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SEPTEMBER 2014
FEATURES
38
54
70
82
Space Cases
Ben Davis, BSC heightens sly humor in sci-fi adventure
Guardians of the Galaxy
Brain Power
54
DEPARTMENTS
10
12
14
22
98
104
116
117
118
120
122
124
Editors Note
Presidents Desk
82
Short Takes: Blood Pulls a Gun
Production Slate: 24: Live Another Day James Camerons Deepsea Challenge 3D
Post Focus: Restoring My Fair Lady
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EDITORIAL
MANAGING EDITOR Jon D. Witmer
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American Cinematographer (ISSN 0002-7928), established 1920 and in its 94th year of publication, is published monthly in Hollywood by
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OFFICERS - 2014/2015
Richard Crudo
President
Owen Roizman
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
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ALTERNATES
Isidore Mankofsky
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Kenneth Zunder
MUSEUM CURATOR
8
Steve Gainer
10
Stephen Pizzello
Editor-in-Chief and Publisher
Editors Note
For many of our readers, September not only marks back-to-school time but back-tofilm-school time. With a seemingly endless list of institutions and services to choose from
nowadays, aspiring cinematographers face a daunting task in seeking out the proper fit.
There are surely some fabulous opportunities for learning out there; the top-tier institutions,
known to all of us, are usually worth the time and expense. At the opposite end of the
educational spectrum are the puppy mills, fly-by-night operations staffed by inexperienced
hucksters who are happy to put a meaningless stamp of approval on people who are thoroughly unprepared to make it in the real world. This situation is a sad reality that can often
derail an enthusiastic young person before he or she is even out of the gate. Its also something were vigilantly on the lookout for at the ASC. As with most things in life, and especially in this case, let the buyer beware.
But heres another piece of reality that might surprise the members of this years Lighting 101 class: even if you go all the way and pick up an advanced degree from a legitimate
source, you will be qualified to do only one thing when you first set foot on a major-league
set: start at the bottom.
This statement isnt meant to discourage anyone. In fact, if youre put off by it, you
probably dont have what it takes to make it in the business anyway. Its also not so inflammatory when you realize that until the number of film schools began to radically increase
some 20 or so years ago, beginning your day with a surface gauge (i.e., a broom) in hand
was the only way in. As unimaginable as this may sound to todays instant-gratification generation, from the 1930s through the
1960s it was common practice for aspiring cinematographers to spend a decade or more in each of the subordinate camera-crew
positions before moving up to the next level. Are you sitting down? Robert Moreno, ASC spent more than 29 years rising through
the ranks before taking the lead chair and he was far from an exception. This rigorous vetting process guaranteed that the person
in charge was fully qualified to handle any challenge thrown at them. It also allowed qualified cinematographers to produce a generally refined body of work, even if they only rated among the journeymen and lesser-known names. Just tune in to the Turner Classic Movie channel at any time of the day and youll see what I mean.
Certainly, no one is going to endure apprenticeships like that anymore I know I wouldnt. However, there is a great wisdom
in taking the time to master ones craft. Notice I didnt use the term learn. Any ASC member can relate to you the basics of cinematography in a couple of hours. Could they teach you to actually be a cinematographer in that time? Thats a lifetime pursuit, one
which none of us will ever fully complete because the learning, growing and evolving never stops. Im not sure the film schools are
getting that message through clearly enough, though the concept should be pretty obvious.
So whats the real key to success for the motivated student of cinematography? The simplest answer is passion, an intangible that can neither be taught nor instilled. It can be inspired, though and no institution in the world is better suited to that
purpose than the ASC.
As the new term begins, I urge educators and students alike to look to us for guidance. The level of knowledge and experience held by our members and associates is truly staggering and it can often be accessed simply by asking. Our website,
theasc.com, is currently undergoing a complete makeover, but remains a tremendous resource. Visit it regularly! Our Friends of
the ASC section is something I wish had existed when I was starting out. Join up and learn from the best! Our ASC Manual is
jam-packed with vital information covering everything there is to know about what we do; for more than 80 years it has been
called the industrys bible. Get a copy and read it! Our Clubhouse hosts many educational events that are open to the public.
Come visit us!
If you havent figured it out yet, shepherding the next generation is a big part of our mission. To all the students, I say: Study
hard, work hard and avail yourselves of the ASC!
Richard P. Crudo
ASC President
12
September 2014
American Cinematographer
Presidents Desk
Short Takes
Fugitive Motel
By Simon Gray
September 2014
American Cinematographer
Unit photography by Scott Lowe and Andrew Peters. Photos and frame grabs courtesy of the filmmakers.
Alice (Odessa Young) experiences a rush of teenage awakening in the short film Blood Pulls a Gun.
Alice lives a dull existence at her family-run motel until Blood Lieberman (Josh McConville, third from
top) checks in. Top right: Director Ben Briand (left) and cinematographer Jeremy Rouse discuss a scene.
16
September 2014
American Cinematographer
Alice
approaches
Bloods room,
where she
catches him in
an intimate
moment with
the Mysterious
Woman (Tess
Haubrich). Top
right: Rouse
leads Young
with a
handheld Red
Epic MX.
18
September 2014
American Cinematographer
Top two: Alice encounters Blood. Bottom two: Alice whiles away her time daydreaming,
smoking and stealing from guests.
