagic Design 17 Hollywood Rentals 70 Scheimpflug Rentals 69
Horita Company, Inc. 113 Schneider Optics 2, 55
Camberwell Studios Ltd. 113 Selected Tables 114
Cavision Enterprises 112 Hulu, LLC 11, 13
Shape WLB, Inc. 101
Chapman/Leonard J.L. Fisher, Inc. 71 Siggraph 119
Studio Equip. 35 Jod Soraci 106 Super16, Inc. 113
Chrosziel Gmbh 106
Cinebags, Inc. 112 K5600 63 Teradek, LLC C2-1
Cinematography Kino Flo 54 Thales Angenieux 21
Electronics 69 Koerner Camera Systems 108 Tiffen 79
Cinekinetic 112 Ledsmaster/Ledsfilm 7 Ushio America, Inc. 107
Cinelease 23 Lee Filters 85
Cineo Lighting 81 Lights! Action! Co. 112 Vantage Gmbh 83
Convergent Design 89 Visionsmith/Hexolux 113
Maccam 98 Vitec Videocom 47
Cooke Optics 15
Mac Tech LED 77
Creative Industry Willys Widgets 112
Manfrotto Distribution 49
Handbook 115 www.theasc.com 100,
Matthews Studio
CTT Exp & Rentals 108 104, 113
Equipment/MSE 97
CW Sonderoptic Gmbh 61
Mole-Richardson/Studio
Depot 111, 112
Movie Tech AG 113
NBC/Universal 77
Nila, Inc. 69

114
American Society of Cinematographers Roster
OFFICERS 2015-16 ACTIVE MEMBERS Peter L. Collister Xavier Grobet Bruce Logan
Richard Crudo, Thomas Ackerman Jack Cooperman Alexander Gruszynski Gordon Lonsdale
President Lance Acord Jack Couffer Rick Gunter Emmanuel Lubezki
Marshall Adams Vincent G. Cox Rob Hahn Julio G. Macat
Owen Roizman, Javier Aguirresarobe Jeff Cronenweth Gerald Hirschfeld Glen MacPherson
Vice President Lloyd Ahern II Richard Crudo Henner Hofmann Paul Maibaum
Kees van Oostrum, Russ Alsobrook Dean R. Cundey Adam Holender Constantine Makris
Vice President Howard A. Anderson III Stefan Czapsky Ernie Holzman Denis Maloney
James Anderson David Darby John C. Hora Isidore Mankofsky
Lowell Peterson, Peter Anderson Allen Daviau Tom Houghton Christopher Manley
Vice President Tony Askins Roger Deakins Gil Hubbs Michael D. Margulies
Matthew Leonetti, Christopher Baffa Jan de Bont Paul Hughen Barry Markowitz
Treasurer James Bagdonas Thomas Del Ruth Shane Hurlbut Steve Mason
King Baggot Bruno Delbonnel Tom Hurwitz Clark Mathis
Frederic Goodich,
John Bailey Peter Deming Judy Irola Don McAlpine
Secretary
Florian Ballhaus Jim Denault Mark Irwin Don McCuaig
Isidore Mankofsky, Michael Ballhaus Caleb Deschanel Levie Isaacks Michael McDonough
Sergeant-at-Arms Michael Barrett Ron Dexter Peter James Seamus McGarvey
Andrzej Bartkowiak Craig DiBona Johnny E. Jensen Robert McLachlan
MEMBERS John Bartley George Spiro Dibie Matthew Jensen Geary McLeod
OF THE BOARD Bojan Bazelli Ernest Dickerson Jon Joffin Greg McMurry
John Bailey Frank Beascoechea Billy Dickson Frank Johnson Steve McNutt
