A C 2014 07 Downmagaz.com

8/11/2019 A C 2014 07 Downmagaz.com

http://slidepdf.com/reader/full/a-c-2014-07-downmagazcom 1/96

J U L Y 2 0 1 4

$5.95 Canada



The International Journal of Motion Imaging

32 Dark Majesty Dean Semler, ASC, ACS unleashes a formidable

villainess in Maleficent

46 Time BendersNewton Thomas Sigel, ASC shoots 3-D on

X-Men: Days of Future Past

60 Infinite KillsDion Beebe, ASC, ACS creates a lethal time loop for

Edge of Tomorrow

70 A Road Through RuinNatasha Braier, ADF futurizes the Australian outback forThe Rover

DEPARTMENTS

FEATURES

— VISIT WWW.THEASC.COM —

On Our Cover: The “Mistress of All Evil” exacts revenge upon a fairy-tale kingdomin Maleficent , shot by Dean Semler, ASC ACS. (Photo by Frank Connor, courtesy of Disney Enterprises, Inc.)

10 Editor’s Note12 President’s Desk 13 Letters14 Short Takes: Peter Pan Bakery

20 Production Slate: Drunk History • Night Moves

82 New Products & Services86 International Marketplace87 Classified Ads88 Ad Index90 Clubhouse News92 ASC Close-Up: Alex Funke

J U L Y 2 0 1 4 V O L . 9 5 N O . 7

46

60

70



The International Journal of Motion Imaging

American Cinematographer Podcasts

New!Cinematographer Goert Giltay, NSC,and director Jos Stelling onThe Girl and Death

J U L Y 2 0 1 4 V O L . 9 5 N O . 7

SEE AND HEAR MORE CINEMATOGRAPHY COVERAGE AT WWW.THEASC.COM

Visit www.theasc.com/ac_magazine/podcasts.php or download on iTunes.

Coming Soon!Cinematographer Michael Seresin, BSC,on Dawn of the Planet of the Apes



J u l y 2 0 1 4 V o l . 9 5 , N o . 7

T h e I n t e r n a t i o n a l J o u r n a l o f M o t i o n I m a g i n g

Visit us online at www.theasc.com————————————————————————————————————

EDITOR-IN-CHIEF and PUBLISHER

Stephen Pizzello

————————————————————————————————————

EDITORIAL

MANAGING EDITOR Jon D. Witmer

TECHNICAL EDITOR Christopher Probst

CONTRIBUTING WRITERS

Benjamin B, Douglas Bankston, John Calhoun, Mark Dillon, Michael Goldman, Simon Gray,David Heuring, Jay Holben, Jean Oppenheimer, Iain Stasukevich, Patricia Thomson

————————————————————————————————————

ART & DESIGN

CREATIVE DIRECTOR Marion Kramer

PHOTO EDITOR Kelly Brinker

————————————————————————————————————

ONLINE

MANAGING DIRECTOR Rachael K. Bosley

VIDEO EDITOR Kinga Dobos

PODCAST EDITORS Iain Stasukevich, Chase Yeremian

WEB DEVELOPER Jon Stout

CONTRIBUTORS

Benjamin B John Bailey, ASC

Jim HemphillDavid HeuringIain Stasukevich

————————————————————————————————————

ADVERTISING

ADVERTISING SALES DIRECTOR Angie Gollmann

323-936-3769 Fax 323-936-9188 e-mail: [email protected]

ADVERTISING SALES DIRECTOR Sanja Pearce


CLASSIFIEDS/ADVERTISING COORDINATOR Diella Peru


————————————————————————————————————

CIRCULATION, 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 PRESIDENT’S ASSISTANT Delphine Figueras

ASC ACCOUNTING MANAGER Mila Basely

ASC ACCOUNTS RECEIVABLE Nelson Sandoval

————————————————————————————————————American Cinematographer (ISSN 0002-7928), established 1920 and in its 94th 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 2014 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



Blackmagic URSA is the world’s first high end digital film camera

designed to revolutionize workflow on set. Built to handle the

ergonomics of large film crews as well as single person use, URSA

has everything built in, including a massive 10 inch fold out on set

monitor, large user upgradeable Super 35 global shutter 4K image

sensor, 12G-SDI and internal dual RAW and ProRes recorders.

Super 35 Size Sensor

URSA is a true professional digital film camera with a

4K sensor, global shutter and an incredible 12 stops

of dynamic range. The wide dynamic range blows

away regular video cameras or even high end broadcast cameras,

so you get dramatically better images that look like true digital film.

The extra large Super 35 size allows for creative shallow depth of field

shooting plus RAW and ProRes means you get incredible quality!

Dual Recorders

Blackmagic URSA features dual recorders so you

never need to stop recording to change media.

That’s critical if you are shooting an historical event,

important interview or where you just cannot stop shooting! Simply

load an empty CFast card into the second recorder and when the

current card is full, the recording will continue onto the second card,

allowing you to change out the full card and keep shooting!

Learn more today www.blackmagicdesign.com

Introducing Blackmagic URSA, the world’s first

user upgradeable 4K digital film camera!User Upgradeable Sensor

Blackmagic URSA features a modular camera turret

that can be removed by unscrewing 4 simple bolts!

The camera turret includes the sensor, lens mount

and lens control connections and can be upgraded in the future

when new types of sensors are developed. This means your next

camera will be a fraction of the cost of buying a whole new camera!

Choose professional PL mount, popular EF mount and more!

Built in On Set Monitoring!

Say goodbye to bulky on set monitors because

you get a massive fold out 10 inch screen built

into Blackmagic URSA, making it the world’s

biggest viewfinder! The screen is super bright and features an ultra

wide viewing angle. URSA also includes two extra 5” touch screens

on both sides of the camera showing settings such as format, frame

rate, shutter angle plus scopes for checking levels, audio and focus!

Blackmagic URSA PLBlackmagic URSA EF

$5,995 $6,495

Easy to access standard broadcastconnections, no custom cables

Built in audio meterswith level control

HD-SDI video out and 12Vpower for monitoring

Mounting points for V-Lockor Anton Bauer batterymounting plates

Compatible with quickrelease tripod base plates

XLR connectors with phantom powerfor professional external microphones

Adjust camera settings andmonitoring tools with advancedtouchscreen controls

Removable handle withmultiple mounting points

Built in rail mounts for largelenses, matte boxes and more

Unique user upgradeablesensor and lens mount turret

Push button menu selectionfor focus, iris and more



OFFICERS - 2013/2014

Richard CrudoPresident

Owen RoizmanVice President

Kees van OostrumVice President

Lowell PetersonVice President

Victor J. Kemper Treasurer

Frederic GoodichSecretary

Isidore Mankofsky Sergeant At Arms

MEMBERS OF THE

BOARD

Curtis Clark Richard CrudoDean Cundey

George Spiro DibieRichard Edlund

Fred ElmesVictor J. Kemper

Francis Kenny Matthew LeonettiStephen LighthillMichael O’SheaLowell Peterson

Owen RoizmanRodney TaylorHaskell Wexler

ALTERNATES

Isidore Mankofsky Kenneth ZunderSteven Fierberg

Karl Walter LindenlaubSol Negrin

MUSEUM CURATOR

Steve Gainer

American Society of Cinematographers

The ASC is not a labor union or a guild, but an educational, cultural and pro fessional

or ganization. Membership is by invitationto those who are actively en gaged asdirectors of photography and have

demonstrated outstanding ability. ASCmembership has become one of the highest

honors that can be bestowed upon a pro fessional cinematogra pher — a mark

of prestige and excellence.



The world of cinematography is transitioning in many ways, and

this month I’m reporting wistfully on two more.The first is the passing of Gordon Willis, ASC, truly one ofthe art form’s titans. Gordon died on May 18 at the age of 82. It’simpossible to overstate his influence on motion pictures. He’s bestknown for the chiaroscuro he brought to Francis Ford Coppola’sGodfather trilogy and for his work on a number of Woody Allencomedies, including Annie Hall , Manhattan, Zelig, Broadway Danny Rose and The Purple Rose of Cairo. He also had a fruitfulcollaboration with director Alan Pakula, for whom he shot Klute,The Parallax View and All the President’s Men, among othernotable titles.

In 2009, the Academy of Motion Picture Arts and Sciencesawarded Gordon an honorary Academy Award after nominating him two prior times for competi-tive Oscars recognizing his work on Zelig and The Godfather Part III . He earned BAFTA nominationsfor All the President’s Men, Manhattan and Zelig, and he earned kudos from top critics’ groups,including the National Society of Film Critics, the New York Film Critics Circle and the Boston Soci-ety of Film Critics. In 1995, the ASC presented him with its Lifetime Achievement Award.

Over the past decade, I grew to know “Gordy” as a friend while collaborating with him ona long-gestating (and, yes, forthcoming) book about his career. His insights on moviemaking and hiscaustic wit made our monthly phone conversations memorable in ways I’ll always savor. It was a priv-ilege getting to know the man who shot so many of my favorite movies, and to visit Gordy andHelen, his amazing and supportive wife of 59 years, at their home on Cape Cod. On more than afew occasions, his off-the-cuff reviews of new releases made me laugh so hard I almost injuredmyself. I always told him he should have his own radio show.

The magazine is planning a full tribute in our October issue for the man cinematographerTom McDonough once christened “St. Gordy.” I’m sure he’s gazing down upon us with all the graceand benevolence of a true immortal.

•••

After nearly three decades at the ASC and American Cinematographer , Martha Winterhalterhas left her post as publisher, a position she held for 10 years. Martha first joined AC in 1985 wheneditor Richard Patterson hired her to be the art director.

Martha embodied the virtues set forth in the ASC’s motto: “Loyalty, progress, artistry.” In allof her roles, she advanced the Society’s reputation and influence while safeguarding its interests. Shewas instrumental in the growth of the magazine, developing digital versions and establishing onlinefootprints. Working closely with events coordinator Patty Armacost, Martha nurtured the annual

ASC Awards ceremony, which has evolved from a modest affair to a splashy gala staged for 1,600guests at the height of awards season. To some of us, she’s literally family; as godmother of myyoungest son, Tommy, she’s known to my wife and kids as “Aunt Martha.”

I’m sure I speak for the entire Society, and all of its employees, in wishing Martha the verybest in her future endeavors. In succeeding her as publisher, I hope I’ll live up to her high standardswhile building upon the wisdom she’s so generously imparted.

Stephen PizzelloEditor-in-Chief and Publisher

Editor’s Note

0



One Look. All SpeedsThe Cooke Look

®

NEW

T2.8

T1.4

T2.0

CookeOpticsLimitedBritish Optical Innovation and Quality Since 1893.

cookeoptics.com

T: +44 (0)116 264 0700

Canada, South America, USA:

T: +1-973-335-4460



In a recent conversation, former British Society of Cinematographers president PhilMéheux happened to mention the BSC Patrons, members of his organization who are notcinematographers but who nonetheless provide BSC shooters with sustenance andsupport. The ASC’s version is called an associate member, but “patrons” comes much closerto describing what these people really mean to us.

It would be easy to claim that the ASC has attained its hallowed position purelythrough the efforts of the nearly 800 cinematographers who have been invited to activemembership since 1919. That would be foolish, though, as well as ignorant of long-stand-ing precedent. No group ever gets to the top completely on its own, and the ASC is hardlythe exception. Without the contributions of our unique and equally talented associatemembers, our stature would be immeasurably diminished. Indeed, whatever prestige andinfluence we have managed to attain over the years would never have been achieved with-out them.

Established by the ASC founders in the Society’s constitution, associate members havedeveloped a tradition of their own whose vitality is stronger now than it has ever been. Justwho are these amazing people? For the most part, they’re representatives of the manufac-turers and suppliers whose goods, services and equipment we use every day. They comefrom an astounding array of backgrounds, and each person has been recognized for sometime as an expert in his or her field. Most important, their approach to the ASC is shaped

by a generosity that exceeds the mere sharing of knowledge or resources. There are a lot of reasons for this, but it’s no doubt drivenby a passion for cinematography that in some cases rivals our own. It’s impossible to list all the great things they bring to the Club-house as both friends and professionals. Quite frankly, we couldn’t function without them.

Our history shows that the vigorous exchange between our active and associate members has repeatedly helped to advancethe state of our art. Nearly all our committees include associate members, with perhaps the most effective example being the Tech-nology Committee. The two-way nature of the system is ingenious in its simplicity; just as we cinematographers gain access to rareexpertise, the technicians and engineers learn to understand the needs and desires of those who will ultimately use the tools theyproduce. This exchange is in no way limited by the scope of one technology or another. Instead, our associates help us make thehard choices that will actually determine what the future will look like.

And the advantages offered by our associate members are not limited to those with “ASC” after our names. Film studentsusually don’t hear this in school, but they should make it a top priority to become familiar with as many of our associates’ businessesas possible. As future customers (and maybe even as future ASC members), they will be forging relationships that will pay dividendsfor both parties down the line. Rental houses, especially, should be courted by up-and-comers of every stripe. Since it has becomeso easy to assemble a decent set of gear from venues such as eBay or the corner camera store, there now exists a tendency to avoidthe traditional vendors in the hope of saving a dime. This is not good for the industry or for cinematographers. The willingness ofour associates to assist those who are just starting out is legendary; to skirt that on any level is to circumvent a process that hashelped virtually all of us attain our current status.

Though the changes in our business over the past decade have led to the departure of many of our most dedicated and long-

standing associates, a new wave has rushed in to fill what would otherwise have become an echoing void. In addition to offeringthem a warm welcome, I sincerely hope they will derive as many rewards from us as we will from them.

Our associate members have been on the scene since day one, and will continue to be for as long as we exist. Believe me,we are very grateful for that!

Richard P. CrudoASC President

President’s Desk

12 July 2014 American Cinematographer

P h o t o b y D o u g l a s K i r k l a n d



www.theasc.com July 2014

Mr. Richard Crudo,

I am Sarah Jones’ father. Thank you for writing from the ASC’s President’s Desk, “On the death of Sarah Jones”[ AC May ’14]. It is heartfelt and well said.

As I read this I am reminded of why Sarah was so excited about entering your world of making films. I recall ourroutine talks of hearing of her new experiences of the day. We talked about lighting color temperatures, how certainactors required certain filters due to the “negative effects” of HD (but I guess that’s supposed to be a secret) and so forth.She would tell me about all kinds of fascinating details of what it took to get a good shot. Even the night before shedied we talked of such things. I so miss those talks.

Following her death I heard stories of how, on the first days of working in the world of cinematography, Sarahwas like an excited child in a candy store, doing what she so loved to do. And I heard stories of how, four years later,her unabridged enthusiasm remained intact. She loved the art of cinematography — even as a 2nd AC with all the mark-ers, measuring tapes, heavy equipment, etc. This young lady had captured the romance of filmmaking, something I thinkthose who were blessed to work alongside her will attest to. Perhaps Sarah possessed some of the spirit of your Mr.Fraker. It’s a shame that a few moments of apparent negligence robbed your industry of this young talent.

The last thing I want to do as Sarah’s father is tear apart the industry that she fell in love with. Yes, the industryapparently needs safer film sets, which, as you so elegantly pointed out, needs to start with a rediscovery of its spiritu-ality. If we truly properly regard one another, should the safety issues not take care of themselves? If the people in chargeof Midnight Rider had properly regarded the lives they controlled on Feb. 20, would they have placed them on that rail-road trestle without proper safety measures?

Safety should not be an afterthought that gets in the way of a good shot; rather, safety should be a culture, woveninto the fabric of the industry. It should be part of the planning process from day one of the project. If this is done, Idon’t believe that it will be a hindrance to “getting that shot,” but rather part of re-instilling spirituality into the filmindustry.

I do hope and pray that Sarah’s death, in some small way, leads to a cure for the spiritual sickness you so artfullydescribe. Yes, it does matter to Sarah’s family that the ultimate price she paid improves and strengthens the industry thatshe so loved. May the “good old days” be in front of us.

Never Forget, Never Again,Safety for Sarah,Richard Jones

Letters



Tasty Treats That Never Get OldBy John Calhoun

Peter Pan Donut and Pastry Shop has been serving its epony-mous handmade goodies — along with coffee, bagels, eggs andother diner fare — to residents of Greenpoint, Brooklyn for more than60 years. Sprinkled among the longtime regulars at the shop’s coun-ters are younger artists like Peter J. Haas and Keif Roberts, whorecently produced and co-directed the short documentary Peter PanBakery , shooting with a Digital Bolex D16 camera.

The filmmakers had been collaborating since they met severalyears ago in the camera department of Devour.tv, which programmedfood content for the Web. “Very early on, we were able to get ourhands on [a D16], and we thought we would like to shoot a docu-mentary on it,” says Haas. “We developed a good relationship withJoe Rubinstein and Elle Schneider at Digital Bolex, and they were inter-ested in getting the camera to as many filmmakers as possible to putit through different styles of production. We got one of the first 100

cameras, and we were racking our brains thinking about what wouldmake a [good] short film. Then we thought, ‘Everyone loves dough-nuts!’”

Digital Bolex is a joint venture between the venerable, Switzer-land-based Bolex International, S.A. and Cinemeridian, Inc., whichdeveloped the D16 camera in Toronto with Kickstarter funding. The5-pound camera is modeled in many ways on the H16 Bolex filmcamera, with its sleek design, handhold-friendly removable pistol gripand trigger, and C-mount lens mount. But it records 2K raw Cine-maDNG files, with a resolution of 2048x1152 in Super 16mm mode,which Haas and Roberts used, capturing 12 stops of dynamic range

in 12-bit color. (The camera records to an internal enterprise-classSSD, with the option to copy that footage via two CF card slots.) Thesensor is a CCD chip with a 1:1 ratio to Super 16mm film.