20
September 2014
American Cinematographer
Production Slate
24 Returns
By Michael Goldman
When Fox resurrected the 24 television franchise with the 12episode special event 24: Live Another Day, the writers moved the
shows setting to London and gave battle-scarred Jack Bauer (Kiefer
Sutherland) one of his most impossible challenges to date. A hunted
fugitive without his usual resources, Bauer had to dodge the CIA,
save London from bombardment by terrorists who had seized control
of American drones, protect the president, ferret out a traitor, and
confront old Russian and Chinese enemies who very much wanted
him dead.
Despite a four-year hiatus between season eight and Live
Another Day, Bauer pulled off his return with both aplomb and solid
ratings. His efforts were equaled offscreen by the crew, who, cinematographer Jeffrey Mygatt says, was tasked with producing the
exact same show that ran for eight years, but with an entirely new
crew and [acquisition] format, while working overseas with almost
no setup or rehearsal time.
Nearly all of 24s original run was photographed by Rodney
Charters, ASC, CSC, who worked with original series operators Guy
Skinner and Jay Herron to establish the shows signature style, in
which the A camera was always handheld and the B camera was
always on a long lens. Jon Cassar, a producer and frequent director
of 24s first eight seasons who returned to executive produce Live
22
September 2014
Another Day and direct six of the 12 episodes, knew it was crucial
to emulate that way of working. Accordingly, despite Foxs mandate
that the new production employ a British crew, he insisted on bringing a cinematographer who knew the show and could teach our
visual style to the British operators. Charters was unavailable, but
Mygatt had worked on the original series as a camera operator for
both the 1st and 2nd units, and had stepped in as cinematographer
for 10 episodes. Mygatt had also worked with Cassar on other
projects, including the Fox series Terra Nova.
After eight years in L.A. with virtually the same crew, this
was going to be a whole new kettle of fish for us, Cassar says. I
had to have a cinematographer with me who could pull off our
unique visual style, and Jeffrey was that guy, for sure.
Cassar recalls being concerned with how 24 would look in
HD, especially considering that the show relies so heavily on closeups, and that during 24s eight-season run, film had been considered central to the shows dark, noir style. Mygatt, though, knew
just how he wanted to handle the matter. When they hired me, I
said, If were doing it in HD, I wont shoot this show with anything
but the [Arri] Alexa, the cinematographer recalls. The Alexa is
really close to film for this kind of work. The camera handles light
really well. For night exteriors, you can shoot at 800 ASA or even
1,600 ASA and not have a big problem with noise. Also, its lightweight and versatile, which we needed for our workflow.
That workflow was strategically designed for the series run-
American Cinematographer
24: Live Another Day photos by Daniel Smith and Christopher Raphael, courtesy of Fox Broadcasting Co.
Jack Bauer
(Kiefer
Sutherland),
now a hunted
fugitive, returns
to action to foil
a terrorist attack
on London in
the 12-episode
series 24: Live
Another Day.
Top left: Bauer trains his signature stare on a new predicament. Bottom: Grip Andy Woodcock (right),
wearing a custom equipment-filled backpack, assists A-camera operator Oliver Loncraine. Top right:
Producer/director Jon Cassar (left) consults with cinematographer Jeffrey Mygatt.
September 2014
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used [as focus pullers] still apply [in the digital world], but wireless monitoring has
proven to be a new treat, and it really helped
on this show.
For the handheld A camera, the
production relied on three lightweight Angenieux Optimo zooms: 15-40mm T2.6, 2876mm T2.6 and 45-120mm T2.8. On the B
camera, they primarily used the Optimo 24290mm T2.8 zoom, as well as a Vantage
Film Hawk 150-450mm T2.8 zoom.
As Cassar explains, We are not a
show that does 10 takes we do two or
three. And there is a great physicality to the
work from the operators point of view. They
have to be sensitive to the material, be able
to go with the emotionality of the acting,
and understand that they have the freedom
to change a designed shot. If the actor
suddenly goes sideways, and the performance gets more emotional than it was in
rehearsal, the operator has the freedom to
grab the zoom and get right in there, to be
organic with the camera.
A-camera operator Oliver Loncraine
says that such physicality was particularly
demanding when he had to follow the
actors through grueling action scenes.
Making it easier for him to accomplish these
shots was a special backpack designed by
London equipment house Ice Film. Containing the wireless transmitter for the Cinetape
readout, the video transmitter, the camera
batteries and other devices, the backpack
could be worn by grip Andy Woodcock,
significantly lightening Loncraines load.
Andy and I were tied together by an umbilical cord, the operator explains. He was
the eyes in the back of my head, and without him, I could not have completed the
show in one piece I could not have done
shots running down the stairs backwards or
chasing Kiefer across roads with live traffic.
Andy gave me the confidence to give the
show the energy it needed. Teamwork is
always vital, but on this show especially we
really needed to act as one.
Whereas the Los Angeles-based
production of 24s initial eight seasons
tended to utilize nondescript neighborhoods, warehouses, back alleys and piers
that could stand in for locations in other
cities, Live Another Days producers sought
to take full advantage of the London backdrop, setting key scenes at or near Wembley
Top: Simone
Al-Harazi (Emily
Berrington)
eludes Bauer in
a London
Underground
tunnel. Middle:
Bauer races
through the
streets. Bottom:
The crew preps a
scene onstage
in the old
Gillette factory
in Brentford,
West London.
26
September 2014
American Cinematographer
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Top: President Heller (William Devane) pays a visit to Londons Wembley Stadium. Bottom (left
to right): Dolly grip Jac Hopkins, camera operator Jonathan Chunky Richmond, Cassar and 1st
AD Lydia Currie prepare to shoot the scene.