Bill Bennett Affonso Beato Bill Dill Shelly Johnson Terry K. Meade
Mat Beck Anthony Dod Mantle Jeffrey Jur Suki Medencevic
Richard Crudo
Dion Beebe Mark Doering-Powell Adam Kane Chris Menges
George Spiro Dibie Stuart Dryburgh Stephen M. Katz Rexford Metz
Bill Bennett
Richard Edlund Andres Berenguer Bert Dunk Ken Kelsch Anastas Michos
Fred Elmes Carl Berger Lex duPont Victor J. Kemper David Miller
Michael Goi Gabriel Beristain John Dykstra Wayne Kennan Douglas Milsome
Victor J. Kemper Steven Bernstein Richard Edlund Francis Kenny Dan Mindel
Isidore Mankofsky Ross Berryman Eagle Egilsson Glenn Kershaw Charles Minsky
Daryn Okada Josh Bleibtreu Frederick Elmes Darius Khondji Claudio Miranda
Oliver Bokelberg Robert Elswit Gary Kibbe George Mooradian
Lowell Peterson
Michael Bonvillain Scott Farrar Jan Kiesser Reed Morano
Robert Primes Richard Bowen Jon Fauer Jeffrey L. Kimball Donald A. Morgan
Owen Roizman David Boyd Don E. FauntLeRoy Adam Kimmel Donald M. Morgan
Rodney Taylor Russell Boyd Gerald Feil Alar Kivilo Kramer Morgenthau
Kees van Oostrum Uta Briesewitz Cort Fey David Klein Peter Moss
Jonathan Brown Steven Fierberg Richard Kline David Moxness
ALTERNATES Don Burgess Mauro Fiore George Koblasa M. David Mullen
Stephen H. Burum John C. Flinn III Fred J. Koenekamp Dennis Muren
Karl Walter Lindenlaub
Bill Butler Anna Foerster Lajos Koltai Fred Murphy
Kenneth Zunder Frank B. Byers Larry Fong Pete Kozachik Hiro Narita
Francis Kenny Bobby Byrne Ron Fortunato Neil Krepela Guillermo Navarro
John C. Flinn III Patrick Cady Greig Fraser Willy Kurant Michael B. Negrin
Steven Fierberg Sharon Calahan Jonathan Freeman Ellen M. Kuras Sol Negrin
Antonio Calvache Tak Fujimoto Christian La Fountaine James Neihouse
Paul Cameron Alex Funke George La Fountaine Bill Neil
Gary Capo Steve Gainer Edward Lachman Alex Nepomniaschy
Russell P. Carpenter Robert Gantz Jacek Laskus John Newby
James L. Carter Ron Garcia Rob Legato Yuri Neyman
Lula Carvalho David Geddes Denis Lenoir Sam Nicholson
Alan Caso Dejan Georgevich John R. Leonetti Crescenzo Notarile
Vanja ernjul Michael Goi Matthew Leonetti David B. Nowell
Michael Chapman Stephen Goldblatt Peter Levy Rene Ohashi
Rodney Charters Paul Goldsmith Matthew Libatique Daryn Okada
Enrique Chediak Frederic Goodich Charlie Lieberman Thomas Olgeirsson
Christopher Chomyn Nathaniel Goodman Stephen Lighthill Woody Omens
James A. Chressanthis Victor Goss Karl Walter Lindenlaub Michael D. OShea
T.C. Christensen Jack Green John Lindley Vince Pace
Joan Churchill Adam Greenberg Robert F. Liu Anthony Palmieri
Curtis Clark Robbie Greenberg Walt Lloyd Phedon Papamichael