“It’s close to film in dynamic range, and it’s got a great,organic [film-like] structure, even in low light,” Roberts says of theDigital Bolex. “We just like the look of it. And for this [bakery], whichhas a vintage look, the camera was a perfect match.”

The filmmakers also used vintage primes, including Switar25mm and 75mm primes for exterior establishing shots, and a1960s-era 16mm Schneider consumer lens that was employed toshoot interiors. “This lens has a unique personality,” Haas enthuses.“It’s a little softer, and the way it captures colors has a good mojo toit. It also opens up really wide, to f1.9, which was helpful whenshooting in the back room [where the doughnuts are made], becausethere’s not a lot of space in there for [lights].

“I looked to rent some zooms,” he continues, “but the onezoom that you could close-focus was gigantic — it would haveknocked someone’s coffee over! That was one big challenge of the

shoot, having to use your body to get the close-ups.”Another challenge was to not interfere with business, says

Haas. “We knew there was no way were going to be able to inter-rupt the flow of what goes on here, so we decided to go completelyhandheld. We had a Zacuto Z-Finder electronic viewfinder attachedto [the D16], which I operated like a shoulder camera — I used thehandgrip and pushed the camera against my shoulder for longertakes.” (Both filmmakers agree that the D16’s built-in LCD is only forreference and isn’t suitable for finding fine focus.) Haas adds, “For afew moments early in the film you can see that the camera’s a littlebouncy. I was still getting my sea legs.”

Co-producers/directors Peter

J. Haas and KeifRoberts utilized

the DigitalBolex D16

camera to shootthe short

documentaryPeter Pan

Bakery .

I


Short Takes

➣



Haas frequently operated the camerawhile Roberts interviewed subjects, record-ing sound externally. Roberts explains, “Thesound in this camera is pretty good, but wedid dual-system sound with a recorder so Iwouldn’t be tethered to [Haas].” Haas andRoberts also used an external battery pack,which added a couple of pounds to thecamera’s weight.

Lighting, of course, was anothermajor consideration during the shoot, whichwas split across two days this past February.“We were familiar with the space, havingcome here so much,” Haas says. “But whenyou go somewhere to get a cup of coffee it’svery different from thinking about where allthe light is coming from.”

With a large window to the streetfronting the tiny counter, balancing the lightwas especially difficult. Haas recalls, “It hadsnowed the day before and it was snowing[while we were shooting]. It was already a19-stop split between outside and inside. Ontop of that, there’s all this light bouncing offthe snow. And even though we were shoot-ing at f1.9, the camera’s highest ASA was

400. If possible, I would have shot at 500 or800.” (A proposed firmware update shouldsoon allow the D16 to offer ISO settings of100, 200, 400 and 800.)

One solution was to use a daylight-balanced 12"x12" Rosco LitePad AxiomLED, which could be easily positioned for fill;this was sometimes augmented with a4"x3" CN-LUX560 LED mounted on thecamera and diffused with Rosco ToughWhite for eyelight. In many instances,


Top: Peter Pan

Donut and PastryShop has been

serving theresidents ofGreenpoint,

Brooklyn formore than 60years. Middleand bottom:

Roberts (left) andHaas used a

vintage 16mmSchneider lenson the Digital

Bolex for asofter image.



though, the image needed to be digitallypushed up to three stops in post. Shots ofthe doughnuts being prepared in backneeded a particular boost. “We moved theLitePad around, but it’s very dark back there,so to get a decent exposure we had to pushit in post,” says Roberts. Haas adds, “Whatwas mind-blowing was how well the imagestayed together. All of this extra informationwas there that we knew would have been

lost had we shot DV or even HD.”Adorama provided the filmmakers

with valuable digital cinema storage andhelped them develop an offline post work-flow, which incorporated the LightPosttranscoding software that is included withthe D16, as well as DaVinci Resolve for colorcorrection. “It’s funny, because the workflowfor this camera is very similar to film,” saysHaas. “You have your digital negative, which

you set aside, and then you have to make a[digital] ‘work print,’ because if you were justto take the DNG and make it uncompressed,you’d need a supercomputer to edit it. Sowe had our work print, and then we cut thedigital negative to match it all back. Themore we think we’re advancing with digitaltechnology, the more it just reflects the oldworkflow. We still call it ‘footage!’”

After the initial coloring pass, Peter Pan Bakery was accepted to the BrooklynFilm Festival. In anticipation of its officialpremiere, the filmmakers remastered thefilm at Technicolor-PostWorks New York,where colorist Sean R. Smith worked on aNucoda Film Master for a 1080p HDCamdeliverable.

Given the vérité nature of the project,the shooting ratio was high, about 30:1,“which you’re more aware of when you’reshooting raw, because that storage space isprecious,” says Haas. But since Peter PanBakery is only eight minutes long, theformula was acceptable. “It’s great to beable to shoot raw, because it’s gorgeous,and it really gives you a lot of options,” Haasadds. “But if I were to use this camera for alonger vérité doc, I would wish it were a littlebit compressed, even 1.5, just to save onspace.”

So far, Digital Bolex has reportedly

been very responsive to users’ needs andsuggestions. “They really made a grassrootseffort to promote the camera,” says Roberts.“They took a lot of input from theKickstarter [backers] who had purchasedthe camera, and that went into thedevelopment process. It was very democra-tic, which you don’t see with most cameracompanies.”

Peter Pan Bakery can be viewed at www.peterpanbakeryfilm.blogspot.com. ●


Top left: Roberts frames a patron inside the bakery. Top right: Donna Siafakas owns the bakery.Bottom: The filmmakers utilized a 12"x12" Rosco LitePad for fill light during an interview with

Donna’s son, Dimitri.




Cockeyed ChroniclesBy Jean Oppenheimer

The show opens with a title card: “All of the stories depictedin the following program are based on real events.” Then a secondcard makes it clear that what will follow isn’t going to be your typicaldocumentary: “It should be noted, however, that every storyteller youare about to see is completely drunk.”

Welcome to Drunk History , a half-hour television series thatpremiered on Comedy Central in 2013 and recently began its secondseason. Based on the Funny or Die Web series created by DerekWaters and Jeremy Konner in 2007, each episode consists of threehistorically accurate, fully fact-checked stories — such as the ScopesMonkey Trial, the Lewis and Clark expedition, the art theft at Boston’sIsabella Stewart Gardner Museum, the fall of the Alamo, Elvis Presley

meeting Richard Nixon — as told by thoroughly inebriated volunteers,most of whom are personal friends of producer/director Konner andproducer/on-air talent Waters. (A medical doctor is always on hand tokeep tabs on the inebriated storytellers.)

“The toughest part of the show is that we have to shoot oneentire story, from top to bottom, in a single day,” says director ofphotography Blake McClure, who took home the ASC Award forHalf-Hour Series this past February for his work on the episode“Detroit.” McClure, who has shot every episode except the pilot(which was photographed by Shawn Kim), explains, “Each story isabout 10 pages of script, which translates into seven or eight minutes

[of screen time]. A full episode takes three days to shoot.”Each story is recounted by a different narrator, who sits in the

comfort of his or her own home. Shots of the narrator are intercutwith re-enactments of the historical incident, which are acted out bycelebrity guest stars dressed in period costume and who lip sync thedialogue being spoken by the narrator.

The three stories that comprise an episode are usually linkedby city (for example, they might all take place in Boston), although allthe re-enactments are shot in and around Los Angeles. “Our loca-tions manager, Dan Cooley, is crucial to the development and look ofthe show,” says McClure. “He finds these great locations and wepiggyback a few days in a row so we don’t have to pack and movethe trucks every day.”

The day AC visited the set, the cast and crew were holed upinside a former youth correctional facility outside Los Angeles, re-

enacting an event from 1938 that involved a most unlikely trio: AdolfHitler (portrayed by “Weird Al” Yankovic), American boxer Joe Louis(Terry Crews) and German boxer Max Schmeling (Tim Heidecker).The latter two were vying for the World Heavyweight Championshipat New York’s Yankee Stadium. Although the United States and NaziGermany were not yet at war, the match between the American“Brown Bomber” and the German fighter had strong racial andpolitical undertones.

The sequence was conceived as the series’ first black-and-white segment. “When I think of Hitler, I think of black-and-whitenewsreels,” McClure notes. “Jeremy was wary; we didn’t want

Production Slate

U n i t p h o t o g r a p h y b y R o n B a t z d o r f f c o u r t e s y o f C o m e d y C e n t r a l A d d i t i o n a l p h o t o g r a p h y b y J e r e m y K o n n e r a n d B l a k e M c C l u r e

I

CinematographerBlake McClure

and hiscollaborators

used a long, thinpiece of black

wood to separatehistorical figures

Will KeithKellogg (Luke

Wilson) and JohnHarvey Kellogg

(Owen Wilson)with anin-camera

split-screen effectfor the “Detroit”

episode ofDrunk History .




[viewers to think we were mimicking] RagingBull . But the beauty of [shooting digitally] isthat you can set up a black-and-white imageon the monitor and still record in color.”(Although the filmmakers gave themselvesthat option, the segment is indeed presentedin black-and-white in the finished episode.)

The crew staged the boxing matchinside a warehouse-like building at the facility,where they set up 20' of dolly track to movethe camera on a GFM jib with an SL Pod

remote head. McClure notes that key gripRudy Covarrubias provided the jib and head,and gaffer Christian Grosselfinger providesmost of the lights for the show. Nine spacelights were hung directly above the raised ring,while a row of Par cans backlit the two fight-ers. “We also bounced a couple of open-faced2K Mighty-Moles into muslin to [fill in] themen’s eyes,” reports McClure.

Drunk History is predominantly a single-camera show, and McClure usually operates

the camera, his personal Red Epic MX. Theonly time two cameras are used is for shoot-ing the interviews — a.k.a. the narrations —during which McClure keeps a Canon EOS5D Mark III handy to grab alternate angles orto catch unanticipated movements, such asthe interviewee jumping up to rush to thebathroom. With the 5D, McClure explains,“we record straight to Compact Flash cards.The 5D’s heavy compression makes it nearlyimpossible to match to the Red, which is

fine, because [the 5D] is only used occasion-ally for a ‘behind-the-scenes’ type of effect.”

As for the Epic, he adds, “Althoughit’s a 5K camera, we shoot 4K [at a 7:1compression ratio] just for storage purposes.We roll non-stop and record to 128GB SSDcards, usually filling up four cards [per inter-view day].”

This season the production is rentingfrom Panavision Hollywood, which supplieda set of C Series lenses for the Louis/Schmel-

ing story — one of the few segments shotwith anamorphic lenses. Additionally, thecrew always carries a 25-250mm HR Ange-nieux zoom that is used as a zoom, especiallywhen the camera is on the dolly. “If you watcha movie from the 1970s, zooms are part ofthe aesthetic and are really awesome,”

remarks McClure. “If it’s not a ’70s movie,using a zoom is kind of cheesy, which is whywe use it. It’s melodramatic and adds to thecomedy.”

McClure also carries his personal setsof Cooke Mini S4s (T2.8) and Lomo round-front anamorphics. He likes the way olderlenses can produce natural vignetting which,along with haze, is a feature of manyepisodes. (Flashbacks within a story are oftendone with heavier vignettes, many of whichare created in post, although McClure hasfrequently employed a Tiffen Glimmerglassdiffusion filter.)

An episode that will air later thisseason stars Laura Dern as journalist Nellie Bly,who, in the late 1880s, committed herself toan insane asylum in order to write a newspa-per exposé on brutality and neglect at theinstitution. McClure explains, “We shot with aset of uncoated Super Speed lenses, and tokeep everything around her soft, I took a clearfilter and smeared Vaseline around thecorners. We made it blurrier as she becamecrazier.”

Drunk History ’s current season consistsof 10 episodes filmed over 30 shooting days(not including the interviews); the first seasoncomprised eight episodes shot in 21 days.Prior to shooting with the actors, the produc-tion season begins with the interviews, whichare conducted by Waters and shot one perday over the course of a month. When all ofthe interviews for the season are completed,the producers edit them down, and the actorswho perform the re-enactments are thengiven scripts and shown the edited narration

footage so that they can incorporate some ofthe narrator’s gestures and facial expressionsin their performances. Because the actorshave to coordinate their dialogue and move-ments to the narrator’s voice, the director yells“Playback!” rather than “Action!” on set.

According to McClure, a major diffi-culty in shooting the low-budget, fast-movingseries is the relative lack of preproduction time— although, he acknowledges with a laugh,“it’s also part of the beauty. Jeremy and I have

Top: For a re-creation of the Joe Louis (Terry Crews) vs. Max Schmeling boxing match, the crewrigged a GFM jib with an SL Pod remote head for the camera and hung nine space lights directly

above the ring. Bottom: Cinematographer Blake McClure (left) and producer/director Jeremy

Konner ready a shot with the jib.




only five or 10 minutes together before westart shooting. We quickly walk through thelocation, rough in a bit of lighting, decidewhere to place the camera and bring in theactors.

“Another tough part of the show isthat you have to be able to see every actor’sface because of the lip-syncing,” he contin-ues. “When shooting three charactersstanding in a room, you just have to lightflat.”

Since the actors have to constantlyface the camera, they don’t move around alot. To offset this, McClure incorporates asmuch camera movement as possible. Thecamera is frequently on a dolly, and forhandheld shooting, McClure often uses anEasyrig. “If we decide to do handheld, we’ll just end up doing the entire day handheld,”he observes, adding that the same goes forthe Steadicam. “Our Steadicam operator,Scott Dropkin, is incredible. We only haveone camera body and there is no time to go[on and off the Steadicam], so Scott ends upwearing the rig all day. He’s a trouper!

“Focus puller Nick Medrud is alwaysright next to me,” the cinematographer

continues. “We met on a short film when Imoved to L.A. two years ago, and he hasdone every job with me since. He works fast,doesn’t have to lay marks and nevercomplains.”

The “Detroit” episode included astory about the Kellogg Brothers, played byreal-life brothers Owen and Luke Wilson.The segment was shot in a mansion inMalibu, much of it in a large round roomfilled with tall windows that faced onto a

luxurious lawn. (Most locations are quitebasic and windows are blown-out to hidethe lack of a background.) The room,supposedly part of a sanitarium run by JohnKellogg (Owen Wilson), had an etherealquality; the light was incredibly soft and awhite haze hung in the air. “What reallycreates that look is that the characters are alldressed in white, and I had no idea whatthey would be wearing that day,” McClureadmits. “You encompass the entire world inwhite and surround the actors with thisgorgeous, soft lighting, which in that roomon that sunny day was happening naturally!I did lay white muslin on the floor to lift iteven more, but that’s all I did.”

The Kellogg segment contains a split-screen shot, with one actor on each side ofthe divide. Overbearing brother John sits ata fancy mahogany desk on the right side ofthe frame, in front of a big fireplace andbookshelves filled with red books, while put-upon younger brother Will sits at a plaintable on the left side, against an unadorned,blue, photo-drop background, with broomsleaning against the wall. In addition to thebackground, the coloring and lighting are

completely different.McClure reveals that the effect was

achieved practically. The art departmentpainted a long, thin piece of wood black andpositioned it in the middle of the frame,between the two actors. “We were set tosomewhere around 4,200K, and I lit eachside separately,” McClure explains. “Lukesat next to a big window [which was out offrame and provided cool light], and I used aJem Ball and a skip bounce. To make Owen’s

side warmer, we put a tungsten practical onthe desk and added a Jem Ball on a stand justoff-screen to accent the warm overheadlight.”

McClure grew up in Nashville andspent his first seven years in the film businessthere, working a variety of jobs, including

stints as a grip, electric, casting assistant,coordinator, cinematographer and director.Although he kept getting directing offers forlocal commercials and music videos, he neverhad a passion for it. Instead, having read American Cinematographer since he was 17,“I’d go to bed at night thinking about light-ing,” he recalls. “One day I just decided toconcentrate on shooting.” Soon thereafterhe moved to Los Angeles.

McClure says he has been trying somenew tricks this year, such as split screens,forced perspectives and the use of minia-tures. “I’m trying to do a lot more in-camera,” he says. And, with no DIT on theshow, he creates his own LUTs using Redcine-X Pro. “I made four black-and-white LUTs theweek before we shot the Louis-Schmelingstory — not anticipating that episode, but just to have them. I had already created acolor LUT for an earlier segment; I was able todo a pre-color-correction and apply that to allthe day’s footage, and then add grain to getthe look I wanted, which was based on lateASC member Harris Savides’ outstandingwork on Milk [ AC Dec. ’08]. This way, whilewe’re editing we can have a more finalversion that resembles the end product.”Season 2’s postproduction is being handledby The Institution, where Ben Kantor is serv-ing as the colorist; for season 1, McClureworked with colorist Narbeh Tatoussian atBlacklist.

Despite Drunk History ’s demandingschedule, McClure says the cast and crewhave a blast doing the show. And he notes,with obvious relief, “Although the narrators

got a lot drunker this season than last,nobody this year has thrown up yet.”