September 2014
TECHNICAL SPECS
1.78:1
Digital Capture
Arri Alexa Plus
Angenieux Optimo, Vantage Film Hawk
Deepest-Sea Explorers
By Iain Stasukevich
September 2014
James Camerons Deepsea Challenge 3D photos by Mark Thiessen, courtesy of National Geographic and Deepsea Challenge 3D.
Additional images provided by Jules OLoughlin, ACS and John Bruno.
Oscar-winning
filmmaker James
Cameron
successfully
completed a
solo dive to the
South Pacifics
Challenger
Deep, the
deepest point
on the planet.
The preparation
and dive are
documented in
the National
Geographic film
James Camerons
Deepsea
Challenge 3D.
September 2014
September 2014
36
TECHNICAL SPECS
1.78:1
3-D Digital Capture
Red Epic MX; Sony HDC-P1,
PMW-TD300; Silicon Imaging SI-2K;
Arri Alexa Classic; GoPro HD Hero,
HD Hero 2; Canon EOS 5D Mark II;
custom mini-cam
Angenieux Optimo, Fujinon, Evetar,
Lensation, Nikkor
37
Space Cases
Ben Davis, BSC blasts off for the
intergalactic superhero adventure
Guardians of the Galaxy.
By Douglas Bankston
|
38
September 2014
James Gunn took him for a stroll through the art department
early in preproduction. The design work was flabbergasting,
Davis says, still with a sense of awe. It blew me away. Concept
work that is only limited by imagination can set a very high
bar, and my job was to bring it to life. That challenge, for me,
was the most enjoyable aspect.
Unlike Marvels usual fare, which hangs Earth in the
balance as superheroes square off against equally powered
villains, Guardians is at its core a space adventure, set in the
distant cosmos and populated by humans, humanoids and all
manner of strange aliens. In the film, crafty space pilot Peter
Quill (Chris Pratt) whose chosen moniker of Star-Lord
does not precede him as far as he thinks daringly swipes a
powerful orb only to find himself the subject of an all-out
bounty hunt led by the evil Ronan the Accuser (Lee Pace).
With the fate of the galaxy threatened by Ronans plans, the
intergalactic police force known as the Nova Corps pressures
American Cinematographer
Unit photography by Jay Maidment, SMPSP. All images courtesy of Marvel Studios and Walt Disney Pictures.
Opposite (left to right): Gamora (Zo Saldana), Peter Quill (Chris Pratt), Rocket, Drax the Destroyer
(Dave Bautista) and Groot team up to save the universe in director James Gunns Guardians of the
Galaxy, shot by Ben Davis, BSC. This page, top: Ronan the Accuser (Lee Pace) opposes the galactic
heroes. Bottom: Davis (kneeling) finds a frame.
39
Space Cases
Quill, who goes
by the self-given
moniker StarLord, steals a
mysterious
artifact sought
by Ronan.
September 2014
American Cinematographer
Ronans bounty
hunters chase
after Quill. The
exterior set was
surrounded by
bluescreen so
visual effects
could extend the
alien terrain in
postproduction.
www.theasc.com
September 2014
41
Space Cases
creative decision to not use any traditional lighting fixtures your typical
Fresnels or HMIs on this film, the
cinematographer explains, wryly adding,
In prep, that sounded like a great idea.
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September 2014
American Cinematographer
Opposite: Cast
and crew ready a
scene on the set
of the Kyln, an
intergalactic
prison. This page:
This final frame
reveals the
addition of CGI
characters Rocket
and Groot.
Bottom: The
lighting diagram
for the Kyln
prison set.
www.theasc.com
September 2014
43
Space Cases
September 2014
American Cinematographer
45
Space Cases
Top: Quill and
co. pilot the
Milano through
space. Middle: A
two-level Milano
set was built
onstage, with
the flight deck
positioned
above the lower
living quarters,
allowing the
actors to move
freely within a
scene. Bottom:
The cockpit
could also be
removed and
placed on a
gimbal for battle
sequences.
September 2014
American Cinematographer
Space Cases
Top: The Guardians travel to Knowhere, a frontier community on the skull of a long-dead god
floating in space. Bottom: The crew preps a shot as Bautista steels himself for action.
September 2014
make it look like the cockpit was spinning, the gaffer continues. We also
had TekTiles going along the top of the
ship, so we were able to chase them as
though the ship was going in a forward
motion. Above that we had a roof of
silked daylight fluorescent HighLites
that we also chased to give a feeling of
movement. On either side of the cockpit, we had 12 Martin Mac Viper
Profile [moving fixtures], which we
could swipe through to give us a little
more movement. And above the ship
we had Vari-Lites rigged to sweep
across. My desk operator [Onkar
Narang] got worked!
Additionally, a 20K was positioned on a crane arm to serve as a hard
sun source, and Panalux HiLo
Softsource fixtures were mounted to the
end of a Grip Factory Munich GF-16
Crane, capable of up to a 50' reach, to
move around the cockpit as a key light.
The newly developed LED light has a
progressively adjustable color temperature range between 3,000K and 6,000K.
We were really the first show to put the
Panalux HiLo to the test, Smith says.
They were originally designed to
compete with the space light, but we
ended up having stirrups made for them
and using them on stands as a conven
tional light.
Space Cases
Davis adds that the HiLo
Softsource is dimmable without any
flicker. I liked [the fixture] so much that
I put several of them together and put
them through a large frame for a big soft
source for key lights for other setups.