116 June 2016 American Cinematographer


J U N E 2 0 1 6

Daniel Pearl Dante Spinotti Joseph J. Ball Fritz Heinzle Jeff Okun Franz Wieser
Brian Pearson Buddy Squires Amnon Band Charles Herzfeld Marty Oppenheimer Beverly Wood
Edward J. Pei Terry Stacey Carly M. Barber Larry Hezzelwood Walt Ordway Jan Yarbrough
James Pergola Eric Steelberg Craig Barron Frieder Hochheim Ahmad Ouri Hoyt Yeatman
Dave Perkal Ueli Steiger Thomas M. Barron Bob Hoffman Michael Parker Irwin M. Young
Lowell Peterson Peter Stein Larry Barton Vinny Hogan Dhanendra Patel Michael Zacharia
Wally Pfister Tom Stern Wolfgang Baumler Cliff Hsui Elliot Peck Bob Zahn
Sean MacLeod Phillips Robert M. Stevens Bob Beitcher Robert C. Hummel Kristin Petrovich Nazir Zaidi
Bill Pope David Stockton Mark Bender Zo Iltsopoulos-Borys Ed Phillips Michael Zakula
Steven Poster Rogier Stoffers Bruce Berke Jim Jannard Nick Phillips Joachim Zell
Tom Priestley Jr. Vittorio Storaro Steven A. Blakely George Joblove Tyler Phillips Les Zellan
Rodrigo Prieto Harry Stradling Jr. Joseph Bogacz Joel Johnson Joshua Pines
Robert Primes David Stump Jill Bogdanowicz Eric Johnston Carl Porcello HONORARY MEMBERS
Frank Prinzi Tim Suhrstedt Mitchell Bogdanowicz John Johnston Sherri Potter Col. Edwin E. Aldrin Jr.
Cynthia Pusheck Peter Suschitzky Jens Bogehegn Mike Kanfer Howard Preston Col. Michael Collins
Richard Quinlan Attila Szalay Michael Bravin Andreas Kaufmann Sarah Priestnall Bob Fisher
Declan Quinn Masanobu Takayanagi Simon Broad Marker Karahadian David Pringle David MacDonald
Earl Rath Jonathan Taylor Michael Brodersen Frank Kay Doug Pruss Cpt. Bruce McCandless II
Richard Rawlings Jr. Rodney Taylor William Brodersen Debbie Kennard David Reisner Larry Mole Parker
Frank Raymond William Taylor Garrett Brown Glenn Kennel Christopher Reyna D. Brian Spruill
Tami Reiker Romeo Tirone Terry Brown Robert Keslow Colin Ritchie Marek Zydowicz
Robert Richardson John Toll Reid Burns Lori Killam Eric G. Rodli
Anthony B. Richmond Mario Tosi Vincent Carabello Douglas Kirkland Domenic Rom
Tom Richmond Salvatore Totino Jim Carter Mark Kirkland Andy Romanoff
Bill Roe Luciano Tovoli Martin Cayzer Scott Klein Frederic Rose
Owen Roizman Jost Vacano Leonard Chapman Timothy J. Knapp Daniel Rosen
Pete Romano Stijn van der Veken Mark Chiolis Franz Kraus Dana Ross
Giuseppe Rotunno Theo van de Sande Michael Cioni Karl Kresser Bill Russell
Philippe Rousselot Eric van Haren Noman Denny Clairmont Jarred Land Chris Russo
Juan Ruiz-Anchia Hoyte van Hoytema Adam Clark Chuck Lee Kish Sadhvani
Marvin Rush Kees van Oostrum Cary Clayton Doug Leighton Dan Sasaki
Paul Ryan Checco Varese Dave Cole Lou Levinson Steve Schklair
Eric Saarinen Ron Vargas Michael Condon Suzanne Lezotte Peter K. Schnitzler
Alik Sakharov Mark Vargo Grover Crisp Grant Loucks Walter Schonfeld
Mikael Salomon Amelia Vincent Peter Crithary Howard Lukk Wayne Schulman
Paul Sarossy William Wages Daniel Curry Andy Maltz Alexander Schwarz
Roberto Schaefer Roy H. Wagner Marc Dando Gary Mandle Steven Scott
Tobias Schliessler Mandy Walker Ross Danielson Steven E. Manios Jr. Alec Shapiro
Aaron Schneider Michael Watkins Carlos D. DeMattos Steven E. Manios Sr. Don Shapiro
Nancy Schreiber Michael Weaver Gary Demos Chris Mankofsky Milton R. Shefter
Fred Schuler William Billy Webb Mato Der Avanessian Michael Mansouri Ryan Sheridan
John Schwartzman Jonathan West Kevin Dillon Frank Marsico Marc Shipman-Mueller
John Seale Jack Whitman David Dodson Peter Martin Leon Silverman
Christian Sebaldt Lisa Wiegand Judith Doherty Robert Mastronardi Rob Sim
Joaquin Sedillo Jo Willems Peter Doyle Joe Matza Garrett Smith
Dean Semler Stephen F. Windon Cyril Drabinsky Albert Mayer Jr. Timothy E. Smith
Ben Seresin Dariusz Wolski Jesse Dylan Bill McDonald Kimberly Snyder
Eduardo Serra Ralph Woolsey Jonathan Erland Dennis McDonald Stefan Sonnenfeld
Steven Shaw Peter Wunstorf Ray Feeney Karen McHugh John L. Sprung
Lawrence Sher Steve Yedlin William Feightner Andy McIntyre Joseph N. Tawil
Richard Shore Robert Yeoman Jimmy Fisher Stan Miller Ira Tiffen
Newton Thomas Sigel Bradford Young Thomas Fletcher Walter H. Mills Steve Tiffen
Steven V. Silver Richard Yuricich Claude Gagnon George Milton Arthur Tostado
John Simmons Jerzy Zielinski Salvatore Giarratano Mike Mimaki Jeffrey Treanor
Sandi Sissel Kenneth Zunder John A. Gresch Michael Morelli Bill Turner
Santosh Sivan Jim Hannafin Dash Morrison Stephan Ukas-Bradley
Michael Slovis ASSOCIATE MEMBERS Bill Hansard Jr. Nolan Murdock Mark van Horne
Dennis L. Smith Pete Abel Lisa Harp Dan Muscarella Dedo Weigert
Roland Ozzie Smith Rich Abel Richard Hart Iain A. Neil Marc Weigert
Reed Smoot Alan Albert Robert Harvey Otto Nemenz Steve Weiss
Bing Sokolsky Richard Aschman Michael Hatzer Ernst Nettmann Alex Wengert
Peter Sova Kay Baker Josh Haynie Tony Ngai Evans Wetmore