TECHNICAL SPECS

1.78:1

Digital Capture

Red Epic MX, Canon EOS 5D Mark III

Angenieux; Cook Mini S4; Lomo;Panavision C Series;Zeiss Super Speed, B-Speed

Filming begins on a scene in which Adolf Hilter (“Weird Al” Yankovic) walks into aradio room to listen to the Louis-Schmeling boxing match.

➣



15’, 20’, 32’ ... Introducing the 73‘ Hydrascope Equipment that works in any environment

weather resistant and tough

LOCATIONS: California: 888 883 6559New Mexico, Texas, Louisiana, Ohio & Florida: 888 758 4826

UK: +44 1 92 326 5953

TELESCOPING CRANES

With Stabilized Remote Camera Systems

CHAPMAN/LEONARDStudio Equipment, Inc.

DOLLIES...

Super PeeWee© IV Part of the PeeWee© series

Time Saving Camera Support for all your needs!Hustler IV

Pedestals, Mobile Cranes, Arms & Bases

www.chapman-leonard.com

Ask about our Sound Stage in Florida

CHAPMAN/LEONARDStudio Equipment, Inc.




h

d f

b

f h

h

l

l

d

d

d

d d

l

h

h

b

Deadly MovesBy Mark Dillon

A small band of radical environmen-talists is at the center of director KellyReichardt’s “eco-thriller” Night Moves.Introspective Josh (Jesse Eisenberg) workson an organic farm, while Dena (DakotaFanning) has turned her back on privilegeand consumerism to support the cause.Taking their beliefs to the extreme, they joinex-Marine Harmon (Peter Sarsgaard) in aplot to blow up a hydroelectric dam theysee as a symbol of man’s footprint on thelandscape. They succeed, but with an unin-tended tragic consequence: A camper iskilled as a result of the blast. Now evading

the authorities, the partners’ resolve andtrust are put to the ultimate test. (Themovie’s title refers to the name of the boatthe trio uses and bears no relation to the1975 Arthur Penn film of the same name.)

In summer 2011, Reichardt’s screen-writing partner, Jon Raymond, invited her tovisit an organic farm in Oregon’s ApplegateValley; convinced of the setting’s dramaticpotential, the director returned for scoutingin the fall with producers Neil Kopp and

production designer Elliott Hostetter andcostume designer Vicki Farrell. “His paint-ings have a beautiful color palette,” Blauveltelaborates. “We were influenced by how hesaw color in nature.”

Reichardt’s previous features wereshot on film, but Night Moves’ sub-$2.5million budget necessitated digital capture,she says. “We wanted real darkness, andwe didn’t have the resources to light giantareas. I didn’t have the money for 35mmand I couldn’t light for 16mm, so the way toget the movie done seemed to be to diveinto this [digital] world.”

Blauvelt had previously shot with theRed Epic on Sofia Coppola’s The Bling Ring— which he took over after the late Harris

Savides, ASC fell ill — and with the ArriAlexa on Ned Benson’s relationship dramaThe Disappearance of Eleanor Rigby . Heopted to go with the Alexa EV (on softwareupdate packet 6.0) for Night Moves, captur-ing ProRes 4:4:4:4 1080p and recording to32GB and 64GB SxS Pro cards.

“[The Alexa] yields a softer, lower-resolution image than the Red Epic, and Iliked that,” Blauvelt explains. “Kelly and Ilike how film looks, its texture. I also like to

Anish Savjani, and they were later joined bycinematographer Christopher Blauvelt, whohad previously worked with Reichardt onthe period Western Meek’s Cutoff ( AC April’11). The production took advantage of therich autumn colors by coming back oneyear later for principal photography, whichspanned mid-October to mid-November2012. The film was shot entirely on locationin idyllic spots such as the Applegate Valleyand Lake of the Woods, and around theindustrial Galesville Reservoir dam.

The director says she wanted toshow how organic farmers operate, as wellas “the communities of people who go tocampgrounds, use the reservoir for recre-ation and have a different attachment to it

than our main characters, who feel resent-ful that what was once a forest is now usedfor jet-skiing. We wanted to show all thedifferent areas and ways to live, and to seethe environment in a different light.”

Reichardt, who also edited themovie, assembled a notebook of locationand reference photos from which artistMichael Brophy drew storyboards. Addi-tionally, Charles E. Burchfield’s watercolornature scenes served as a guide for Blauvelt,

I

With no practical lighting in sight, cinematographer Christopher Blauvelt and his crew lit the Galesville Reservoir dam with 20 150-wattincandescent shop lights for a scene in which three eco-terrorists blow-up a hydroelectric dam in the feature Night Moves.




use older lenses and diffusion, and to lightsofter when I can. To me, those layers addup to something with more depth than ahigh-resolution image you have to manipu-late later to be softer or desaturated.”

Heeding the wisdom of his mentor,Savides, who would tell him to test as muchas possible in a movie’s actual environments,

Blauvelt took an Alexa to Oregon andplayed around with color, contrast and ASA,and then sent the footage to DIT MattRiggieri. “I developed a rich-looking LUT tostart with,” says Riggieri, who had workedwith Blauvelt on The Dead Ones and The

Discoverers. “It had a very deep toe tosomewhat mimic slide film. On our tests, Iapplied a small selection of CineGrain toevaluate texture. Chris is one of the fewcinematographers I’ve had the pleasure of

working with who isn’t shy about underex-posing his digital negative a bit — he isn’tafraid of the texture and noise that under-exposing can produce. This movie has bodyand texture that’s sometimes lost in digi-tal.”

Blauvelt adds, “We cut the testtogether, reviewed everything with Kelly

and found what we liked. We tried to lookat it not as digital or film, but rather as ourlook specific to our movie.”

The production’s camera packagecame out of Portland’s Koerner CameraSystems. Blauvelt shot with Zeiss SuperSpeed lenses, relying almost exclusively onthe 35mm and moving the camera in forclose-ups rather than using zooms or longerlenses. “There’s something to be said forthe feeling you get when you physically get

close to someone,” he says. It’s a theory hecredits to Robert Bresson, a filmmakinghero he and Reichardt share.

The cinematographer used Schnei-der HD Classic Soft 1 and 1 ⁄ 2 filters to breakup contrast, and he usually shot with awide-open aperture. “That’s where my

amazing 1st AC, Stephen MacDougall,comes in,” says Blauvelt. “He knows howto keep the subject in focus.”

As Reichardt intended, the film’snight interiors and exteriors are very dark,and even during day exteriors, the actorsare sometimes heavily shrouded by tower-ing pine trees. “We wanted it to look asnatural as possible,” Blauvelt says. “We’dlight to be very underexposed most of thetime. If there was nothing to motivate alight on the lake or in the forest, we’dcreate it to look like moonlight, and to beas authentic as possible. There’s nothingworse than when lighting becomes adistraction.”

One way the crew simulated moon-light was by configuring a rig that mountedabove the titular boat in which Josh, Denaand Harmon stuff 1,500 pounds of ammo-nium-nitrate fertilizer and a detonator. Inthe pitch-black night, they take the boat upto the dam, moor it to the wall and returnto shore in a canoe. (Only the lead-up tothe explosion is seen on-camera; the blast islater heard as the trio drive away in a truck.)To light the actors in the boat, the crewconstructed “an 8-foot [square] Speed-Railframe,” Blauvelt explains. “We placed 200LED lights on top of shower curtain mater-ial, facing up into Ultrabounce, [whichbounced soft light] back down through theshower curtain.”

The dam, which had no practicals insight, presented the biggest lighting chal-lenge. Hostetter purchased 20 150-wattincandescent shop lights, and the crew ran

them through metal conduits pointingdownward over the edge of the dam,giving the appearance of architecturalfixtures and creating pools of light. Theglobes could also be articulated from aboveto provide back- and sidelights for theactors on the boat. To provide overall ambi-ence, the crew flanked the dam with a totalof three Arri M18 HMIs powered by a putt-putt generator. Finally, six Par cans illumi-nated the dam’s top-middle section. “I’m

Top (from left):

Dena (DakotaFanning), Josh

(Jesse Eisenberg)and Harmon

(PeterSarsgaard) take

their ammo-packed boat to

its finaldestination.

Bottom: An 8'square speed

rail framehousing 200 LED

lights wasconstructed to

light the actorson the boat

at night.




very proud of the collective effort thatallowed that scene to look as it does,” Blau-velt says.

For day exteriors, the crew simplymanipulated sunlight with bead board andUltrabounce; for close-ups, they used 1 ⁄ 4Grid overhead to diffuse hard sun whenpossible. “We tried to minimize coveragefor authenticity,” Blauvelt explains. “Whenyou do it like that and you’re spinningaround [with the camera], there’s usually noroom to put anything overhead. So if it wassunny out we’d often just live with it and fillin their eyes with a bounce from the kneesif we could.” He usually used SchneiderTrue-Pol polarizing filters, but tried to avoidblues that would be rendered unnaturallydark and saturated.

After the camper’s death, Denagrows particularly troubled, and her collab-orators fear she will reveal their complicity.

This leads to a tense confrontation with Joshat the new-age spa where she works. Afinal showdown transpires in a wet sauna,where the steam adds further tension toan already dark, suspenseful scene. “Wecouldn’t use real steam because it wouldfog the lens,” reveals Blauvelt, who insteadrelied on a water-based fogger to create theeffect. The cinematographer lit the scenewith a stand-mounted Leko bounced intothe ceiling, noting, “We embraced having

‘steam’ to obscure things and accentuatethe drama. We had to play around with thelight to be able to see anything — some-times the steam would obliterate the lens.You just have to work on it and find whatlooks good. That’s part of the enjoyment ofwhat we do.”

Blauvelt operated the camerahimself on Night Moves, and he notes thatcamera movement was dictated by setting.For example, in the film’s final scene, whenJosh seeks to reinvent himself by applyingfor a job in a camping-supply store, a dollytracks down the aisle, passing all the mate-rial goods associated with the greatoutdoors. “In the urban environment, wechose a more locked-off, mechanical exis-tence, while in nature we were handheld togive the frame more organic energy,” thecinematographer explains. Cedric Martinoperated the Steadicam for a shot trailing a

boy riding a bicycle into the organic farmnear the beginning of the film; in a laterscene, a crane pulls up from Josh as heleaves a library after reading about thecamper’s death.

Images were monitored mostly withFlanders Scientific LM-2461W and CM-170W units fed with the LUT-appliedimage. The crew had a digital lab in itscamera truck, where assistant editor CaryKehayan prepared dailies in DaVinci

Resolve, applying LUTs Riggieri created onset using LiveGrade and an HDLink moni-toring system. They offloaded to G-Speed Qunits and edited off G-RAID systems. Eachnight Blauvelt would take home the previ-ous day’s dailies on a hard drive.

Colorist Alex Bickel performed more

than 60 hours of grading at New York’sColor Collective, with Blauvelt presentthroughout. The ProRes files wereconverted to Log C DPX format and gradedusing DaVinci Resolve. “A good portion ofthe film takes place at night,” Bickel notes.“One of the challenges was finding anelegant, faithful approach that told thestory without cranking up the contrast tounnatural levels.”

Having completed her maidenvoyage in digital capture, Reichardt contin-ues to regard the format with mixed feel-ings. “Everyone talks about how mobileyou are, but you have a digital tent follow-ing you that you didn’t have before,” shesays. “It did allow us to shoot in areas ofdarkness that we couldn’t have [managed]on film. Also, you can get true blacks, andyou can add texture, which helps.”

Meanwhile, Blauvelt, who recentlywrapped on Charlie Kaufman’s half-hour FXcomedy series How and Why , is by now aveteran of digital features and looksforward to more. “Digital cameras havecome a long way and manufacturers aredeveloping better curves [to emulate film],”he summarizes. “You can do unique worknow.”

TECHNICAL SPECS

1.78:1

Digital Capture

Arri Alexa EV

Zeiss Super Speed

●

Cinematographer Christopher Blauvelt (center) and director Kelly Reichardt line up a shot.

ERRATUMIn our April coverage of Divergent

(“Outcast Power,” page 62), photogra-pher Garry Winogrand was erroneouslyidentified as Garry Winnogram.



E veryone likes a good villain, and Maleficent, from the1959 animated film Sleeping Beauty , is perhaps the WaltDisney Co.’s most iconic. Feared and reviled in equalmeasure, the self-declared Mistress of All Evil is finally

having her side of the story told in the live-action film directedby Robert Stromberg and starring Angelina Jolie in the titlerole.

Dean Semler, ASC, ACS entersthe realm of an evil icon in

Maleficent .

By Simon Gray

•|•

Before she began covering herself head-to-toe in black,Maleficent was a winged fairy living in an idyllic natural

world. Her peace was shattered when an invading army of humans threatened her home. Rising to the land’s defense costMaleficent both her powerful wings and her happiness.

Afterward, corrupted by the desire for revenge, she places the

well-known curse on Princess Aurora (played as a toddler by Vivienne Jolie-Pitt, and as a young woman by Elle Fanning).

While biding her time until the curse takes effect on Aurora’s16th birthday, Maleficent begins to suspect that the young

woman may be capable of bringing peace to the kingdom.Cinematographer Dean Semler ASC, ACS accompa-

nied Stromberg for the director’s first feature. Asked if heparticularly enjoys working with first-time directors, Semlerresponds, “I just enjoy working! It is always the director’s filmand I love being able to offer as many ideas as I can. Perhapsthat occurs more often with first-time directors, but it’s their

Dark Majesty

Dark Majesty




www.theasc.com July 2014 3

➣

vision that is up on the screen. Thedirector is the one and only captain of the ship; cinematographers just man theoars to keep smooth sailing.”

Semler found Stromberg meticu-lously prepared for the complexities of combining the live-action photography

with extensive visual effects, the latter of which were supervised by Carey Villegas. “The moment I walked intoRob’s ‘War Room,’ there was the wholemovie covering the office walls in 36-by-18-inch prints of conceptual draw-ings and storyboards,” he recalls. “I wasthrilled — the clarity of Rob’s visionmade it easy for everyone, especially me!

“The depiction of light was excit-ing,” Semler continues, “the way thehuge castle windows were single-lightsources, how the walls receded intomoody shadows, the importance of fireand candlelight, how the exterior setscould be brought to life with backlight.

When I timed the film many monthslater with Yvan Lucas at EFilm, thoseimages on the office wall were alive onthe screen.” U

n i t p h o t o g r a p h y b y F r a n k C o n n o r , c o u r

t e s y o f D i s n e y E n t e r p r i s e s , I n c .

Opposite:Maleficent revealsthe heretoforeuntold story of thetitular villain(Angelina Jolie).Top: The “Mistressof all Evil”interrupts a castlecelebration.Bottom:Cinematographer

Dean Semler, ASC,ACS (right)consults withdirector RobertStromberg.




Semler reports that Stromberg’sprevious experience in visual effects andproduction design was particularly advantageous. “He was still directingactors, of course, but he could also clearly see way beyond what was on the videomonitor. He’d frequently say things like,‘Don’t worry about that cherry picker orthose lights in shot. When we take themout later you’ll see a beautiful waterfall

with fairies skimming across the water.’” After conducting comparison

tests between the Arri Alexa, PanavisionGenesis and Sony F65, the filmmakersdecided the Alexa best suited Maleficent ’s extensive visual-effectsrequirements. Any misgivings Semlermay have felt about abandoning the

Genesis — his camera of choice sinceClick (2006) — quickly dissipated. “Ibelieve that images from the Genesisstill look the closest to film, but only by a tiny degree,” he says. “I loved using the

Alexa; it’s a great camera. I was able toslightly shift the color temperature in-camera, usually by around 100 to 200degrees — a simple and subtle butincredibly effective tool that I used a lot.”

Maleficent’s main unit carried

◗ Dark Majesty

During PrincessAurora’s

christeningceremony,

Maleficent placesher infamous

curse upon theinfant.




three Alexa Pluses, rented fromPanavision London. (Semler liaised

with Panavision’s Hugh Whittaker, whom he describes as “a tremendoussupport throughout the whole movie.”)

To negotiate the enormous sets, the Acamera spent most of its time on a Librahead on a 50' Technocrane, while the Bcamera was often on a dolly. Thecameras were rated at their native 800

ASA, and Semler shot both interior andexterior scenes between T2.8 and T4,using NDs as necessary.

For on-set monitoring, Semlerused EFilm’s ColorStream system, as hehas on every digitally acquired film he’sshot since Apocalypto ( AC Jan. ’07). “Ididn’t want to be endlessly fiddling

around with LUTs on the set,” heexplains. “I know cinematographers

who do many LUTs for a variety of purposes — day, night, day-for-nightand so on — but I prefer to have para-meters that remain the same through-out shooting and into post. It’s the sametheory as when I used to shoot film back in [Australia] and always had my printerlights set at 25 across the board.”

The ColorStream process tone-

Top: Maleficentsummons herdark powers.Bottom: ATechnocrane-mounted ArriAlexa ispositioned for anoverhead angle ithe castle set.



mapped the Alexas’ ArriRaw outputinto DCI P3 color space, and then asecond LUT emulated that look asclosely as possible in Rec 709 for moni-toring. The workflow, which is part of the services of EFilm and Company 3’s

combined EC3 near-set offering, alsoincluded additional fine-tuning forspecific monitor characteristics. Semlersemi-regularly viewed dailies on an iPadafter making an initial visit to Company 3’s dailies facility in London, and he alsochecked in with the EC3 near-setdailies station, but he reports that he wasultimately confident with what he saw on the monitors on set.