The Guardians also fly the
Milano to Knowhere, one of the more
unusual settings found in any sciencefiction movie. Knowhere isnt a planet in
the proverbial sense, but rather the skull
of a long-dead god floating in space.
The surface has sprouted a kind of frontier community of prospectors who
mine the skulls yellow cerebral fluid.
Because it is in the shadow of a black
hole, Knowhere exists in endless night.
A street on Longcross Studios
back lot was dressed as the frontier
outpost and dolloped with pools of
yellow fluid. Davis initially planned to
light the street with soft boxes hung
from cranes, but the British summer
brought high winds, so instead the cinematographer opted for two 70' sections
of truss, each suspended 35' high by
cranes, one at each end of the street. On
each truss, 30 weatherproof housings
were mounted perpendicular to the truss
at 4' intervals; each housing was fitted
with two daylight fluorescent tubes
gelled with 728 Steel Green.
At street level, Davis says, there
were a lot of open storefronts, so I used
a lot of practical lights. I wanted the
street to light itself from practical
fixtures a lot of tubes on the walls and
small tungsten fixtures. The street ran
50
September 2014
American Cinematographer
Space Cases
Gunn (left) directs his brother Sean, who wore green or blue bodysuits
as he stood in for Rocket during filming.
52
TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa XT
Panavision Primo,
JDC Cooke Xtal Express
53
Brain Power
T
Thierry Arbogast, AFC teams
with director Luc Besson on Lucy,
a sci-fi thriller about a woman
whose mental abilities escalate off
the charts.
By Benjamin B
|
54
September 2014
American Cinematographer
Opposite: In the
feature Lucy, the
eponymous
heroine (played by
Scarlett Johansson)
gains new powers
when she unlocks
her minds full
potential. This
page, top: Prof.
Samuel Norman
(Morgan Freeman)
attempts to
comprehend Lucys
predicament.
Bottom:
Cinematographer
Thierry Arbogast,
AFC.
55
Brain Power
know what to do with it. She has no
goal, no one to avenge, no one to save,
nothing to win. Thats one of the questions of the film that interested me: If
you have all this power, what do you do
with it?
Lucy was shot over 12 weeks,
with the production spending two
weeks in Taiwan and several weeks in
Paris and other European locations.
The rest of the film was shot on soundstages at the new Cit du Cinma facility outside Paris, which Besson helped
to design and create.
The film was Bessons first
entirely digital production. During
prep, the filmmakers shot comparison
tests with an Arri Alexa XT, a Red Epic,
a Sony F65 and 35mm film. The
Lucy is abducted
by thugs in the
employ of Mr.
Jang (Choi Min-sik,
bottom), a drug
trafficker who
surgically implants
a potent chemical
substance within
her for transport.
September 2014
American Cinematographer
www.theasc.com
September 2014
57
Brain Power
Lucy confronts two taxi drivers in a night-exterior scene lit in part with 12 daylight-balanced
industrial fluorescents (top photo, in background) and a yellow sodium fixture in a Chinese
lantern (lighting Johansson).
September 2014
Brain Power
Director Luc Besson frames up the Sony F65 for a shot of Johansson in an airplane set.
A custom Rosco ring light was mounted around the cameras Arri/Fujinon Alura zoom lens; outside
the set, key grip Jean-Pierre Mas maneuvered a K5600 Alpha 18K to create a floating sunlight
effect through the windows.
60
September 2014
American Cinematographer
Brain Power
approached the camera.
Besson operates the A camera on
his films, and he prefers to use a fluid
head, usually on a bazooka, whose
height can easily be re-adjusted, unlike
a tripod. I have a physical relationship
to operating, he says. I like to hug the
camera, which is why I prefer a fluid
head. He adds that he likes to use a
slider because it allows you to almost
instantly compensate for the actors
positions, especially in widescreen,
where you have a lot of width to the
frame.
The director explains that operating is also a way for him to work
closely with the actors. He prefers to
shoot with a video monitor, rather than
I couldnt direct
watching a monitor
15 meters away
from the actors.
Numerous camera
vehicles, including a
Pancam (bottom)
mounted with five
Red Epic cameras,
were utilized for
filming a car
chase on the
streets of Paris.
62
September 2014
American Cinematographer
Brain Power
This page:
Arbogast (top,
right) and gaffer
Gregory
Fromentin (not
pictured) created
a unique lighting
setup for a scene
in which the
passage of time is
represented by
the rapid,
repeated
movement of the
sun from dawn to
dusk. The effect
was simulated
with a rig that
included 30 LED
lights in a halfcircle, each
programmed at a
different color
temperature.
Opposite: The
lighting diagram
for the time-lapse
set.
September 2014
www.theasc.com
September 2014
65
Brain Power
Prof. Normans research on the brains potential makes him the perfect candidate to assist Lucy in
understanding and harnessing her rapidly developing powers.
66
September 2014
American Cinematographer
Brain Power
Besson (gesturing) consults with Johansson during the filming of a hospital scene.
68
TECHNICAL SPECS
2.40:1
Sony F65, Arri Alexa XT,
Red Epic MX, Imax Wilcam
IW5A
Arri/Fujinon Alura, Cooke S4,
Angenieux Optimo
69
Windows
to the
I Origins, shot by Markus Frderer,
takes viewers on an epic quest to
India, where an eye researchers
rational logic meets evidence of
reincarnation.
By Jay Holben
|
70
September 2014
Soul
A
American Cinematographer
Unit photography by Jelena Vukotic. All images courtesy of Fox Searchlight Pictures.