www.theasc.com June 2016 117


Clubhouse News

Left, from left: David Heuring; James Neihouse, ASC; and Marsha Ivins. Right, from left: Aaron Latham-James, Steve Mahrer, associate member
Doug Leighton and Bill Bennett, ASC.

ASC, AC Attend NAB A number of other ASC members was launched by Bill Bennett, ASC, who
During the recent NAB Show in Las also participated in various events over the introduced associate member Doug
Vegas, AC presented the Creative Master course of the show. Among them were Leighton, Panasonics senior partner and
Series session Cinematography in Space Curtis Clark, Dejan Georgevich, David sales manager. The subsequent slideshow
for A Beautiful Planet. Moderated by jour- Klein, Robert Legato, Steven Poster, was presented by Panasonics senior tech-
nalist and former AC editor David Heuring, Frank Prinzi, Roberto Schaefer and nologist Steve Mahrer, and senior produc-
the session featured cinematographer David Stump. tion market technical specialist Aaron
James Neihouse, ASC and space-opera- Latham-James was available to answer addi-
tions consultant Marsha Ivins in conversa- ASC Hosts Panasonic tional questions. Society members in atten-
tion about the making of the Imax film. VariCam LT Discussion dance included James A. Chressanthis,
Neihouse also appeared on Canons Live The Society recently opened the Curtis Clark, Steven Fierberg, Victor
Learning Stage on the show floor to discuss doors of its Clubhouse in Hollywood for a Goss, Mark Irwin, Jacek Laskus, Peter
working with the companys EOS C500 and presentation showcasing Panasonics new Moss, James Neihouse, John Newby,

Photo of Clubhouse by Isidore Mankofsky, ASC; lighting by Donald M. Morgan, ASC.


1D C cameras for the production. VariCam LT camera system. The evening Rodrigo Prieto, Robert Primes, Christian
Sebaldt and Lisa Wiegand.
In Memoriam: Phil Radin

Top-right photo by Alex Lopez. Radin photo courtesy of the ASC archives.
Longtime ASC associate member Philip S. Radin Sonnenfeld Named Deluxe CCO
died at his home in Woodland Hills on March 28. He ASC associate member Stefan
was 62. Sonnenfeld was recently named chief
Radin was born on April 3, 1953, in Los Angeles creative officer of Deluxe Entertainment
to Morris and Bess Radin; he was the second of their Services Group. Sonnenfeld will continue to
four children. He joined Panavision when he was 23, work as a colorist for film and commercial
starting in the shipping and receiving department projects while developing new customer
before moving into camera rentals. In 1987, he was relationships in North America.
appointed the companys vice president of marketing Sonnenfeld got his start in postpro-
and sales. Responsible for Panavisions entire North duction with a summer job delivering dailies
American inventory, Radin supervised all departments that interacted with cinematogra- for the series Miami Vice. He co-founded
phers, directors and producers, and shared those filmmakers feedback with Panavisions Company 3 with Mike Pethel and Noel
research and development team. Castley-Wright in 1997; the company was
Radins significant contributions did not go unnoticed, and he was made an ASC purchased by Liberty Media Corp. in 2000,
associate on Jan. 8, 1990, after having been proposed by ASC members Woody Omens and then acquired by Deluxe in 2010. Sonnen-
Victor J. Kemper. Radin remained with Panavision for the rest of his career, and most recently felds recent feature credits as a DI colorist
served as the companys executive vice president of worldwide marketing. In 2012, the Soci- include Batman v Superman: Dawn of
ety of Camera Operators presented Radin with its Presidents Award. Justice (AC May 16), Zoolander 2 and Star
Radin is survived by his son and daughter, Jeremy and Kayla. Wars: The Force Awakens (AC Feb. 16).