The ArriRaw signal was recordedonto Codex drives sent to the EC3near-set dailies setup, and the files werethen archived along with the metadatato a SAN and sent to Disney for upload.Editorial received DNxHD versions viaupload to a secure, cloud-basednetwork. The visual-effects vendorsdeBayered the ArriRaw, adding therequired visual effects and performing alayer of color work. DPX files and meta-data then went to EFilm in Hollywood,

where Lucas worked with Semler totime the DPX files in the company’sLustre-based, proprietary color correc-tor.

In front of the Alexas, Semleropted to work with spherical PanavisionPrimos, his favored lenses for many

years. “Same, same, same,” he quips.“My lens kit doesn’t change from film tofilm. There is a set of primes starting at14.5mm, going through to the 150mm.I also tend to use [Primo] zooms quite alot. The hero lens on A camera was the17.5-75mm [T2.3], and the 11:1 [24-175mm T2.8] zoom sat on the B-

camera. I also used ‘The Hubble,’Panavision’s 3:1 [135-420mm T2.8]zoom. We always tried for two camerasand often used three. Two cameras shotdifferent sizes from a similar angle,

while the third was hidden somewhere[or] placed on the ground with the14.5mm, getting a wide shot.”

Principal photography for Maleficent began in mid-2012 at thePinewood Studios facilities located west


◗ Dark Majesty Top: Maleficentencounters theyoung Aurora

(Vivienne Jolie-Pitt). Middle:

Semler and thecrew prepare for

an exterior shot.Bottom: The

cinematographernotes that he lit

Jolie to bring out“the color of hereyes” and accent

“the fantasticprosthetic

cheekbones.”




of London. The action for the filmoccurs mainly in two worlds: themorally murky land of the humans,

which is dominated by the cool tonesand deep, rich shadows in the castle of King Stefan (Sharlto Copley), and theMoors, the colorful, sparkling foresthome of the fairies, pixies and otherfantastical creatures. Sets for the huge,looming castle were built on several of the soundstages, while much of theMoors was filmed on an exterior set onthe Pinewood “back paddock,” asSemler calls it.

In order to realize the intricatelevel of detail required in both the prac-tical sets and CG environments, theproduction brought aboard two produc-tion designers: Gary Freeman, who hasa practical set-building background,and Dylan Cole, whose forte is digital

design. This pairing made perfect senseto Semler. “Gary and Dylan workedalmost as one person,” he says. “Thegiant castle interiors, such as the GreatHall, almost burst out of the stages and

were resplendent with detail. Stone walls, staircases, windows, polishedfloors — everything was such a pleasureto light. And the digital creations wereequally stunning.

“Rob insisted on the use of a light

Aurora (playedas a teenager bElle Fanning)enters theMoors, home tofairies, pixies another magicalcreatures.




smoke throughout all the sets, interiorand exterior, which surprised me a bit,”continues Semler. “Usually the visual-effects people don’t want smoke becauseit contaminates the bluescreens, which

we used instead of green due to theamount of green foliage in the sets. I

was happy because the smoke gave methe opportunity to create beautifulbeams of light!”

Eddie Knight was the initialgaffer on Maleficent , putting the show’slighting plans and systems into action.“Eddie is very thorough and creative,

with invaluable experience working thePinewood stages,” says Semler. “He andhis loyal team of electrics and riggers,including his four sons, made my jobrelatively easy. Sadly, Eddie had to leavethe show for personal reasons. My long-time U.S. gaffer, Jim ‘Jiminy Cricket’Gilson, then joined us, fitting in well

with the London lads.”

Knight and his crew riggedMole-Richardson space lights in theceilings of each stage that housed acastle interior. Half the space lights

were left un-gelled to provide ambiencefor the daylight scenes, while the secondhalf had a combination of ½ CTB and

White Flame Green gels for night ordusk ambience. Lighting-desk operatorGraham Driscoll used ChamSys’iPhone application MagicQ Remote to

◗ Dark Majesty

Top and Middle: This forest scene from the finished film required a team effort to bring the conceptdrawing to life. Bottom: The filmmakers opted to shoot against bluescreen instead of green

due to the extensive foliage in the film’s sets.




quickly change from day to night looks. Tungsten 20Ks, 10Ks and Nine-

light Maxi-Brutes positioned in theoverhead grids served as either sun ormoonlight, depending on the scene. “Allthe castle sets had huge windows, whichI used as single sources, deliberately letting the shadow areas go,” Semlerexplains. “For soft fill light the boys

would fly several 20-by-20 Ultrabouncerags and light them with a diffused20K.” 5K Mole-Richardson Parscreated beams through the smoke whenrequired. Additionally, to replicate lightcoming from a huge skylight in theGreat Hall, Semler used several 18K

Alpha HMIs made by K 5600; thelamps’ ability to run while pointedstraight down at 90 degrees meant they could be rigged and simply left in place.

Fire and candlelight also featureprominently in the castle. To supple-ment the effect, Knight designed 2'-square panels that each contained 36GU10 halogen lamps, six lamps per

channel, all controlled through adimmer. “These ‘Mini-Maxi’ fixtures

were used a lot, positioned just out of frame, for firelight, candlelight andother purposes,” Semler recalls. “It’s thebest fire-effect rig I’ve ever used.”

One of Semler’s favorite sets wasthe Pixie Cottage, where the infant

Aurora is taken for protection. “I justloved the hilarious scenes [in that set],

with the three pixies played by wonder-

ful English actresses [Juno Temple,Imelda Staunton and Lesley Manville],”says Semler. “The space was around 12-by-12 feet, and it had quite a low remov-able ceiling with immovable beams that

were challenging to work around.” The working conditions were furthercomplicated by the need to have rainand lightning effects inside the cottageas the pixies come under attack from

“Rob insisted on the use of a light smoke throughout all the sets, interior and exterior,” says Semler. “was happy because the smoke gave me the opportunity to create beautiful beams of light!”




◗ Dark Majesty

Maleficent. With rain bars creating thedownpour, a 40K Lightning Strikesunit played through double ND.9 gelsfor a lightning effect that registeredproperly with the Alexa’s sensor.

For day interiors in the cottage,Semler’s crew aimed 10Ks and 20Ks

with ¼ CTO through the set’s windowsand doorways, and bounced SourceFours within the set. Any wall that wasnot in the frame would be pulled out,and soft sources created with 1K Parsand 5Ks would push additional lightinto the set. Gilson also added paperlanterns to provide flicker effects fromcandles.

In some instances, the use of interactive light became a source of on-set humor. “One of the funniestmoments on set was when Elle, asPrincess Aurora, is brought to thefairy forest and sees the happy, sparkly,glowing little creatures for the firsttime,” recalls Semler. “Rob wanted touse some interactive lighting on Elle

because the digital pixies he’d be creat-ing later would be glowing. So three bigblokes from the electrics departmententhusiastically waved 200-watt bulbson the end of blue painters’ poles inchesfrom Elle’s face. Like a true profes-sional, she ignored the hairy men andenjoyed the little lights.”

When it came to exterior shoot-ing on Pinewood’s Paddock Lot,Semler was understandably loath to

Top and Middle: Maleficent transforms her familiar, Diaval, into a fire-breathing dragon toescape a trap set by King Stefan (Sharlto Copley). Bottom: Space lights were rigged from the

ceiling to create a base level of ambience for the castle interiors.



TM

www.cineverse.net

LOS ANGELES • CHICAGO • NEW ORLEANS • MIAMI

CINEVERSE is a Division o

INTRODUCING...

VER Digital Cinema + Fletcher Camera & Lenses + PACE

A unique and powerful full-service film and digital equipment rental house for the motion picture

commercial and television production industries featuring an extensive worldwide inventory,

technological innovation, and unparalleled service. Committed to the Craft of Cinematography

CINEVERSE is your collaborative equipment rental partner

in creating your Cinematic Artistry




place himself at the mercy of England’sfickle and often overcast weather. Toprovide control over the exterior condi-tions, chief rigger Bill Beenham and histeam erected a 200'x80' sheet of toughblack trampoline material supported by four 50' steel towers. “The Moors setunderneath the tarp was huge and very impressive-looking,” says Semler. “Ithad a waterfall, little pools, a small lake,pathways, beautiful big trees covered inmoss. It was lovingly prepared by the

wonderful greens department, trampledby the crew during the day, and thenthousands of blades of grass and flowers

were patiently redressed in time for thenext day’s shooting. The Moors is

where the fairies live, so it had to look dazzling and alive. That fantastic set

would have looked horrible if left to themercy of high summer sun, and anovercast sky would have flattened theimage, sucking all the life from it.”

Beneath the cover, a range of

HMIs, including 12K Par spots and18Ks, were used as backlight, creatingbeams through the light smoke. 12K Pars with the lenses removed to create“a very narrow beam of light that’suncontrollable because it’s so hot,” saysSemler, added visual punch to certainareas of the set. Fill light was providedby 4K, 6K or 18K HMIs behind a 4'x4'frame of ¼ Grid Cloth that spread thelight evenly onto a 12'x12' frame of Full

◗ Dark Majesty

Top: Maleficentraces in vain to

prevent hercurse fromcoming to

fruition. Middleand bottom:

Aurora pricksher finger onthe spinning

wheel and falls

under thesleeping curse.



or Light Grid Cloth. “It’s a very soft filllight that is kind to the actors,” thecinematographer notes. A modified

Wendy Light was also used on theMoors exterior set; the tungsten fixture

was rewired to take 196 full spot globes,and was used during day scenes tocreate a hot, warm backlight onMaleficent.

In general, Semler steered clearof dark, moody lighting for Maleficent,instead opting for a simple, direct andflattering look. Backlight brought outthe famous horns and provided high-lights to Jolie’s glossy black costumeand flowing cape, while her key light

was often, but not exclusively, a SourceFour from over the camera. “Maleficent

was lit as a beautiful lady,” says Semler.“I did some early tests using side light,but neither Angelina nor I liked that asmuch as the front light, which broughtout the color of her eyes, and beautifully delineated her features and the fantasticprosthetic cheekbones made by Rick Baker.” Quarter to ½ CTB was addedto Jolie’s key light to keep her skin toneson the cool side.

Semler credits Maleficent’s second-unit crew, led by director SimonCrane and cinematographer Fraser

Taggart, with undertaking largeportions of both the interior and exte-rior work. “They had difficult circum-stances to work in and I really have tothank those guys. Fraser’s work matched the main unit’s seamlessly.”

The second unit carried a kit of four Alexa Pluses, and an additionaltwo or three were brought in whenshooting larger sequences. The need forextra cameras was often determined

Prince Phillip (Brenton Thwaites) arrives toawaken the sleeping beauty with a kiss.



more by logistics than coverage consid-erations, as Taggart explains: “There wassuch a variety of camera rigs on secondunit that a camera and grip pre-riggingcrew was needed to prepare equipmentfor the next setup. For example, wemight be moving from a handheldsequence to a Technocrane sequence toa dolly setup. We always leapfroggedequipment ahead to get as much as

possible out of each day.” The sometimes-aggressive cam-

erawork required for the second unit’sbattle sequences stood in contrast to themain unit’s propensity for elegantmoves. A pertinent example occursearly in the film when Prince Stefan’sfather, the ill-fated King Henry (Kenneth Cranham), leads his troopsagainst the magical inhabitants of the

Moors, who in turn are led by Maleficent. Semler used a Russian Armto capture sweepingly majestic imagesof Henry’s troops as they approachthrough gently rolling hills. The secondunit then took over as hostilities escalate

into open conflict, capturing the action with strident moves on Technocranesthat lead into handheld cameras amidthe battle proper. Taggart used longerlenses to ensure the images were filledfrom foreground through to the back-ground. The 85mm Primo, for example,

was often used for what the cinematog-rapher terms “long wide” shots.

The penultimate battle betweenMaleficent and Stefan begins in thecastle’s Great Hall. After escaping a trapset by the king, Maleficent turns herfamiliar, Diaval (Sam Riley), into a fire-breathing dragon, and the castle rapidly becomes a raging inferno. “The castleset was beautiful,” recalls Taggart, “so weburnt it down.” The special-effectsdepartment had several methods at

◗ Dark Majesty

NEW U-BANGI SLIDER

2

4

3

1

1. MITCHELL, BOWL OR EUROMOUNT2. QUICK ADJUSTMENT3. 360° ROTATING4. VARIOUS LENGHTS (2 - 10ft.)

AND SIZES

FOR TRIPODS AND DOLLIES

UPGRADE AVAILABLEFOR ALL U-BANGI II

www.panther.tv

Fanning andStromberg

discuss a scene.



their disposal: gas pipes built into the setallowed for a selective, controlled burn;a flame-thrower with a range of 30'served as the dragon’s incendiary breath;and kitty litter soaked in accelerantcreated a slow-burning rain of fire.

Nine-light Maxi-Brutes withFull and 1⁄2 CTO provided firelighteffects throughout the set. “The combi-nation of practical fire effects and theflickering light on reflective surfacessuch as the soldiers’ armor and the sweaton their faces brings the images aliveand really sells it to the audience,”enthuses Taggart. “If they see actualflames in shot, the electronically controlled flickering light isn’t noticed.”Fill light, Taggart adds, wasn’t requiredfor this sequence. “The images werekept quite moody to let the firelight getinto the shadow areas so that it read

well.”Semler has nothing but praise for

his crew. “My English crew was fantas-tic,” he says. “Many are veterans of

large-scale productions such as theHarry Potter and James Bond fran-chises, so they were completely at easeon a production the size, scale andcomplexity of Maleficent . I wish I couldmention every single one of them. A-

camera operator Gary Spratling and 1st AC John Ferguson headed up thecamera team. Steve Evans was my unflappable digital-imaging technician.Elliot Purvis, whom I first worked within Budapest on Angelina’s film [ In the Land of Blood and Honey ], was thecentral loader. And Johnny Flemming

was my key grip; we had first workedtogether as young lads more than 20

years ago on The Power of One , shot in Africa.”

Despite Maleficent

marking the19th feature Semler has completed withEFilm, there was a surprise in store forthe cinematographer. “Neither Yvan norI had seen any of the visual effects,

which make up a huge part of Maleficent ,” Semler notes. “I was dumb-

founded watching the brilliant imagesand creatures created by Rob and histeam. Having said that, my work stillplays an essential part within all thedigital imagery. The basic principles of cinematography remain the same: the

director’s vision has to be fulfilled, thescreenplay has to be transformed intomoving images, and the sets and, mostimportantly, the actors have to be lit. I’mreally proud of what we accomplishedon Maleficent .” ●

TECHNICAL SPECS

2.40:1

Digital Capture

Arri Alexa Plus

Panavision Primos



Time

BendersTime

Benders46 July 2014 American Cinematographer

Newton ThomasSigel, ASC shootsin stereo for thetime-traveling

superheroadventure

X-Men: Days of Future Past .

By Michael Goldman

•|•




In X-Men: Days of Future Past , themutant heroes plot to circumvent anapocalyptic future by sending

Wolverine (Hugh Jackman) back intime to partner with his teammates’

younger selves and alter the course of history. Shaking up the X-Men films viathis time-traveling tale particularly appealed to director of photography Newton Thomas Sigel, ASC — who,along with director Bryan Singer,returned to the franchise for the firsttime since shooting X-Men ( AC July ’00) and its first sequel, X2 ( AC April’03). (Singer had maintained a produc-ing role on subsequent films.) Beyond

the narrative, though, Sigel was alsoinspired by Singer’s insistence that Days of Future Past be shot in native 3-D.

The decision to shoot in 3-Dcame on the heels of the stereoscopic

work Sigel and Singer had done ontheir previous collaboration, 2013’s Jackthe Giant Slayer . After that experience,Sigel says the director was confidentthat native 3-D capture would offer thebest results. Singer eventually got

Twentieth Century Fox to agree — withthe financially driven caveat that about20 minutes of complex second-unit

work would be shot in 2-D and thenconverted.

“I think Jack had a big influenceon Bryan’s thinking,” says Sigel. “Welearned a lot about lens choices, cutting,the whole choreography for 3-D. [Days

of Future Past ] was certainly a very differ-ent film and a different style, and wepushed the 3-D a lot more; we went formore stereo depth on this film than on

Jack, where we were a lot more conserva-tive. But it gave us a certain comfort levelin that we knew how to do it, and so thestudio agreed to Bryan’s approach.”

For the production, which was

g

py

y

y

y

p

A d d i t i o n a l p h o t o s c o u r t e s y o f N e w t o n T h o m a s S i g e l . L i g h t i n g d i a g r a m c o u r t e s y o f T o n y N a k o n e c h n y j .

Opposite: Magneto(Ian McKellen) andProf. Xavier (PatrickStewart) reunite to

save the mutant racin X-Men: Days of Future Past . Thispage, top: Wolverin(Hugh Jackman, lefttravels back in timeto join the youngerMagneto (MichaelFassbender, center)and Prof. X (JamesMcAvoy) in a fight tsave their future.Bottom:CinematographerNewton ThomasSigel, ASC.




predominantly shot on stages and loca-tions in and around Montreal, the film-makers opted to work with Arri AlexaM cameras in 3ality Technica TS-35stereo rigs; two rigs were configured forstudio shooting, and a third, lighter-

weight rig was used for Steadicam work.

(Directed by Brian Smrz and shot by Larry Blanford, the second unitemployed Alexa XT Plus cameras for its2-D work.) In front of the cameras,Sigel opted to work primarily withLeica Summilux-C primes (rangingfrom 18mm to 100mm). The lenses,

Sigel enthuses, “are really great glass andgave us a beautiful look.”