Opposite: Ocular
research sends
molecular
biologist Ian Gray
(Michael Pitt)
toward a
crossroads of
science and faith
in the feature I
Origins. This page,
top: After a
chance meeting,
Ian tracks down
Sofi (Astrid
Bergs-Frisbey)
and an intense
romance ensues.
Bottom (left to
right):
Writer/director
Mike Cahill,
cinematographer
Markus Frderer,
1st AC Rylan
Morris Scherer and
key grip Thomas
Moll-Rocek study
a frame.
71
September 2014
American Cinematographer
Top and middle: The couple explores the city together. Bottom: Ian and Sofis wedding day darkens
following a call from Ians lab.
73
Top and middle: Ian and his lab assistant, Karen (Brit Marling), conduct research they hope will
disprove arguments for intelligent design. Bottom: Cahill directs Marling.
74
September 2014
American Cinematographer
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Top: Years after Sofis death, Ian and Karen have married and had a son.
Middle and bottom: The couple partners with friend and fellow scientist Kenny (Steven Yeun) when
they discover matching iris patterns from different people in disparate parts of the world.
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September 2014
American Cinematographer
Top: Ian travels to India and meets with Priya Varma (Archie Panjabi) to inquire about a young girl with
Sofis iris pattern. Middle: Ian searches the streets of Delhi. Bottom: After locating the young girl,
Salomina (Kashish), Ian puts his reincarnation theory to the test.
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September 2014
American Cinematographer
The production employed an Egripment Xtreme telescopic crane for the shot of Ian finding Salomina.
80
makes for an atmosphere where everyone feels safe to create. The actors feel
like theyre in a real place, not a movie
set, and it allows them to go deeper into
their characters and their environment.
It was an extraordinary experience and
Im very proud of the end result!
TECHNICAL SPECS
2.40:1
Digital Capture
Red Epic MX, Scarlet;
Vision Research Phantom Miro
Red Pro, Zeiss Super Speed,
Canon, Angenieux Optimo
81
Framing
a
Family
Conflict
September 2014
American Cinematographer
Opposite: Conflict photographer Rebecca (Juliette Binoche) is forced to decide between her dangerous
work and crumbling home life in the feature A Thousand Times Good Night. This page, top: Rebecca
enjoys a moment of tranquility with her husband, Marcus (Nikolaj Coster-Waldau). Bottom (left to
right): Cinematographer John Christian Rosenlund, FNF; Binoche and director Erik Poppe on
location in Ouarzazate, Morocco, where they staged scenes set in Kenya.
83
Above and
opposite: The
crew lit the entire
house interior so
the actors and
camera could
move freely
during a dramatic
confrontation
between Rebecca
and Marcus.
Bottom: For closeups in the house,
Rosenlund
employed SoftBx
Juliette lights,
which were
custom-made for
the production by
the Paris-based
company
Softlights.
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September 2014
American Cinematographer
www.theasc.com
September 2014
85
The crew positioned mirrors (bottom) to create the effect of a moving airplane for the
scene in which Rebecca and her older daughter, Steph (Lauryn Canny), fly to Kenya.
September 2014
Mother and
daughter bond
during their
shared trip to
Kenya.
September 2014
to Game of Thrones.
The filmmakers had planned to
shoot Rebeccas home scenes in their
native Norway, but the movies financing arrangements required them to relocate to Ireland. Rebeccas elegant
country house which stands in stark
contrast to the grittiness of Kabul and
Kenya was filmed outside of Dublin.
The production began with 38 days of
principal photography in mid-October.
Despite shooting during rainy season
and scrambling to make their days
before sunset, the filmmakers found
American Cinematographer
that fortune was on their side. Sceneby-scene, the weather conditions we got
were very close to what Id hoped for,
Poppe recounts. (The director was also
lucky to land Irish royalty in the form of
U2 drummer Larry Mullen Jr., who, in
a rare acting appearance, plays Tom, a
friend of the family.)
Poppe had shot digitally for documentaries, but never for a dramatic
feature. At Rosenlunds suggestion, they
opted for the Arri Alexa Plus as their
main camera for the Ireland and
Morocco shoots, capturing in 2K
ProRes 4:4:4:4 to Sony SxS Pro 16GB
and 32GB cards. (The C300 continued
to come in handy in Ireland for
Rosenlunds handheld shots inside
moving cars.)
The cinematographer aspired to
visuals that were as film-like as possible.
Digital is so precise and linear that you
need to break it up with some analog
elements. he says. I started looking
into different old lenses I could use for
close-ups and medium shots of Juliette
without using a soft filter, and to have a
tool I could play with for certain
moods.
Fellow Norwegian director of
photography Gaute Gunnari, FNF,
September 2014
American Cinematographer
In a happier
moment, the
family launches
paper lanterns at
magic hour. We
shot at f1.3 and I
turned the
camera to 1,600
ISO so we could
get exposure
from the actual
lanterns,
Rosenlund
explains.
September 2014
American Cinematographer
Top: Rebecca
documents a
suicide bombers
journey in Kabul.
Bottom:
Rosenlund
(seated on dolly)
and the crew
ready a scene in
which a girl is
prepared for her
suicide mission.
September 2014
96
TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Plus,
Canon Cinema EOS C300,
Phantom HD Gold
Canon EF, K-35;
Arri/Fujinon Alura;
Arri/Zeiss LWZ-1;
Angenieux Optimo;
Nikon Nikkor
1.
2.
3.
4.