118 June 2016 American Cinematographer


Close-up Frederic Goodich, ASC

When you were a child, what film made the strongest impression ation critic led to steady employment, first as an assistant, then shoot-
on you? ing and directing at Encyclopedia Britannica Films in Hollywood.
Three in black-and-white: The Third Man, for its theme of best-friend
betrayal, and for its aggressive and tactile lighting, deep shadows and What has been your most satisfying moment on a project?
silhouettes, backlit stone textures, the sewer-tunnel chase shots, the Directing, writing and producing Kickstart Theft [AC Nov. 12]. Vilmos
striking interplay of faces, and Orson Welles insidious smile; Bicycle was the cinematographer, and he allowed me to operate only one
Thieves, for the empathy it generated over the father and sons dilem- shot. He said it wouldnt work, but later told me it was great!
mas, the naturalness and simplicity of the images, and the irony of a
seemingly tiny yet hugely significant family drama played out on indiffer- Have you made any memorable blunders?
ent city streets; and City Lights, for Chaplins pathos Turning down a music-video offer in NYC from
and humor, his playfulness and gentle kindness, world-famous director Ken Russell felt like a
and his expressive body language. significant blunder at the time career-wise, but
my dear wife, Donna, said I made the right deci-
Which cinematographers, past or present, do sion, choosing instead to be with my son, Nik, at
you most admire? his graduation in Santa Monica. Indeed, I could
Vilmos Zsigmond, ASC, HSC; Emmanuel Lubezki, always shoot another video, but Nik would grad-
ASC, AMC; Conrad L. Hall, ASC; Gianni Di uate from high school only once. It was a cele-
Venanzo, AIC; Laszlo Kovacs, ASC. bration of family, of our dreams and aspirations.
Turning down Julie Corman to shoot a feature at
What sparked your interest in photography? $100 a week was a true blunder career-wise.
As a child, I loved to draw. On occasion, Id watch
my older cousin process and print rolls of 35mm still What is the best professional advice youve
film in the temporary darkroom hed set up over his ever received?
bathroom sink. One day I found myself shooting stills in my Bronx neigh- Remain a student. Respect your crew. Collaborate.
borhood just for the fun of it, using a 35mm Leica IIIf borrowed from a
buddy in junior high school. I realized then that making photo images What recent books, films or artworks have inspired you?
was a premier pleasure! Eventually, while at college, I found a job work- Book: Dalton Trumbo: Blacklisted Hollywood Radical. Film: Carol.
ing in the Film Library at the Museum of Modern Art in New York City, Painting: Epiphany #1 by Nikolai Soren Goodich.
surrounded by prints and original negatives of films Id seen and loved in
theaters. Some of them were in bad shape. Handling them with care, Do you have any favorite genres, or genres you would like to
shipping prints to schools and other museums, Id incurred an enormous try?
responsibility. I was hooked! Neo-film-noir.

Where did you train and/or study? If you werent a cinematographer, what might you be doing
On the job mostly, but initially at the Robert Flaherty Institute at the City instead?
College of New York, and later at the University of California, Los Ange- Fiction writer.
les.
Which ASC cinematographers recommended you for member-
Who were your early teachers or mentors? ship?
My grandmother Rose Schoenholz, and cinematographers Isidore John Bailey, Isidore Mankofsky, Bob Primes, Peter Anderson, John Toll.
Mankofsky, ASC; Haskell Wexler, ASC; and Jordan Cronenweth, ASC.
How has ASC membership impacted your life and career?
What are some of your key artistic influences? Recognized! Reinvented! Membership authenticated and reinvigo-
Caravaggio, John Alton and Robert Krasker, BSC, for single-source light- rated my lifes passion the technical and artistic sides. It led to teach-
ing ideas; Henri Cartier-Bresson, for his decisive moments; Mark ing and shooting gigs. And new friendships! I look forward to partic-
Photo by Todd Sharp.

Rothko, for his spiritual use of color. ipating in Society activities, hanging out with colleagues of different
backgrounds, sharing issues and tales of our experiences, engaging
How did you get your first break in the business? with students. I value the responsibility of being an ASC officer and
Although Id already been shooting news-style documentaries out of the chair of the ASC International Committee, grateful for the privi-
Washington, D.C., a chance meeting in Venice, Calif., with a Beat Gener- lege and the trust bestowed.

120 June 2016 American Cinematographer

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