First AC Cary Lalonde adds,“The Leica primes have superior imagequality and consistency in their opticalcharacteristics, and that made compil-ing two matched sets fairly straightfor-

ward. Their compact and nearly identical dimensions [across the rangeof focal lengths] worked very well in the

TS-35 rigs. These factors enabled us tochange lenses and align the rigs inaround three minutes. That, of course,saves time and money, and makes

shooting native 3-D viable.”For certain shots, the filmmakers

also utilized Panavision 15-40mm T2.6Nova zooms, which they felt were thebest available match to the Summilux-Cs, “even though their size made for atight fit in the TS-35 rigs,” according toLalonde. “Fortunately, [ASC associateand Panavision vice president of OpticalEngineering] Dan Sasaki optically matched a set with PL mounts for us.”

◗ Time Benders

Top (from left):Sunspot (Adan

Canto), KittyPryde (Ellen

Page), Iceman(Shawn

Ashmore) andColossus (DanielCudmore) steelthemselves forbattle. Bottom:

Bishop (Omar Sy)protects the

mutants’ innersanctum.




The second unit also used theSummilux-C primes in certain situa-tions, but relied more generally onFujinon Premiere 18-85mm T2.0 and24-180mm T2.6 zooms.

Framing for a final 2.40:1 release,the filmmakers recorded an ArriRaw 16:9 signal onto Codex Onboard Srecorders while simultaneously captur-ing a backup ProRes 4:4:4:4 2K signalin the Alexa M camera bodies. The

Alexa XT Plus systems used for secondunit recorded an ArriRaw signal directly onboard. The production’s 3-D systemssupervisor, Ben Gervais, says the data-management team was given an edict to“make the workflow as efficient as

possible on set, while minimizing ourfootprint and keeping everythingmobile.” Toward that end, Gervaiscollaborated with Arri and Panavisionto create a custom fiber-optic systemthat “reduced rig communication, thetwo camera signals and video-returnsignals to travel down a single, ruggedfiber cable,” he says. “That allowed therecording and video infrastructure to be1,000 feet or more from the camera,

reducing the number of video-villagemoves to a minimum.” Digital-imagingtechnician Julie Garceau utilized a Sony BVM-E250 OLED monitor duringproduction while applying a viewingLUT built around basic CDL values.

Sigel also sought to establish an

advanced look and color scheme eachday in collaboration with his dailiescolorist, Adrian Delude. That visualblueprint could then travel all the way through the digital-intermediate phase

with his longtime colorist, StephenNakamura, at Company 3 in Santa

Top: Magnetodefends themonastery whethe mutants havtaken refuge.Bottom: McKellhovers above thgreenscreen setwhile the 3-Dcamera rig,mounted on aTechnocrane,captures theaction.




Monica. To realize the goal, the cine-matographer turned to near-set servicesprovider EC3, a co-venture betweenCompany 3 and EFilm, and one of thecompany’s traveling, high-end gradingsuites, which EC3 set up adjacent to theset in a converted Star Waggons trailer.Dubbed the EC3 Wagon, the trailer

featured a Christie Solaria One+ digitalcinema projector, a full machine room,and a workstation where Deludeutilized Blackmagic Design’s DaVinciResolve software to grade footagecoming from set. The EC3 setuppermitted Delude to make adjustmentsto the imagery far deeper than is typical

for dailies footage, working with multi-ple windows and even doing extensivetracking and luma keying on some of them.

Each day, Sigel joined Deludeand stereographer John Harper in theEC3 Wagon to view dailies in Rec 709color space. Together, they imple-mented detailed color and 3-D conver-gence tweaks before the dailies materialever left the vicinity of the set. “Tomlikes to push the image as far as he can,knowing he might tone it down in theDI,” Delude says. “About three quartersof the film takes place in the early 1970s, and the other quarter is in thefuture, so we had two looks. The future

was kind of cold, desaturated and clean.For the 1970s, Tom was really into a‘Kodachrome look.’ He brought in a lotof samples of photography of that era,and we tried to make the Alexa footagelook like that — we chromakeyed shad-ows and pulled color out, and chro-makeyed highlights and added a littlesoftness. Then, I would push the greensmore toward yellow-green, and the blue

we wanted was kind of ‘Pan Am blue.’

◗ Time Benders

Top: Hank McCoy(Nicholas Hoult)

shows why hegoes by the

moniker “Beast.”Bottom: Multiple

3-D camera rigscapture the action

for a scene withStorm (Halle

Berry, on crane)and Blink

(Bingbing Fan).




We also took reds and gave them a rich,primary-red look. We messed around

with pretty much every color, we didskin softening, and I’d track windowsfor almost every take. What we did wasreally extensive, and that was before the3-D pass.”

Nakamura calls the dailies work “a helpful guide,” even for scenes in

which he and Sigel ended up makingsignificant changes in the final grade.Indeed, Sigel emphasizes that he oftenmade changes to his color decisions inthe DI. Nevertheless, he says this dailiestactic offered a much better sense of

where the visuals were heading duringproduction, and a much better founda-tion for experimentation.

At the end of post on a 3-Dmovie, the cinematographer notes, “youhave to do a 3-D pass at 3½ footlamberts, a 3-D pass at 6 foot lamberts,and a 2-D pass, and then there are still

visual-effects shots trickling in with stillmore fine-tuning to do. You always getdown to the very last seconds before

your deadline. By handling dailies inthis fashion, we were able to eliminatesome of the work and reduce some of

the things that [Nakamura] would haveto spend his time on [during the DI].He could also get things closer to finalbefore I even got into the DI suite, so heand I could get right to fine-tuning,rather than starting from scratch. Ourdailies ended up being a great tool forcommunication with Stephen, and theDI ended up being an evolution of a

look we established in the dailies that we were very comfortable with.”

Days of Future Past features anumber of elaborate sets created by production designer John Myhre,another veteran of the first X-Men film.For example, chief lighting technician

Tony “Nako” Nakonechnyj points to amajor set meant to represent an ancient

Wolverine takes amoment to healfrom multiplegunshot wounds.




monastery atop a mountain, where the X-Men of the future take refuge. Tolight the bottom of a massive green-screen that surrounded the set — with amere 2' between the set and the green-screen in some places — Nakonechnyjand his crew employed MacTech 4x4Slim Line units, which incorporate four4' LED tubes, as ground rows.

Although the set was large, it was builton a stage with a low overhead perm,

which limited options for creating alarge, soft, ambient glow over the entireset. Without the necessary room forspace lights, the crew hung nearly 40MacTech 4x8 Slim Line fixtures (eight

4' LED tubes) pushed through GridCloth, which was hung in large sectionsthat provided gaps for I-beams, which

were used to rig backlights, and stuntrigging. “There was a combination of LRX 20K and Scorpion 23 units on theI-beams,” says Sigel. “These werecovered with Full CTB and Cyan 60gel, and they could be slid laterally,panned and tilted from the ground viaremote control. The units cost a little

◗ Time Benders

Top: The youngXavier meets hisolder self in thefuture. Bottom:

Kitty Prydeprepares to send

Wolverine back to1973 under the

watchful eye of acamera mounted

on a 15'Technocrame.

Opposite: Thislighting diagramillustrates Sigel’sapproach to the

monastery-chapelset.




more, but they were a massive timesaver during production.”

Nakonechnyj adds, “We also

used Par cans with FFN Globes andETC [Source Fours] with 26-degreelenses to rake the walls and createtexture.”

Sigel observes that while rentingLED tubes can be costly, they end upbeing cost effective “when you add inthe savings in cable, power, fuel for agenerator and all those things. It is alsothe right thing to do from an environ-mental standpoint. We weren’t trying to

get a huge T-stop, so we didn’t need alot of [output]. It was effective andsaved us several feet in ceiling space,

which permitted us to use the back-lighting solution with the LRX units.

We were fortunate that the productiondidn’t only think about up-front dollars,but also analyzed such things in termsof the consequences down the line.”

The cinematographer opines that“the signature [visual] scene in themovie” is part of a ’70s-era sequence in

which a group of X-Men need to break the younger Magneto (Michael

Fassbender) out of a special jail beneaththe Pentagon. Among the mutants inthe scene is Quicksilver (Evan Peters),

whose super-speed is crucial to the jail-break and subsequent escape throughan industrial kitchen in the Pentagon.During the action, Quicksilver catchesup to bullets and redirects them away from their intended targets. “We liter-ally show [Quicksilver] going fasterthan a speeding bullet,” says Sigel.“Showing someone moving at hyperspeed takes a lot of poetic license, and

you have kind of a conundrum, which is

◗ Time Benders

Clockwise from top:Mystique (JenniferLawrence) powersher way through atop-secret militaryinstallation; Sigel

lined the outside ofthe barracks set

with HMIs; with thehelp of his

daughter, KianaChang Sigel, the

cinematographerlines up a shot

with Lawrence.




that if you show it from the perspectiveof a normal human being, you either seea blur or nothing at all. We do havesome shots like that, but far more fun isQuicksilver’s point of view, whichshows movement that is imperceptibleto the human eye.

“We felt that if we just showedhim moving through frozen time, it

would be like a bullet-time shot, and you would lose the beauty and poetry that exists in ultra-high-speed photog-raphy,” the cinematographer continues.Instead, the filmmakers created whatSigel calls “a climactic effect,” in whichthey used “a combination of ultra-high-speed photography, mid-range slow motion, some ‘frozen’ performers

[standing still] and plenty of CGI.” Thedialogue portions of the sequence werecaptured in native 3-D, while individualelements were shot in 2-D, and theultra-slow-motion material was shotusing Vision Research Phantom v642Broadcast ultra-high-speed cameras ona Cameron-Pace “Combo” 3-D rig (as

well as some 2-D shots with the same v642 cameras).

“Some of the photography went

as high as 3,200 fps,” Sigel explains. Toaccommodate such frame rates, he adds,“I decided to light almost the entire set

with 50K SoftSun units from LuminysSystems. They have very little flicker athigh speed, and put out an enormousamount of light. At 24 fps, we had anf32 and beyond! It literally hurt the eyes

when the set was at 100 percent, butthat level allowed us to change frame

rates without any lighting adjustmentsbeyond the dimmer board. It also gaveus the ability for a very deep stop so thatall that wonderful detail [in the set]could be in focus.

“Even though Quicksilver issupposedly moving at a speed normal tohim,” Sigel continues, “it just didn’t look right when he was moving at 24 fps, so

we would sometimes shoot him slightly

Top: Xavier andMagneto play afamiliar game ochess aboard th1973 version ofthe X-Jet.Bottom: Poisedatop a gimbal,a set piecedepicting theinterior of theX-Jet is preppedfor shooting.



off-speed, which added elegance to hismovement. We often used massiveamounts of wind with [Peters] on atreadmill and the camera at high speedto distort his face and enhance the feel-ing of moving at such speeds. At one

point, we see Quicksilver running sofast that his centrifugal force allows himto run along the walls, with his body completely horizontal. This was done

with a spinning rig in the center of theset, with arms that held the rigging for

both the camera and stunt performer.” The finished film incorporates

some 1,200 visual-effects shots, most of which married practical photography with CGI elements. To aid the practicalphotography, the filmmakers employeda number of specialized tools, including

Technocrane’s remote-operated andprogrammable Technodolly dolly/cranesystem, which allowed them to moreeasily capture motion-control shots

with what Sigel describes as a “quick and easy setup.” Additionally, AlexaClassic cameras were mounted on aCameron-Pace underwater 3-D rig forshots of Wolverine being cast into the

Potomac by Magneto. “Underwaterlends itself particularly well to native3-D capture, because there are alwaysbubbles, floating debris, etc.,” saysGervais. “Dimensionalizing these shotscan be costly and time-consuming.”

A sequence in which the massive,mutant-hunting Sentinel robots goberserk outside the White House calledfor a liberal mix of live action anddigital imagery. The production con-


◗ Time Benders

Dr. Bolivar Trask (Peter Dinklage) plots to eradicate the mutant population.



structed one prop Sentinel, which Sigeldescribes as “an 18-foot-high behemoth.It was very helpful for understandinghow light and reflections would play ontheir surfaces.” However, he adds, “nearly every Sentinel in the final [film] is CGI.”

In the climactic scene, set in 1973,President Nixon unveils the Sentinels onthe White House lawn, where a massivebattle soon erupts. Given that there wasno convincing stand-in for the WhiteHouse exterior in the Montreal area, thefilmmakers captured the live action in anelaborate greenscreen shoot inside whatSigel calls “a big box” constructed on afield of grass that was laid down in a

vacant lot adjacent to the production’sstages. “We knew we would shoot on afield of grass for the White House lawn,

with media towers for TV cameras onone side and a stage for the president anddignitaries on the other,” Sigel explains.“The rest would pretty much be CGI. Inthe end, it was most practical to createour own field, about 200-feet-by-200-feet, next to our stages.

“We surrounded the field with

[shipping] containers stacked about 50feet high and skinned with green-screen,” the cinematographer continues.“The field was basically a courtyardsurrounded by these containers on all

four sides. In front of the greenscreen, we also had black curtains that could bemoved on track to get rid of green spillfrom any of the greenscreen that wasoff-camera. Overhead, we built a cable

Top: An elaborate greenscreen set was created adjacent to the production’s stages inMontreal for a sequence that takes place outside the White House.

Bottom: Cables lift Fassbender during the filming of the climactic set piece.




system to support a Grid Cloth that waspositioned at a slight angle to minimizethe impact of wind and any watercollecting in the event of inclement

weather. Outside the courtyard, we hada little road so we could drive LRX lighting towers around the perimeter of the box. That way, depending on the

angle we were shooting, we could get aquick, soft backlight so [the image]

wasn’t totally flat. For extra pump, we fitone of the LRX units with 18Ks,instead of the usual 12Ks, since we werepushing through the big rag overhead.”

Not every scene called for suchhigh-tech solutions. For example, whenthe mutants accidentally reveal them-selves in Washington, D.C., duringanother scene set in 1973, Singerappears onscreen as a tourist whose

vacation footage — shot by Singer witha working Super 8mm Bolex camera —captures the moment. In addition tothis Super 8mm material, some 16mm“newsreel footage” was shot with an

Aaton XTRprod film camera. “Theunique grain and color balance of thoseformats help sell the time period in a

very subconscious way,” says Sigel.“Initially, I had hoped to use outdatedstock, but availability led us to useKodak 250D for both the 16mm and8mm [footage].”

◗ Time Benders

Director Bryan Singer takes a seat on the White House lawn set. Behind him is one ofthe giant, mutant-hunting Sentinels.



Sigel is quite proud of theimagery that resulted from the massivecollaborative effort, but he doesacknowledge that even with all the caretaken to capture and build a stereo-scopic film, most viewers will eventually

see it presented in 2-D. At the end of the day, he advises, this reality,combined with the fact that brightnesscontinues to vex 3-D exhibition, meansthat filmmakers need to take extremecare with this kind of digital filmmak-ing. “In production,” Sigel states, “youhave one issue right off the bat: You loseone stop of light [due to the 3-D rig].

Also, you can’t really put any kind of filtration in front of the lens. You canhave issues with flares or highlights thatlook different to the left and right eyes.

You have to deal with those issues, butin general, you don’t light 3-D differ-ently than you do 2-D — the mood andtone you go for is the same. What youmight do is put a little light somewhere,

where you might have something on

the edge of frame that is breaking in acertain way, and if you didn’t put thatlight on it, it would hurt the 3-D.

“But then, if you are color correct-ing to have it hold up at 3½ footlamberts, it won’t look the same as when

you are color correcting for 2-D at 16 or30 foot lamberts for the average TV,” hecontinues. “And for 3-D, you are watch-ing the movie through sunglasses,essentially — the whitest whites will begray. That is the reality of 3-D rightnow, and that can make color correctingfrustrating. Fortunately, I have someonein [Nakamura] whom I have worked

with for a long time, and we just have tospend a lot of extra time on it.” ●

TECHNICAL SPECS

2.40:1

Digital Capture

Arri Alexa M, Alexa XT Plus,

Alexa Classic; Vision ResearchPhantom v642 Broadcast

Leica Summilux-C,Panavision Nova,Fujinon Premiere




Dion Beebe, ASC, ACS stages a soldier’s battlefield demise again

and again for the sci-fi action film

Edge of Tomorrow .By Douglas Bankston

•|•

W ith uncanny precision, a marauding alien race is wipingout the best the Earth’s military has to offer. Whencombat rookie Maj. William Cage (Tom Cruise) isliterally dropped into the middle of a beachfront battle-

field, he dies quickly. Then he does it again. And again. Over

and over, Cage drops to the beach and is killed. The aliens’main weapon of time manipulation has caught Cage in anaccidental time loop on what is undoubtedly the worst day of his life. However, with the help of fellow soldier Rita Vrataski(Emily Blunt), Cage works to harness the power of his unfor-tunate situation and perhaps turn the tide of the war.

Directed by Doug Liman, Edge of Tomorrow takes itspremise from Hiroshi Sakurazaka’s novel All You Need Is Kill .

The film marks the first feature collaboration between Limanand director of photography Dion Beebe, ASC, ACS, who

won an Oscar for his work on Memoirs of a Geisha ( AC Jan. ’06)

Infinite Kills




U n i t P h o t o g r a p h y b y D a v i d J a m e s , S M P S P a n d J a a p B u i t e n d i j k , S M P S P .