UPGRADE AVAILABLE
FOR ALL U-BANGI II
www.panther.tv
Post Focus
September 2014
American Cinematographer
My Fair Lady, the classic 1964 musical about the social transformation of Cockney flower seller
Eliza Doolittle (Audrey Hepburn), recently underwent a digital restoration at FotoKem.
tion masters in early December 2013. Scanning got underway at FotoKem in late
December and continued into January
2014. With a running time of 170 minutes,
there were 246,140 frames to scan at 8K
archival resolution (8192x3584 pixels,
116MB per frame, for a total file size of
36TB). Additional scanning of some 96,153
frames from the black-and-white color
separation masters occurred in February
and early March. All the scans were done in
full aperture without masking. The 8K
scans were archived to LTO 5 tape, which
seems to be the most stable storage format
right now, and the standard for digital
archiving, notes Daniel Rapo, FotoKems
producer for the My Fair Lady restoration.
Harris arrived in Los Angeles from
New York in late January and stayed for the
remainder of the restoration. Basically, we
used the original 65mm camera negative
and 65mm black-and-white separation
masters, but there were also numerous
Eastman Color dupes, including the fantasy
Just You Wait sequence, he explains.
The original A and B rolls on the floral
prologue did not survive, and there was a
dupe cut into the original negative. The
original main title sequence did not survive,
either, and we used separations for that
in 1994 we could not put the separations
back together in proper registration.
Rapo adds, About two reels of
footage one full reel and bits and pieces
across the other reels came from recombined separation masters. For recombining,
we used our [SGO] Mistika, and we had
another DI artist working in parallel with
what we were doing from the original
negative scans.
The format for the restoration was
4K (4096x1792 pixels per frame, taking up
a mere 7.1TB of storage), but Rapo clarifies
that the work was performed in a resolution-neutral environment. All of the color
correction and dirt cleanup was done in 4K
Rec 709. 2K projection was employed for
the majority of the DI process, with final
review in 4K.
Our primary restoration tool for
color correction and the digital intermediate was the [Blackmagic Design DaVinci]
Resolve [10.1.5], which is a fantastic color
platform, Rapo continues. When were
finished, well have several archives of the
100
September 2014
American Cinematographer
Restoration
supervisor Robert
A. Harris points to
the scenes at the
Ascot Racecourse
as being among
the most difficult
for the restoration
team. Everyone is
in off-white and
blue, and
gray-blue, but
theres very little
real black-andwhite in the
sequence until
Audrey Hepburn
appears, he says.
102
think everybodys dressed in black-andwhite, but theyre not. Everyone is in offwhite and blue, and gray-blue, but theres
very little real black-and-white in the
sequence until Audrey Hepburn appears.
Then youve got pure black and pure white,
which is not easy, especially with differential
fading from shot to shot, and within shots,
in the negative.
Colorist Mark
Griffith notes,
My Fair Lady
was made at a
time when there
were no digital
tools to create
things not
achieved in
production, and
its very
important to
honor that
quality level,
because
everybody put a
lot into it.
103
September 2014
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.
mode, users can also control shutter speed and ISO while recording.
Additionally, white balance and exposure compensation can be
adjusted prior to recording. Last but not least, the camera is compatible with more than 80 Nikkor lenses, many of which are popular
choices for cinema applications.
For additional information, visit www.nikonusa.com.
Formatt-Hitech Gives Clear View of Firecrest
Formatt-Hitech has introduced Firecrest IRND infraredattenuating neutral-density filters. Firecrest IRND filters boast
superior performance in three key areas: color neutrality, infrared
removal and filter-surface flatness.
Firecrest multicoating is applied directly to the
glass through a vacuumformed hard-coated electrolytic process. Firecrest IRND
filters for cinema are manufactured with the Firecrest IRND
multicoating bonded in the
center of two 2mm pieces of
Schott Superwite glass. This process
essentially creates a 4mm filter that cannot be damaged externally
during the heavy use and cleaning that are common to cinema
filters.
Even compared to the Formatt-Hitech ProStop IRND, Firecrest
IRND proves to be a major advancement. An independent test
performed by the Academy of Motion Picture Arts and Sciences
measured the spectral power distribution of tungsten light reflected
off a spectralon target made of barium sulfate using a Photo
Research SpectraScan Model 705 spectroradiometer. On close
inspection, the ProStop IRND was shown to strongly attenuate the
near-infrared spectrum before returning to neutral attenuation of
the infrared spectrum around the 730nm mark. Firecrest, however,
performed linearly in the visible light spectrum before completely
eliminating the infrared energy at around the 700nm mark. Multiple
independent tests have since confirmed the AMPAS data.
Firecrest IRND filters are available between 1-10 stops of ND,
plus 1-5 stops of soft-edge grad. Additionally, the filters are available
in 4"x5.65" and 4"x4" sizes, with plans to expand into larger sizes
such as 6"x6" in the near future. The Firecrest IRND range is also
ideally suited to still photography, and Formatt-Hitech plans to
launch the Firecrest line for all popular photography sizes this month.
For additional information, visit www.formatt-hitech.com.
Freefly Launches Movi M5
Freefly Systems has introduced the Movi M5 handheld
camera stabilizer, which was custom-designed in-house by the
American Cinematographer
K5600 Lights up
800W Zoom Beamer
K5600, Inc. has expanded its Joker
accessory arsenal with the 800W Zoom
Beamer. Designed for the Joker-Bug 800,
the 800W Zoom Beamer features a lensless, focusable design.
Following the same concept as the
companys 1600W Zoom Beamer, with its
faceted open-face reflector, the 800W
Zoom Beamer is manually focusable from
15-55 degrees of smooth, even light.