P h o t o s c o u r t e s y o f W a r n e r B r o s . P i c t u r e s .

and has built an impressive and variedbody of work ranging from Equilibrium,Chicago and Collateral to Nine , GreenLantern and Gangster Squad . The cine-matographer recently spoke with AC about Edge of Tomorrow’s unique chal-lenges.

American Cinematographer : What attracted you to this project?

Dion Beebe, ASC, ACS: I lovethe science-fiction genre, though it’s notsomething I’ve worked in a lot. I had

worked with Doug Liman on somecommercials a few years back, and when

this project came up we sat down to talk about it. Our first conversation wasabout the methodology. You havesoldiers in these enormous exosuits thathave been developed to combat this alienthreat — how do we deal with that? Ihad an interesting experience on GreenLantern [ AC July ’11] where the decision

was to do the Green Lantern suits asmotion-capture visual effects. Doug andI, however, felt that these exosuits should

be practical suits the characters could puton and move around in, and that couldbe photographed. That put us on thesame page in our approach. Next thing Iknew, we were in London!

How did these practical exosuitsactually work?

Beebe: A lot of R&D went intocreating a suit that could meet all thedemands of the movie. In the end, we

worked with a number of variations.

There was the fully loaded suit that, with weapons attached, was more than 100pounds. There were also stunt suits,some in hard plastic and others cast fromrubber latex to avoid injury. However,most of the time Tom and Emily worethe heavy, hard-plastic suits, which they had to train to wear. The entire cast hadto endure some pretty grueling hours inthose suits.

In your body of work, where does

Opposite: Maj.William Cage (TomCruise) getscaught in a timeloop whilebattling aliens inEdge of

Tomorrow . Top:Cage joins forceswith Rita Vratask(Emily Blunt) todefeat the aliens.Bottom:CinematographerDion Beebe, ASC,ACS.




Edge of Tomorrow rank in terms of thequantity of visual effects?

Beebe: As soon as you introducealiens into your storyline, your visual-effects shot count is going to get pretty high. With filmmakers like Doug and

Tom, however, there is a lot of emphasison practical stunts and trying to get asmuch in-camera as possible. To thatend, we built a lot of very big sets. Thebeach, where much of the battle takesplace, was built on the studio backlot.

The training facility was another big setthat served as a mostly practical back-drop for the action.

A key decision for us was to shooton film. This choice was never about

visual effects or workflow, but about whether film or digital would work bestfor the tone of the story. We thought thetexture of 35mm negative was a good fitfor the movie. The central battle on thisbeach unfolds like the Allied forcesstorming the beaches of Normandy. Weliked how film resonated against thatbackdrop, even though it is a futuristicbattle.

Did you choose the anamorphic2.40:1 format because of the wide

beachhead vista?Beebe: The emphasis was on a

big landscape, a broad canvas for themovie. We felt it gave a sense of scale —the world is teetering on the brink.

Which film stocks did youemploy, and for what situations?

Beebe: I used a lot of Kodak Vision3 500T 5219, as well as 200T5213. I like working in tungsten-basedstocks for exteriors because they have alittle more latitude; they’re more blue-sensitive, and therefore are more sensi-tive than their native ASA when used

outdoors, which allows me to stretch outthe day when necessary — and we wererequired to do that a lot! We were shoot-ing in winter in London, and there weredays it would get dark around 3:30 p.m.

The plan was to work with the 200T onthe beach and keep the 500 for the inte-riors, but I knew I’d need the 500 on thebeach quite often because of the murky

winter conditions you get in London.How did color-correction filters

◗ Infinite Kills

Top: Cage receivesorders from Sgt.

Farell (BillPaxton). Middle:

A Russian Armcaptures the

action on theHeathrow set.

Bottom: DirectorDoug Liman

assists Blunt withher exosuit.




was going to lose the light. I also carried14.5mm, 17.5mm and 21mm spherical[Primos] to cover some of the widershots in the film, as well as full-frameshots for visual effects. I have found thatsome of the wide anamorphics can losesharpness on the edges of the frame andrequire regular maintenance. The chal-lenge was that we were running two very substantial units, each with threecameras all the time. It was a big lenspackage, but Panavision delivered asalways.

With three cameras, did you set certain shot parameters and focal-

length ranges for each of them?Beebe: Running three cameras,

we ended up with a fairly mixed focalrange. The A camera was always ourprinciple character camera and ourmaster shot. B camera was on one of theother principles. The C camera, for mostof the film, was handheld. If you’ve seen

Doug’s work from Go and Swingers toThe Bourne Identity and Mr. & Mrs.Smith, he loves a handheld camera, and I

wanted to make sure he always had thatoption. That was one of the reasons Ipushed for three cameras, even though itis more complex for lighting and block-ing. The third camera satisfied thatlooser, ‘found’ aesthetic that Doug wantsto feel — ‘honesty,’ as he termed it.

Three cameras also allowed us to do the

◗ Infinite Kills

Top: With eachreset, Cage re-

enters thecombat on thebeach. Middle

and bottom:Greenscreens

surrounded thebeach to aid

visual-effectsextensions.




as these decisions affect everybody. Thepalette we decided on is somewhat muted,but not pushed toward any extreme. We

wanted the texture that film would give us with a subtle reference to the beaches of World War II. In regards to camera

movement, had we committed to a lot of handheld cameras, it would have given usthe immediacy and energy, but we wouldhave lost the landscape, the scale. We

worked hard to find that balance betweenthe immediacy of battle and the largercanvas.

Because you shot at Leavesden, was a lot of this soundstage work?

Beebe: The great thing aboutLeavesden is it has a huge back lot. Wedid a lot of stage work, but we also built alot of our location work on the lot — webuilt and shot the beach on the back lot. It

was probably 10 football fields in size withhills and sand dunes, and we surroundedit with greenscreen for the extensions. Thehuge advantage was that we could test andbuild and work on our exteriors — partic-ularly the beach, which was such a hugepart of the film — while I prepped andpre-lit stages that were five minutes away.It was like the old studio system where

you just did everything on the lot!Did you light environments as

opposed to characters?Beebe: Doug likes to have the free-

dom to utilize the whole space in working with the actors and the cameras. Toaccommodate that and not interrupt theenergy he brings to a set, I employed alighting style that gave as broad an area aspossible, sometimes through 360 degrees.He likes to shoot fast and shoot a lot, and

Tom is the same. That said, any movie isultimately character-driven, and I believemy job is to find ways to build and

strengthen character through lighting,composition and camera movement.

How did you approach the light-ing for this massive beachhead during the day?

Beebe: The biggest struggle withany large exterior set piece is going to belighting continuity. I had a lot of discus-sions with my gaffer, Chuck Finch,because we were repeating not just dayson the beach but exactly the same period

◗ Infinite Kills

A-camera/Steadicam

operator PeterRobertson

follows theaction.




of time on the same day. From themoment [Cage] hits the beach to themoment he dies is maybe 20 minutesof story time, and much of the film isa repeat of this same 20 minutes.During preproduction, I was naturally concerned with how we would maintainthis very specific continuity. We lookedat the idea of running large silks over theset, but that became impractical becausethere was so much stunt work done on

wires. There were four or five largecranes parked on the beach that werearming in for stunt work, and thecabling was quite complex; there was no

way to get above them and still controlthe light.

The terrain was also difficult. If Ihad tried to move cranes with silksaround, we probably would still be on

the beach trying to finish this movie! Iquickly abandoned that idea, and had toroll the dice. With the productiondesigner, Oliver Scholl, we positionedthe beach to accommodate the best partof the sun. It was winter, so it was goingto be a low sun, and I knew that most of our action would play in a certain screendirection. This allowed me to keep thesun primarily behind the actorsthroughout the course of the day, so I

would have a chance. Within reason, weplanned each day to shoot in certaindirections. We got caught a couple times

when the sun came out from the cloudsand stayed out — not very English! Weended up creating large columns of smoke to effectively block out the sun so

we could continue shooting. There were times when we could

not shoot wide with multiple cameras onthe beach due to the sunlight. In thesemoments we would bring in silks onstands and shoot close work, which wecould control. The great thing was thateveryone understood the importance of maintaining a clear continuity. Every time we hit the beach, it had to look likethe same point in time, or it wouldundermine the story.

With sunlight as your backlight,

how did you light the rest of the beach?Beebe: Probably the smartest

thing my gaffer and I did was to [ask for]a system of interlocking metal plates thatcould be covered by sand. Those allowedus to drive in Genie lifts with 60 to 80feet of reach that held 18Ks. We couldpark the base and arm the 18K into placeto light the scene. To come in the tradi-tional way with stands and frames wasimpractical because of the terrain. This

system also allowed for all the extras tomove beneath our rigs, and it left roomfor stunts to work. If the sun did comeout, we would orient the action so thatthe light became a rim. When Icompletely lost sunlight, I would use my 18Ks and 12K Pars to replace it. Thedecision to use large, mobile lighting rigsand light our exteriors was key in main-taining continuity on the beach. It alsoallowed us to extend our shooting day.

To maintain this light quality,did you fire your lights through diffu-sion?

Beebe: Yes, we worked with ¼, ½and Full Grid Cloth on our frames,depending on the conditions. On occa-sion, when we couldn’t get our lightingclose enough to the action, we would go

with hard light in order to maintain

contrast and density in the negative.How did you handle the exten-

sive greenscreen?Beebe: On the beach, we chose

not to light it. I let the ambient light[illuminate] the screen. The decision toshoot into the sun and backlight theaction meant the greenscreen was effec-tively shadowed. The choice of digitalgreen helped give us the levels visualeffects needed. The screen was built

Left: Beebe orchestrates a setup via walkie-talkie. Right: The crew works with three cameras, one on a 50' Technocrane and two handheld.



with shipping containers maybe 40 to50 feet high, and it ran this massiveperimeter. It would have been finan-cially crippling to light the entire thing.

These decisions were made in close

consultation with Nick Davis, the visual-effects supervisor.

What sort of lighting fixturesdid you employ for other scenes?

Beebe: It was a mixed bag for me.

In a movie like this that takes place inmany utility-type environments, there

were a lot of fluorescent fixtures mixed with tungsten. We also used a lot of metalhalide on the Heathrow barracks, wherethe military had taken over the airport.

In the drop-ship troop carrier, weused a lot of LED ribbon lightspurchased via an electrical-supply facility in the U.K., most with RGB combina-tions so that I could design lightingchanges. The carrier set piece wasdesigned to create the impression of soldiers being transported like sardines ina can. It was so tight in that space; thetroops were hanging by cables ready to bedeployed, shoulder to shoulder and twodeep with only inches between the tworows. This metal container was 20 feet inthe air on a moving gimbal. Mechanicaldoors had to open underneath, andpeople had to drop out. The mechanics

were really complex; it was very impres-sive work by the special-effects depart-ment. We had to hit a lot of different

◗ Infinite Kills

The troop carrier gets sprayed onstage.

8



Slide-in modules designed for easy maintenance.

frequency.

Contact us at: [email protected]

www.powergems.com

Introducing the EB960P 9000W

The power behind the source

story points and action beats inside thatdrop ship.

In addition to the LED ribbon,how did you create that feeling of daylight through the bottom doors?

Beebe: The doors were built to

open and close on cue. It was tricky,because we had soldiers that needed toactually drop out of the ship. Stunts hadput in matting that we covered withbluescreen fabric, so the only areas I had[for lights] were along the sides of thestunt pads. I had to cross-light frombelow up into the ship. We used a lot of Maxi-Brutes because they are relatively low profile; I could lay them flat on theground at a bit of an angle. We custombuilt soft frames with 216 diffusion that

would sit over them to create a big softbank of light that had a lot of punch topush into the ship and reach the actors

when the doors opened. We also rigged a circle of auto-

mated moving lights [Vari-Lites]around the perimeter of the ship. We

programmed moves so that when theship was traveling you could feel the ‘sun’shift across the actors’ faces to suggestthat sense of movement. When the shipgets hit and goes into a spiral, we ran aprogram where the lights chased around

the perimeter to create the illusion thatthe ship was spinning, which added tothe chaos.

How did you get your camera into the carrier?

Beebe: We did some shots where we elevated a 50-foot Technocrane tothe level of the set and telescoped thecamera into the capsule, but because of some of the gimbal movements, that wassomewhat restricted. We also ran acentral tracking system in the ceiling of the ship with a ball-bearing-type mountfrom which we hooked a bosun’s chairthat my Steadicam operator rode while agrip pushed him. The whole setup wasliterally shoulder-width in order to fitdown the passageway.

If there was a set that defined the

movie for me, the drop ship was it. That was one of the areas where we couldreally play around with the genre. It alsohad to be a very versatile set in order toaccommodate all the action beats. Andif being suspended in the air on a burn-

ing, gimbaled set wasn’t enough, in thethird act, the drop ship gets submergedin water! ●

TECHNICAL SPECS

2.40:1

35mm Anamorphic

Panaflex Platinum,Millennium XL; Arri 235

Panavision G Series, C Series,E Series, Primo (spherical)

Kodak Vision3 200T 5213,500T 5219

Digital Intermediate



could see this was not about narration, but a mood piece.” That The Rover ignores by-the-book filmmaking is

evident from the start. We’re inside a parked car observingEric in profile, lost in thought. Through the window, we see aramshackle diner and a featureless landscape coated with dust.

The shot runs at length (one of their “Béla Tarr shots,” as thefilmmakers dubbed them), but nothing happens beyond thebuzzing of flies. Finally, Eric gets out of the car and walksacross the gravel toward the building.

Not many filmmakers would risk such a quiet opening.“For me, it was a powerful and simple way of communicating

what the experience of being out there was actually like —stillness and emptiness and heat and solitude,” says Michôd.

The world of The Rover is a stark place. Society hasdevolved following a worldwide economic collapse. Physicaland social structures are still in place, but just barely. Water isscarce. Electricity comes from individual generators. Gas is

sold from storefronts in liter containers. The tatteredremnants of a military force ineffectually pursue the hustlersand criminals drawn to the sputtering economy around

Australia’s pit mines.Once a farmer, Eric is now a drifter. After the film’s

opening, he enters a rundown diner and sits alone at the bar.Suddenly, through a window, we see a pickup truck somer-sault and crash. On the run from a botched crime, its occu-pants jump out and steal Eric’s car, leaving their partner Rey (Robert Pattinson) for dead. Soon, Eric and Rey form anuneasy alliance and hit the road in pursuit of the stolen car,


The Rover isn’t a film that’s easily pigeonholed. It’s not anaction flick, though it does have a car chase and bursts of

violence. It’s not sci-fi, though it’s set in the future, 10 years after an economic collapse. It’s not a Western,

though it has a lawless populace and frames Australia’s barrenoutback in widescreen. It’s partially character-driven, but its

title character, Eric (Guy Pearce), is as tight-lipped as any shell-shocked survivor.

“I wanted to make a movie that people hadn’t seenbefore, that didn’t sit comfortably within any kind of genre,”says Australian writer/director David Michôd about hissecond feature, following Animal Kingdom [ AC Oct. ’10]. “Iremember moments of exhilaration where I’d walk away fromthe monitor thinking, ‘I don’t know what it is we’re makinghere, but it excites the hell out of me.’”

“That’s what attracted me to the project,” says Argentinean director of photography Natasha Braier, ADF. “I

A RoadThrough

RuinThrough

RuinNatasha Braier, ADF lends agritty look to The Rover , a

hard-hitting Australian drama set

in a bleak future.By Patricia Thomson

•|•




which Rey suspects will wind up at alocation hours away. Their road tripbrings them in contact with pockets of humanity: traumatized shop keepers,kids sold for sex by their own kin, old

women clinging to their dignity, a doglover protecting abandoned animalsfrom hungry hunters, soldiers goingthrough the motions. Finally, they catchup with the gang and conduct a dawnraid. A quiet coda reveals the reason forEric’s single-minded determination toretrieve his car.

Michôd hired Braier after seeingher work in Swimmer , a BAFTA

Award-winning short commissioned by the London Olympics ( AC Dec. ’12).

Though its artfully abstract, black-and- white look had nothing to do with The

Rover , Michôd thought it beautiful.

More critically, he knew its director,Lynne Ramsay, who could vouch forBraier. “In some ways,” Michôd says,“it’s filmmaker-to-filmmaker recom-mendations that are most important.”

The Rover had 13 weeks of preproduction, but Braier was only ableto join the team in Adelaide for the finalfive weeks before the 41-day shootcommenced in January 2013. Afterhelping with the remainder of location U

n i t p h o t o g r a p h y b y M a t t N e t t h e i m , c o u

r t e s y o f A 2 4 .

A d d i t i o n a l p h o t o s c o u r t e s y o f N a t a s h a B r a i e r .

Opposite and this pagetop: Eric (Guy Pearce,

left) and Rey (RobertPattinson) form anuneasy alliance as theypursue a stolen carthrough the Australianoutback in The Rover .Middle:CinematographerNatasha Braier, ADF.Bottom: The crewemployed this “roll rig”for a shot of a pickuptruck rolling over.



scouting, she sat down with Michôd foran in-depth script analysis. “I love to dothat with all my directors, especially

when working with someone for thefirst time, because the films I choose arenot plot-driven projects,” says Braier.“The script is just the surface, and allthese things lie underneath. It could goin a hundred directions, depending on

who’s directing. This process is a way of getting in their heads and understand-ing the essence of each scene: Why is itthere? What do they want to say?”

That process lasted 10 days andinvolved “endless conversations andthousands of coffees,” says the cine-matographer. Michôd recalls, “Webarely talked about shots, just story andcharacter. That was an incredibly rewarding process. In preproduction,

you can get so distracted by technicalbits and pieces. It was really productiveto sit down and talk in detail about thestuff that really matters.” He adds, “Ihadn’t worked that way before, psycho-

analyzing a screenplay so intensively. Itmay have something to do with the factthat both of Natasha’s parents arepsychoanalysts!”

“Maybe,” Braier responds later with a laugh. “Argentineans are very intellectual as well. We like to analyzeand understand.” She suggests that thispredilection also comes from her train-ing at London’s National Film &

Television School, where she routinely


◗ A Road Through Ruin

Braier mixed practical fluorescents and gelled Kino Flosto create a dirty green tone for the film.




worked with directors from the earlieststages of the script.

Their script analysis led to deci-sions about visual design. “I’m not alook-book kind of guy,” says Michôd.Nor did he offer Braier any films asreference points. But they and produc-tion designer Jo Ford homed in on heat,decrepitude and scarcity of electricity asa way of evoking a society in collapse.

They shot on practical locationsin the dead of summer, when tempera-tures routinely soared to 110°F. For thecharacters, heat was one more hostileelement. “It’s another instrument in thissymphony of survival,” says Braier. “If

your car breaks down and you have no water, you’re going to die.” For theactors, it was a performance enhancer.“They’ll all tell you that there’s some-thing about that heat that you wear like

your costume,” says Michôd.Lack of water leaves the world

dirty, so dirt was the starting point forproduction design. Ford filled baggies

with soil at every location during thescout, and this became her baseline

color, the bare canvas for an earth-tonedpalette, along with the outback’s dusty green saltbush. A patina of grimedressed every location, garment andface. “We used coffee for aging,” saysBraier. “Every set was sprayed, and wemade textures on the wall, creating thisbrownish derelict look. We were alsolighting with coffee; sometimes I’d ask,‘Can you make that corner a littledarker?’ By the end of the movie, we

Top: Day interiors were lit through windows to help establish a world with limited electricity.Middle: Braier lines up a shot over Pearce’s shoulder. Bottom: The cinematographer shoots with

diffused light for an interior scene.




were so over budget on our coffee!”In addition to the physical dirt,

Braier adds, “we wanted a dirty light. There’s not one white light in the wholemovie, not even in daylight scenes.”

The mise-en-scène set morerules for lighting. With electricity scarce, no one would switch on lightsduring the day. Thus, Braier embracedthe difference between hot, glaringexteriors and dark, shadowy interiors.

Additionally, there were no incandes-cents; the only bulbs to survive 10 yearsafter the collapse would be energy savers.

During prep, the trio worked todevelop a common language for levelsof black and shades of dirty green. “Wemade a chart for darkness that wentfrom 1 to 10,” says Braier. That was key on locations like the Hanging GardensHotel, where some of the darkest scenes

were set. When Eric enters to ask abouthis car, he passes through a dark corri-dor, then walks through an opium den

where the shades are drawn tight. “It’s


The productionrigged three trucks

for free-drivingshots. To enable

quick lightingchanges, the

triangular truss onthe truck shown at

top was adapted tobe able to move

nearly 360 degrees.




very, very dark,” says Braier. “But whenhe opens the door, we get to see somedetail: next to him are all these old TVsand all this other junk. Then, when thedoor closes behind him, it’s almostblack. There is detail at minus 41⁄2

stops.”On set, she used her Canon EOS

5D Mark II to show Michôd exactly how dark she was going. “I could take aphoto with my custom settings thatmore or less replicated the filmgamma,” she says. “It was really impor-tant that David knew what I was doingin that moment and not four monthslater.”

“Natasha’s nickname became‘The Painter,’” Michôd notes. “She’dsidle up and show me these photos,

which were like beautiful oil paintings;she was building these Caravaggios. Youcould see the joy on her face.”

Braier’s photos also informed thedailies, done through Sydney’s DDP

Studios, an integrated post facility launched in 2013 by Deluxe Australia.(The Rover was the final feature to gothrough 35mm processing and telecinedailies there. The lab was closed in April2013.) “I’d take those photos andslightly grade them, then send them tothe telecine operator so they could getthe dailies quite close to what I wasdoing,” she says. “If I’m lighting somescene very dark and moody, David

Top and Middle: Eric confronts the men who stole his car. Bottom: Braier and director DavidMichôd (at camera, wearing brown hat) prep a car-chase sequence.




doesn’t get bright dailies, which is whatlabs tend to do just so the director cansee everything. This way, he can spendfour months in the edit suite with thematerial that has the right mood andintensity.”

Along with the blacks, Braier,Ford and Michôd came up with anarsenal of greens, testing every possiblecombination of gel and fluorescent. Thecinematographer explains, “Because all

of these new energy-saver tubes andbulbs go toward green, we tested a lot of different greens, blues, blue-greens and

yellows to find the right tones for eachlocation and each scene. When you seefluorescents in-shot, they’re real fixtures.

Then I might supplement that withextra ones or Kino Flos with gels [out of frame]. I found a lot of inspiration inphotos from my trips to Cuba, Africaand Asia. There’s a feeling in these

countries of mixed fluorescent light andprecariously placed practicals, like afluorescent tube casually hung on a

wall.”Production involved a road trip

much like the film’s — long, hot andarduous. Traveling north from Adelaide,the filmmakers touched down inQuorn, Bruce, Hammond, Parachilnaand Leigh Creek, small towns that werehours apart. “That 41-day shoot wasprobably more like 35 days, if you factorin all the time spent driving,” saysMichôd.

Their most remote location wasMarree, “the last point of civilizationbefore you venture onto the famous

Australian dirt roads that go on for days:

the Oonandatta Track, the Birdsville Track,” says Michôd. Marree had 50people, one Internet line and no cell-phone reception. The productionhunkered down there for the final three

weeks. “It became like a giant, dirty,crazy camp experience,” the directorrecalls. “Everyone started to lose theirminds a little bit, and I liked the way that ended up onscreen.”

The locations’ remoteness meant


Top: “Shadows”were painted on

the walls tocreate more

depth andtexture in the

soft fluorescentlighting. Bottom:Michôd discusses

the scene withPearce.




dust and heat,” she says. “It was likelosing men in war: ‘Okay, one 18K isdown. So let’s go to Plan B … Plan C …Plan D.’ By Marree, we were on PlanM!”

Braier’s strategy for day interiors

was relatively consistent, whether for thediner, Grandma’s room in the HangingGardens Hotel, or the brother’s house atdawn. “We’d bounce those HMIs to off-

white cotton. If I had the stop, we’d alsofilter it through some silks or curtains, soit would be bounced and diffused. Theidea was to have this soft directionallight, quite contrasty with no fill, justplaying with pools of light and areas of darkness.” The soft lighting styleperfected by Roger Deakins, ASC, BSC“is always a huge reference for me,” notesBraier.

To dirty up the light, Braier asked Adcock to paint their bounce materials with the same colors as the environment.“We had a collection of five or six silksthat were my gaffer’s Jackson Pollock creative moment,” she says. “Some weremore brownish, some more greenish.”

Braier had an unexpected oppor-tunity to play with colored light for alarger night scene when a dramaticmotel sequence was switched fromdaytime to night; the reason was to hidea town that was deemed too pretty butalso too costly to degrade. “So we createdan island in the dark, and erased every-thing we didn’t like,” says the cinematog-rapher. In this sequence, Eric and Rey check into a motel. Momentarily left by himself, Rey is frightened by a knock and shoots through the door, killing aninnocent girl. A military trooper arrivesand fires at Rey’s room, but Ericapproaches from behind and dispatches

the trooper.“I had to think about simple and

cheap lighting I could manage with atight schedule and one gaffer, two sparks[electricians] and one additional spark for this scene,” says Braier. “So I couldn’thave big night lighting setups.”Moonlight, for one, wasn’t allowed. “Theconcept had to serve the economy, and itperfectly served the film anyway — thiskind of black canvas with isles of light,


Top and Middle: For firelight scenes, Braier combined real fire with gelled Redheads that were runseparately through a flicker box and dimmer board. Bottom: The filmmakers painted the walls and

changed the color of the practical fluorescents for this hotel-room interior.



hands as I played orchestral director. There were specific moments I wantedthem to be more exposed to the lightand moments I wanted them darker,depending on what the actors weresaying. It was really fine work — we

were so tense! Every shot is like a liveperformance for seven minutes. You hadto get it right every second, because they

just might use the whole take.”Color correction took place at

DDP Studios. The negative wasscanned at 4K with an Arriscan, andthen Michôd and Braier spent two

weeks with colorist Trish Cahill on thedigital grade. Grading was done with

Autodesk Lustre on an HP Z800; an Arrilaser produced the 4096x2312filmout. Deluxe Hollywood producedthe 35mm deliverables; negative stock

was Kodak Vision 2242 and positive

print stock was Kodak Vision 2383.“The way I shoot, I don’t have to

do much in the grade,” says Braier. “Themain thing is to reflect how it wouldlook if it were a normal print from thenegative, with the right printer lights.Once I get that gamma and color right,and it doesn’t look digital, there’s not somuch to do. I’d already shot it in-camera, because I come from that old-time cinematography school.”

which are mostly small practical sourcessupported by small film lights.”

All the lights were colored insome manner. “The supposed street-lamps are mercury-greenish. The hotelis lit by existing fluorescents, thensupplemented by more fluorescents

with a different green gel. The yellow hotel sign was there; we just increasedthe level and hid some Kinos with [amatching] yellow gel behind it, so the

yellow would reflect on the wall. Wealso had a balloon light on an arm; it wasquite small, but gave a bit of fill, so Icould be super dark, like 4 stops under,but you could still perceive the policeand Guy behind the car.”

Firelight came into play in twomajor dialogue scenes, when Eric andRey bed down by a campfire. One ranfor seven minutes. “It’s not the same as

doing a 4-second fire effect for acommercial, or a movie where youmight stay on the shot for 20 seconds,”Braier says. “The shorter the shot is, themore you can get away with.”

For this scene, Braier combinedreal fire with gelled Redheads run sepa-rately through a flicker box and dimmerboard. “My gaffer was deejaying thefluctuations — playing with what thenatural fire was doing and following my

The crew readies a truck rig for a ride over rough terrain.

➣




Knowing that nowadays any 35mm feature might be a cinematogra-pher’s last, Braier relished the opportu-nity to push the limits of film.“Sometimes when I was 4 stops under,the gaffer and I would look at eachother, like, ‘Is anything going to be onthis negative?’ But then we’d say, ‘Thismight be the last time we shoot on film,so let’s just do it!”

Most of all, Braier prized thecreative synergy she shared withMichôd and Ford while inventing The

Rover ’s world. “It’s got a particularlanguage we were discovering only as

we were shooting. That was amazing —to explore, to follow our guts, to feel we

were doing something edgy, unconven-tional and risky. Many times I felt, ‘Thisis pure cinema.’ And that was really a

wonderful experience.” ●


For a large night

exterior at amotel, Braier

explains, “wecreated an islandin the dark, and

erasedeverything we

didn’t like.”

TECHNICAL SPECS

2.40:1

3-perf Super 35mm

Arricam Lite

Cooke S4

Kodak Vision3 200T 5213,500T 5219

Digital Intermediate



enabling safe, seamless and reliable operation of the system. Eachcarrier is completely independent of the others, and the system runswithout cables, so there’s no risk of cable tangling. The robust, quietand stable carriers boast a repeatable positioning accuracy of 1 ⁄ 16".Additionally, Parasol’s custom-engineered track system provides asmooth rolling surface for the carriers; tracks can be ordered to fit aproject’s specific layout-configuration requirements. ACS users canchoose their own track configuration, payload, power and numberof intelligent vehicles.

The Star600 is a compact lighting rig that can be set upwithin minutes. Operated via DMX, the Star600 is a rotating, one-piece plug-and-play unit that can handle up to 600 pounds ofpayload while offering 30 amps of power for lights or other devices.The portable and affordable system is designed for touring orpermanent installation in small to medium-sized venues.

To see these products in action, visit vimeo.com/88295994and www.youtube.com/parasolsystems. For additional information,visit www.parasolsystems.net.

Anton Bauer Powers Digital SeriesAnton/Bauer, a Vitec Group brand, has introduced the Digi-

tal Battery Series, which has been designed to power digital camerasand auxiliary equipment, and the Performance Charger Series,which utilizes new technology to deliver the fastest possible charg-ing sequence to exceed the efficiency standards demanded by rigor-ous shooting schedules.

The Digital Battery Series meets the needs of 4K camerasetups and other digital cameras while delivering top-tier safety,performance and reliability. Delivered with a modern, ergonomicdesign, the battery contains a proprietary digital filter that increasesrun time and lengthens life cycle, eliminating the negative effectsincurred when running digital technology with traditional batterycircuitry. The series will include three battery sizes (90 watt hours,150 watt hours and 190 watt hours), all with Anton/Bauer’s signa-ture Gold Mount connector and balanced, high-quality cells for along performance life.

Additionally, the Digital Battery Series utilizes constant cali-

bration to deliver a truly accurate power status and features an easy-to-read fuel gauge. When the battery is attached to a load, such asa camera or light, it will convenientlyreport the remaining run time inhours and minutes. If the loadvaries, the run time willupdate accordingly. Whenthe battery is not attachedto a load, it reflects the stateof the charge as a percent-age of capacity.

Parasol Systems Flies Lights, CamerasParasol Systems has introduced a number of dynamic solu-

tions for lighting and camera professionals, including the KineticLight Ring, the Autonomous Carrier System and the Star600.

The Kinetic Light Ring provides a multitude of control para-meters that can be executed from any DMX lighting console. Para-sol has expanded the KLR package to include specially designedtouring cases that will enable crews to roll in, assemble and fly therig with ease and speed. Standard sizes for KLR systems are 10', 18'and 26' in diameter, and the different-sized rings can be used inconjunction with one another for concentric deployment and addedversatility.

The Autonomous Carrier System provides complete freedomand independent dynamic movement to electronic equipment suchas lighting fixtures or cameras. ACS intelligent carriers are equippedwith positional-awareness and collision-avoidance software,

New Products & Services• SUBMISSION INFORMATION •

Please e-mail New Products/Services releases [email protected] and include full coinformation and product images. Photos must

TIFF or JPEG files of at least 300dpi.




The Performance Charger Seriessupports the Digital Battery Series andfeatures an efficient charging algorithm formulti-chemistry, simultaneous charging. Thisnew algorithm ensures rapid charging of upto four batteries at a time, all while conserv-

ing energy, eliminating waste and reducingcost of ownership. Software constantlymonitors the charging process anddischarge curves to ensure that each batteryis charged to its peak performance.

The ergonomic chargers are easy tocarry, and the batteries are easily removedfrom the charger for smooth operation inthe field. The Performance Charger Seriesautomatically detects which battery has thestrongest charge and prioritizes it, ensuringthat a fully charged battery is always avail-able in the shortest amount of time possible.The chargers also have a regulated XLRoutput to power a camera.

For additional information, visitwww.antonbauer.com.

Denz Updates Dutch HeadDenz has introduced the Denzhead,

which enables a camera to “Dutch” aroundthe lens axis, thus avoiding lateral shiftsduring the rolling motion. The Denzheadoffers a swivel range of 90 degrees to theleft and right. Three different reduction ringsare available: 1:1, 2:1 and 1:2. The camera’s

path can be further controlled with a flexibleshaft that adjusts the thumb wheel.

A quick-release camera plate ensuresa rigid and secure connection between thecamera and the Denzhead, which boastsHard-Coat surface-treated aluminumconstruction. The Denzhead can also beupgraded with a third-party motor-adapterkit for motorized operation.

For additional information, visitwww.denz-deniz.com.

PAG Enables Gold-Mount LinkingPAG, a global provider of innovative

portable power solutions, has introduced aGold Mount (3-Stud Snap-On) compatible,high-current PAGlink battery. The intelli-gent, linking HC-PL94T Li-Ion PAGlinkbatteries are compatible with Gold Mountcamera plates and Anton/Bauer Li-Ionchargers.

Two or more PAGlink batteries, inany state of charge, can be linked, combin-ing their capacities and enabling a highercurrent to be drawn. Up to 12 amps can besupplied for power-hungry camera setupswith multiple accessories. (Individual high-current PAGlink packs are capable of 10amps.) Two linked packs provide longer runtime than two single packs used consecu-tively. PAGlink also allows batteries to behot-swapped for continuous power.

PAGlink was designed so that flight-friendly 94-watt-hour battery units can belinked to create a high-capacity Li-Ionpower source on location. Linking two HC-PL94T packs creates a 188-watt-hourbattery. (Although Li-Ion batteries withcapacities greater than 160 watt hours arebanned from passenger flights, 94-watt-hour PAGlink batteries are allowed in unlim-ited quantity.)

Up to four PAGlink batteries can belinked for charging on Anton/Bauer Li-Ionchargers, effectively resulting in a 16-chan-nel unit that results in less battery swappingand a need for fewer chargers. PAGlink

batteries display their individual statusduring charging. PAGlink technology allowsup to eight batteries to be linked in total forcharge or discharge.