K5600 has been around for 22
years and we have always aimed to make
the end users job easier, says Ryan Smith,
president of K5600. With the introduction
of the 800W Zoom Beamer, we are giving
gaffers, cameramen and lighting technicians yet another tool they can add to their
arsenal of lighting options.
The accessorys overall size and
length allows the 800W Zoom Beamer to fit
within the existing 800W Kit case.
For additional information, visit
www.k5600.com.
Telecine &
Color Grading
Jod is a true artist with
a great passion for his craft.
John W. Simmons, ASC
The handheld stabilizer grip is constructed from lightweight aluminum alloy, providing
comfortable and dependable handling.
Counterbalances eliminate the tough,
over-tensioned feel sometimes found with
stabilizers. The camera attaches directly to
the platform or by means of a quick-release
adapter. Positive locking levers and micrometer-geared adjusting knobs on a clearly
marked calibration scale allow for fine
adjustments to accommodate varying
equipment weights.
Adorama has also introduced a new
addition to its popular line of 3Pod ball
heads: the Flashpoint 3Pod H5. As is characteristic of the H-series ball heads, the
CNC-forged aluminum H5 is specially
constructed to maximize durability while
minimizing weight and bulk. The 33mm ball
is controlled with precise adjustment knobs,
and the panning base features 360 degrees
of movement with a highly visible positioning dial. Employing an advanced hydraulic
damping system, the H5 can support a
payload of up to 55 pounds.
The H5 is quick and easy to use and
can fasten to a tripod body or center
column, or be used alone as a tabletop
mount for close-range shooting. Like the
108
microprocessor also provides for a highspeed zoom of 0.5 seconds and a slow and
consistent zoom of 300 seconds. Three 20pin connectors on the Digital Drive unit
enable the use of zoom and focus demands
or the precision integration of images from
the lens and its accompanying camera into
a variety of virtual set systems.
The lens barrel markings are clearly
engraved in both feet and meters on both
sides of the lens barrel, and focus indicators
on the front side of the lens are marked on
an inclined surface to make them easier to
see from the back of the camera, especially
when mounted on an operators shoulder.
Additionally, luminous paint is used for the
scale display on one side of the barrel to
help make the markings visually identifiable
in the dark.
The lens features a 180-degree
focus-rotation angle. Both 0.8-type and
0.5-type gear-module focus accessories can
be used, with the 0.8-pitch gear positioned
in front of the focus ring to preclude any
interference with the Digital Drive unit or a
connecting cord. Major power-driven accessories, matte boxes and other standard
options used by filmmakers can all be
mounted. Lens support shafts for support
rods as well as a lens hood are also included
with the lens.
For additional information, visit
www.pro.usa.canon.com/cine-servo.
Kowa Showcases
Prominar Lenses
Kowa has introduced the Prominar
Micro Four Thirds lens series, which
comprises three lenses 8.5mm f2.8,
12mm f1.8 and 25mm f1.8 each of
which is capable of providing high-quality
imaging even when used with 4K and 2K
cameras.
Kowas super-wide-angle 8.5mm
lens offers a wide field of view while minimizing the distortion and drop-off in
contrast to the outer edge. The 8.5mm is
able to produce ultra-high-definition resolution by incorporating high-precision aspherical lens elements. This design enables the
8.5mm lens to have minimal distortion
while providing a super-wide angle of view.
The 12mm has a bright f1.8 aperture and a
reduced distortion value of 0.59 percent
with a wide angle of view. The 25mm, with
its standard angle of view, produces consistently sharp images and is suited for a variety of shooting environments.
For additional information, visit
www.kowa-prominar.com.
ing with multi-layer EXR files; a single multilayer EXR file is capable of carrying multiple
streams of images as well as metadata.
These files are commonly used to hold
multiple render passes from CGI software,
or to carry multiple matte or alpha channels.
Mamba FX 2.0 includes features to split and
route the multiple layers, allowing Mamba
FXs other compositing tools to act on individual elements during the compositing
phase. Mamba FX 2.0s Spatial Isolation
Keyer interfaces with metadata that can be
passed from CGI software via the EXR files,
enabling advanced compositing techniques
such as isolating elements in a scene by
their 3-D (XYZ) location, their surface direction (normals), their object ID or their material ID.
Also new for Mamba FX 2.0 is a
high-speed point cloud shape tracker,
which enables compositors to track 2-D
roto shapes to shots very quickly. Multiple
shapes can be tracked and combined using
Boolean operations to rapidly create moving
matte shapes. Mamba FX 2.0 also includes
new color-space conversion tools, including
ACES workflows, to aid project color
management. Additional features include
an adaptive interface for monitor configuration as well as Dolby EDR support.
Mamba FX 2.0 is available for
Windows, Linux and Mac (Mountain Lion
10.8.5) and is fully compatible with SGOs
Mistika. Mamba FX 1.0 customers will
receive a free Mamba FX 2.0 update.
For additional information, visit
www.sgo.es.
Autodesk Acquires Shotgun
Autodesk Inc. has signed a definitive
agreement to acquire Shotgun Software, a
developer of scalable, cloud-based production tracking, review and asset-management software for the film, television and
113
114
International Marketplace
116
September 2014
American Cinematographer
Classifieds
CLASSIFIED AD RATES
All classifications are $4.50 per word. Words
set in bold face or all capitals are $5.00 per
word. First word of ad and advertisers name
can be set in capitals without extra charge. No
agency commission or discounts on classified
advertising.PAYMENT MUST ACCOMPANY ORDER.
VISA, Mastercard, AmEx and Discover card are
accepted. Send ad to Classified Advertising,
American Cinematographer, P.O. Box
2230, Hollywood, CA 90078. Or FAX (323)
876-4973. Deadline for payment and copy must
be in the office by 15th of second month
preceding publication. Subject matter is limited
to items and services pertaining to filmmaking
and video production. Words used are subject
to magazine style abbreviation. Minimum
amount per ad: $45
www.theasc.com
September 2014
117
Advertisers Index
Abel Cine Tech 33
AC 99
Adorama 15, 51
AJA Video Systems, Inc. 23
Alan Gordon 117
American Film Market 119
Arri 9
Arri CSC 17
ASC 107, 108
Backstage Equipment, Inc.
106
Barger-lite 99
Birns & Sawyer 116
Blackmagic Design, Inc. 7
Cam-a-lot Audio Visual 93
Cavision Enterprises 116
Carl Zeiss SBE, LLC 63
Chapman/Leonard Studio
Equipment Inc. 75
Chimera 8
Cinematography
Electronics 67
Cinekinetic 116
Congo Films S.A. 87
Content & Communications
World 115
Cooke Optics 25
CW Sonderoptic Gmbh 89
Eastman Kodak C4
Film Gear (International), Ltd.
53
Filmotechnic USA 69
Formatt-Hightech USA 91
Freefly Systems 49
Friends of the ASC 107
Glidecam Industries C3
Grip Factory Munich/GFM 67
Hasselblad 103
Helolux/Visionsmith 111
Hertz Corporation 29
Hive Lighting 80
Huesca Film Office/HUFO 59
Ikan Corporation 31
J.L. Fisher 37
Jod Soraci 105
K5600 35
Kingfilm USA 117
Kino Flo 81
Koerner Camera Systems 8
LDI 101
Lee Filters 68
Lights! Action! Co. 116
Lowel 11
Maccam 112
Movcam 61
Moviebird International 52
Movie Tech AG 116, 117
Nila Inc. 95
Outsight Pty. Ltd. 5
Ovide Broadcast Services 113
118
120
September 2014
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George Milton
Mike Mimaki
Michael Morelli
Dash Morrison
Nolan Murdock
Dan Muscarella
Iain A. Neil
Otto Nemenz
Ernst Nettmann
Tony Ngai
Mickel Niehenke
Jeff Okun
Marty Oppenheimer
Walt Ordway
www.theasc.com
Ahmad Ouri
Michael Parker
Dhanendra Patel
Elliot Peck
Kristin Petrovich
Ed Phillips
Nick Phillips
Joshua Pines
Carl Porcello
Sherri Potter
Howard Preston
Sarah Priestnall
David Pringle
Phil Radin
David Reisner
Christopher Reyna
Colin Ritchie
Eric G. Rodli
Domenic Rom
Andy Romanoff
Frederic Rose
Daniel Rosen
Dana Ross
Bill Russell
Kish Sadhvani
David Samuelson
Dan Sasaki
Steve Schklair
Peter K. Schnitzler
Walter Schonfeld
Wayne Schulman
Alexander Schwarz
Juergen Schwinzer
Steven Scott
Alec Shapiro
Don Shapiro
Milton R. Shefter
Leon Silverman
Garrett Smith
Timothy E. Smith
Kimberly Snyder
Stefan Sonnenfeld
John L. Sprung
Joseph N. Tawil
Ira Tiffen
Steve Tiffen
Arthur Tostado
Jeffrey Treanor
Bill Turner
Stephan Ukas-Bradley
Mark Van Horne
Richard Vetter
Dedo Weigert
Steve Weiss
Alex Wengert
Evans Wetmore
Franz Wieser
Beverly Wood
Jan Yarbrough
Hoyt Yeatman
Irwin M. Young
Michael Zacharia
Bob Zahn
Nazir Zaidi
Michael Zakula
Les Zellan
HONORARY MEMBERS
Col. Edwin E. Aldrin Jr.
Col. Michael Collins
Bob Fisher
David MacDonald
Cpt. Bruce McCandless II
Larry Parker
D. Brian Spruill
Marek Zydowicz
September 2014
121
Clubhouse News
Clockwise from top left: Joseph Bogacz; Alex Wengert; Fritz Heinzle; Zo Iltsopoulos-Borys.
September 2014
closely with numerous ASC members, including Paul Maibaum, Roger Deakins, John Toll,
Emmanuel Lubezki, Matthew Leonetti and
Julio G. Macat.
Zo Iltsopoulos-Borys serves as the
national client liaison for Cineverse, formerly
Fletcher Camera & Lenses, in Chicago. Before
joining Fletcher as the companys general
manager in 2007, Iltsopoulos-Borys worked
as a studio manager for Chapman/Leonard in
Orlando, a production account executive for
Eastman Kodak and a marketing executive for
Panavision.
1.
2.
3.
4.
5.
7.
6.
www.theasc.com
September 2014
123
Close-up
When you were a child, what film made the strongest impression on you?
Lawrence of Arabia [1962]. I was 11 years old and witnessed an epic.
Which cinematographers, past or present, do you most
admire?
Bob Richardson [ASC], for his screaming-hot toplight in JFK; Conrad
Hall [ASC], for making a movie about chess so damn interesting; Phil
Lathrop [ASC], for allowing me
to learn firsthand the importance of being a gentleman;
and Robert Liu [ASC], for his
positive energy and spirit.
124
September 2014
American Cinematographer
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