The PAGlink HC-PL94T battery incor-porates a convenient numeric display that,with two button presses, shows remainingcamera run time in hours and minutes. Thedisplay maintains accuracy by tracking cellperformance and adjusting calibrationvalues to compensate for cell aging. When



batteries are linked, the run-time figuregiven is for the entire stack, but a singlebutton press shows individual battery capac-ity as a percentage.

PAG products are distributed in theU.S. by Manios Digital & Film. For additionalinformation, visit www.paguk.com and

maniosdigital.com.

Cartoni Expands SupportCartoni Rome and Cartoni USA have

unveiled a number of products andupgrades.

Based on Cartoni’s HiDV Fluid Head,Smart Pro offers a variety of innovativetouches, including ergonomic knobs forease-of-use, better control and a more fluidtouch on drag and counterbalance. Thehead is also equipped with such profes-sional-grade features as a continuously vari-able fluid-drag system and Cartoni’s “wing”counterbalance system. The head’s 75mm-diameter bowl is compatible with all 75mmtripods as well as most current-generationslider attachments.

The Focus HD fluid head, designedfor cameras up to 26 pounds, has beenfurther improved with ergonomic knobs forprecise counterbalance and tilt-drag control,a complement to the head’s continuouslyvariable fluid-damping system and patentedcounterbalance. Focus HD comes packagedwith a new, state-of-the-art carbon-fiber

tripod that boasts a compact and light-weight design, and exceptional stability.

The latest addition to Cartoni’s tripodlineup, the carbon fiber Stabilo is anextremely compact, lightweight, three-stagetripod that folds up to a short 25". TheStabilo can extend to a maximum height of72", and offers a low range of 8.8". Stickextension is secured by three rotating gripsthat can be set to three different angles,clearly indicated on each side of the leg

attachment with no need for a spreader.Additionally, the Stabilo is equipped with astandard 100mm bowl that can be down-stepped to 75mm via a reduction ring. Thetripod can be matched with the Focus HDfor a total weight of only 11 pounds.

Cartoni also offers the Smart Stop

ENG tripod, which features a 100mm bowland an innovative two-stage rapid exten-sion that can be operated by a single lever.Weighing only 6.4 pounds, the tripod isideal for newsgathering.

Designed to support cameras up to55 pounds, the E-Rem 25 remote-controlhead offers extremely smooth, reliable andsilent operation on pedestals and tripods, orunderslung from cranes. The remote headis equipped with simple modular electronicsand state-of-the-art gear mechanics. A vari-ety of remote command options are avail-able, including joystick, hand wheels andfluid pan bar (with optional zoom and focusimplemented on the console).

Finally, Cartoni has introduced anupgraded version of the classic Master MKII fluid head. Improved features include apatented counterbalance system thatenables perfect balance at any tilt anglefrom 4.4 pounds to 66 pounds. Compactand lightweight, the Master MK II is ideallysuited to the latest digital 35mm full-framecamera systems and accessories. The headcomes with a flat Mitchell base that can beconverted to a 150mm bowl via an adapter.It offers a tilt range of +/-90 degrees, and acamera quick-release attachment that inter-faces directly with Arri and Red cameraplates.

Cartoni products are distributed inthe U.S. by Manios Digital & Film. For addi-tional information, visit www.cartoni.comand maniosdigital.com.

Sachtler Accessorizes Ace Line

Sachtler, part of Vitec Videocom, aVitec Group company, has introduced theAce Accessories line of camera-supportgear. The initial line of Ace Accessoriescomprises the Ace Base Plate, Ace FollowFocus and Ace Matte Box; the accessoriescan be bought individually or as a package.

The height-adjustable Base Plateprovides the platform for attaching theother two accessories to a tripod via indus-try-standard 15mm rods. The Follow Focus,

Telecine &Color Grading

“Jod is a true artist witha great passion for his craft.”

– John W. Simmons, ASC

Contact Jod @ [email protected]



which operates backlash-free, enables users

to manipulate the focus point of photo orcine lenses without having to directly touchthe lens barrel; users can change the direc-tion of the drive-gear mechanism andquickly set hard stops by pressing one ortwo buttons.

The Matte Box provides housing forup to two standard-sized (4"x4" and4"x4.56") filters. Designed to support arange of DSLR and professional videocameras, the Matte Box features adjustabletop and side flags, two filter stages (onerotating), four filter frames, two different-sized donuts, one gear wheel and a frictiondrive wheel, as well as a rear-clamping inter-face.

Ace Accessories are compatible withother brands, including Anton/Bauer batter-ies, which can be mounted in the Base Platerods, and Litepanels LEDs, such as thecompact Croma, which can be mounted tothe Matte Box.

For additional information, visitwww.sachtler.com.

Miller Shows Cineline 70Miller Camera Support, LLC, has

unveiled the Cineline 70 fluid head. Therobust camera support is ideal for use onfeature films, documentaries and high-endtelevision productions that require heavypayload, frequent re-rigging and a diverserange of lenses and cameras. It is set toaccommodate industry-leading cameramountings, including Arri, Sony, Red andCanon, and also features an Arri-compatibleside-loading camera platform, along with

an optional easy-to-fit 1225 Mitchell BaseAdaptor to suit traditional

Mitchell Flat Base tripods.With a lightweight

design, the heavy-duty fluidhead offers advanced preci-sion fluid drag control withultra-soft starts and

smooth stops, as well asperfect diagonal dragtransition. Its counter-

balance systems, with “all-in-one-location”rear-mounted controls, allow easy setupchanges during and in-between takes.Additionally, the Cineline 70 features anextended sliding range to promote quickand seamless rebalancing of the rig whenlens and accessory changes result in

weight-distribution shifts. Constructed ofcorrosion-resistant alloy, the Cineline 70fluid head offers dual side mounts for moni-tors and accessories, as well as an assistant’sfront-box mount.

For additional information, visitwww.millertripods.com.

OConnor Unveils 60L TripodOConnor, a Vitec Group brand, has

introduced the 60L carbon-fiber tripod andfloor spreader. The system offers light-weight support for OConnor’s Ultimate2065 and 2575D fluid heads.

The 60L tripod boasts high tensilestrength and lightweight construction thatcan serve a variety of production environ-ments. The tripod weighs just 9 pounds andhas a double extension design that cansafely and stably carry payloads of up to209 pounds even at its maximum height of60.6". The 60L folds down to 29.9".

The tripod’s smart quick-clampingsystem includes visible tripod-clamp lock-down and can be coupled with the floorspreader or bought as a system with a pre-set mid-level spreader to ensure secure,easy deployment in every situation. Remov-able rubber feet expose spikes for optimaltraction and payload safety on a variety ofsurfaces. Additionally, the 60L enablesquick setups with a Mitchell base andbubble level. (A 150mm ball variant is alsoavailable.)

For additionalinformation, visitwww.ocon.com.

●




International Marketplace



Classifieds

EQUIPMENT FOR SALE

DOUBLE the speed of your Mac Pro.Inexpensive, robust solution for the videoor audio pro.www.pindelski.com/MacProTurbo/.Call 650 740 6878

4X5 85 Glass Filters, Diffusion, Polasetc. A Good Box Rental 818-763-8547

14,000+ USED EQUIPMENT ITEMS. PROVIDEO & FILM EQUIPMENT COMPANY.50 YEARS EXPERIENCE. New: iLLUMi-FLEX LIGHTS & FluidFlex TRIPODS.

www.UsedEquipmentNewsletter.comAND www.ProVideoFilm.comEMAIL: [email protected] BILL 972 869 9990, 888 869 9998.

World’s SUPERMARKET of USEDMOTION PICTURE EQUIPMENT! Buy,Sell, Trade. CAMERAS, LENSES,SUPPORT, AKS & MORE! Visual Prod-ucts, Inc. www.visualproducts.com Call440.647.4999

MISCELLANEOUS

NEW BOOK Showdown at Shinagawa:Tales of Filming from Bombay to BrazilBy Bill ZarchyCinematographer’s memoir: “Deeplymoving human interest stories.” “Tugs atmy heartstrings.” “Funny, sweet, and wise.” showdownatshinagawa.com OR onAmazon

CLASSIFIED AD RATES

All classifications are $4.50 per word. Wordsset in bold face or all capitals are $5.00 perword. First word of ad and advertiser’s name

can be set in capitals without extra charge. Noagency commission or discounts on classifiedadvertising.PAYMENT MUST ACCOMPANY ORDER.

VISA, Mastercard, AmEx and Discover card areaccepted. Send ad to Classified Adver tis-ing, American Cinema tographer, P.O. Box2230, Hollywood, CA 90078. Or FAX (323)876-4973. Deadline for payment and copymust be in the office by 15th of second monthpreceding publication. Subject matter is limit-ed to items and services pertaining to filmmak-ing and video production. Words used aresubject to magazine style abbreviation. Mini-mum amount per ad: $45



Advertiser’s IndexAC 77Adorama 9, 27AJA Video Systems, Inc. 45Alan Gordon 86ASC 89

Backstage Equipment, Inc.77

Blackmagic Design, Inc. 7

Carl Zeiss SBE, LLC 21Cavision Enterprises 86Chapman/Leonard Studio Equipment Inc. 25Cinematography Electronics 77Cinekinetic 86Cineverse 41Cooke Optics 11

Deluxe C3

Eastman Kodak C4

Film Gear (International), Ltd.43

Filmotechnic USA 59

Friends of the ASC 8, 87Glidecam Industries 17

Hertz Corporation 19

IBC 31

Jod Soraci 84

Kingfilm USA 86Kino Flo 58

Lights! Action! Co. 86LitePanels 5

Maccam 79

Ovide Broadcast Services83

P+S Technik 86Panavision, Inc. 29Panther Gmbh 44Pille Filmgeraeteverleih

Gmbh 86Power Gems Limited 69Pro8mm 86

Red Digital Cinema C2-1

Schneider Optics 2Super16, Inc. 86

Technocrane 15

Tiffen 23Toland App 81

Wamco, Inc. 85Willy’s Widgets 86www.theasc.com 43, 84, 88 91

Yes Watches 68

8



Known as “the filmmaker’s bible” for severalgenerations, this invaluable resource is morecomprehensive than ever — moving into digitalimage capture. The 10th AC Manual was editedby Michael Goi, ASC, a former president of the

Society. He is a key speaker on technologyand the history of cinema.

Completely re-imagined to reflect thesweeping technological changes ouindustry has experienced since the

last edition, the 10th AC Manual isvibrant and essential reading, as well

as an invaluable field resource. Subjects

include:

• Digital capture and workflow terminology• The explosion of prosumer cameras in

professional use• Previsualization• 3-D capture• LED lighting

• The Academy Color Encoding Specificatio(ACES)• Digital camera prep

and more!

The AC Manual is available in a hardboundedition, iPad and Kindle editions, and a two-volume print-on-demand paperback.www.theasc.com

• 6" x 9", Full Color

• Hardbound edition – 998 pages

• Two-Volume PaperbackVolume One – 500 pagesVolume Two – 566 pages

• iPad ebook• Kindle ebook

The highly anticipated10th Edition of theAmerican Cinematographer Manua

is now available!




Society Welcomes HughenNew active member Paul Hughen,

ASC was born and raised in East Texas andstudied film at the University of Texas atArlington. He began his career as a cameraassistant and eventually began shootingsecond-unit cinematography for PeterDeming, ASC on numerous feature filmssuch as Scream 3, Mulholland Drive and

Austin Powers: Goldmember . Hughencontinues to work as a second-unit andvisual-effects-unit cinematographer andfrequently collaborates with other ASCmembers. His feature credits also includeCowboys and Aliens, Gangster Squad , TheBourne Legacy and Divergent .

Mandle Named AssociateNew associate member Gary

Mandle, who currently serves as senior

product manager for Sony, has played anumber of roles in the development of thecompany’s professional displays andcameras. In the mid-1980s, while serving asa supporting engineer on the DXC and BVPcamera lines, he patented the Steady Shotimage-stabilization system. Additionally, hehas worked on the development of Sony’s24" and 32" reference monitors, the first

digital-cinema projector systems and theOLED technologies for master monitoring.

Kuras Talks at TribecaEllen Kuras, ASC recently joined

cinematographers Frank G. DeMarco andNick Bentgen for the panel “Shooting theFilm: An Exploration of Cinematography,”during the Tribeca Film Festival. Moderatedby film critic Eric Hynes, the discussionexplored the cinematographers’ careers

and offered insights into how they achievedsome of their most famous shots.

Libatique Hits the BeachDuring the recent Newport Beach

Film Festival, Matthew Libatique, ASCparticipated in a cinematography masterclass moderated by Variety assistant manag-ing editor Steve Chagollan. During thesession, Libatique spoke in depth about thecraft of cinematography, offered advice toaspiring cinematographers, and sharednumerous behind-the-scenes anecdotes.

Arri Promotes Ukas-BradleyArri Inc. has promoted ASC associate

Stephan Ukas-Bradley to director ofstrategic business development and techni-cal marketing. Ukas-Bradley’s appointmentto this newly created position follows hisreceipt of the Arri Lion Award, which recog-nized his substantial contributions to thecompany throughout his career.

“Arri has a great legacy in themotion-picture industry and prides itself onbuild quality and emulating film,” saysUkas-Bradley. “I am looking forward toworking more closely with our technologypartners and industry contacts in my newposition to continually innovate future prod-ucts for our end users.”

Deschanel Screens Black Stallion

Coinciding with the 35th anniversaryof The Black Stallion, Caleb Deschanel,ASC and screenwriter Jeanne Rosenbergrecently appeared at the Landmark Regent

Theatre for an “Anniversary Classics Screen-ing,” presented in affiliation with Reel Talkwith Stephen Farber. During the event,Deschanel discussed the making of thefeature, his career since then and his currentwork on director Warren Beatty’s film aboutHoward Hughes. The screening was alsopresented as a tribute to the late MickeyRooney. ●

Clubhouse News

Top left: PaulHughen, ASC.

Top right:Associatemember

Stephan Ukas-Bradley.Bottom:

Associatemember Gary

Mandle.




When you were a child, what film made the strongest impres-sion on you?

In the mid-1950s, I saw a little Western called The Ride Back , shot byJoseph Biroc, ASC. I was so entranced by it that I went back to see itfive times. It’s a very simple story in black-and-white, but the visualimpression it made has stayed with me ever since.

Which cinematographers, past or present,do you most admire?Four have truly moved and inspiredme with their vision: Philippe Rous-selot, ASC, AFC; Néstor Almendros,ASC; Sacha Vierny; and Sven Nykvist,ASC. In their hands, the simplest oftools produce the most emotionallymoving images.

What sparked your interest inphotography?I had a Bell & Howell Filmo Turret-8from about the age of 10, and I shotand developed all my own black-and-white film. I was mostly interested in filming locomotives! Whenthe very first edition of the American Cinematographer Manualcameout, in 1960, I grabbed it. Everything changed. It was a window intoa new world! I pretty much memorized it.

Where did you train and/or study?In 1963, I was majoring in bacteriology at UCLA — I nearly have adegree in it! — when one day, I had an epiphany: I should be study-ing film! And from that day on, that’s what I did. I was privileged tobe in the UCLA film school when ASC members Charles Clarke andJames Wong Howe were teaching there.

Who were your early teachers or mentors?I count five: My mother and father, who showed me how to draw;Charles and Ray Eames, who taught me how to see; and StephenBurum, ASC, who showed me what it takes to be part of the camerateam.

What are some of your key artistic influences?I love the painters Georges de La Tour, Harvey Dinnerstein and JohnSloan, and the photographers David Plowden, Michikazu Sakai andBrassaï. The light, composition and style within their works have beeninspirations to me.

How did you get your first break in the business?Just out of the Army, I worked for Charles Eames for 11 years, doingevery kind of photography, but my first break into ‘real’ movies wasin 1978, when John Dykstra [ASC] called from Apogee to ask if I

wanted to come work for him on ‘this screwy thing we’re doingcalled Battlestar Galactica.’ I’ve been doing effects photography ever

since!

What has been your most satisfying moment on a project?I think that any time one can work with a talented and enthusiasticcrew, shooting something we really have faith in, is memorable.

Have you made any memorable blunders?Quite a few, and almost every onewas because I didn’t listen to some-body who knew more than I did.Listen! Heed!

What is the best professionaladvice you’ve ever received?‘Never ask the crew to undo some-thing they have already done!’ And,‘Always finish the day leaving a shotready to start right away the nextmorning.’

What recent books, films or artworks have inspired you?I eagerly read everything that Jasper Fforde writes. What a greatimagination (and he used to be a first AC)! Also, I’ve just finishedreading Craig Cabell’s Dennis Wheatley: Churchill’s Storyteller andTjeerd Van Andel’s Tales of an Old Ocean.

Do you have any favorite genre, or genres you would like totry?I’d like to shoot a feature-length stop-motion puppet film and/or justabout any project directed by Jean-Pierre Jeunet.

If you weren’t a cinematographer, what might you be doinginstead?I’d love to be on the scientific staff of a marine research vessel. Ihaven’t lost my love for the sciences!

Which ASC cinematographers recommended you for

membership?Stephen Burum, Mat Beck and Peter Anderson.

How has ASC membership impacted your life and career?Being accepted into the ASC is absolutely the highest honor acameraman can receive, and it has been a dream of mine, nowfulfilled, for as long as I have been in film. ●

Alex Funke, ASCClose-up



S hoot K O D AK V I S I O N 3 F i I m.

I S E V E R Y T H I N G .

I M AG E

A C 2014 07 Downmagaz.com

Documents

Transcript of A C 2014 07 Downmagaz.com