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M E M B E R P O R T R A I T
M. David Mullen, ASC
W W W . T H E A S C . C O M
TO SUBSCRIBE BY PHONE:
Call (800) 448-0145 (U.S. only)
(323) 969-4333 or visit the ASC Web site
s an undergraduate, I
spent many hours in the
UCLA library reading
and re-reading old issues of
American Cinematographer,
going all the way back to the
1920s. The magazine was
really my first film school, but
more than a technical
education, what I discovered in
those pages were the people
who would become my
mentors, artistic heroes and
role models.
The human element of
cinematography should never
be ignored. Ultimately, its the
people behind the cameras that
have a far greater impact on
the images created than the
tools they employ.
M. David Mullen, ASC
A

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www.schneideroptics.com Phone: 818-766-3715 800-228-1254 It Starts with the Glass
tm
Im a big believer in filters. As soon as I discovered Schneiders
DigiCon I knew it was the magic that The Bill Engvall Show
deserved. It allows me to create a much more filmic look. I no longer
have to reign in the highlights. And I can open up the blacks. I can
light bolder 2 to 3 stops now becomes 4 or 5.
Our kitchen has always been a challengetoo flat. Not with the
DigiCon. We have depth and separation.
Thanks to the DigiCon, when we do exteriors the pavement
can be hotter and the foliage plays nicely. We can really get
a sense of location.
My engineer loves what he sees on the monitor. And so does
our colorist. The DigiCon allows us more of a range to play
with and to create a stronger, richer image.
Thanks to Schneiders DigiCon,
I can now create the beautiful
image that The Bill Engvall
Show deserves.
P
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For George's DigiCon chat visit:
Director of Photography George Mooradian is a
three time Emmy Award nominee for the hit
series According to Jim. Before moving into the
multi-camera world, he was cinematographer on
over a dozen movies. He credits operating for
high-profile cinematographers such as Vittorio
Storaro, ASC (Dick Tracy) as the foundation for
the feature look he brings to his sit-com projects.
Mooradian is now in his third season of The Bill
Engvall Show.
B
+
W Century Schneider
28 Fellow Foodies
Stephen Goldblatt, ASC, BSC cooks up gourmet
visuals for Julie & Julia
38 Exposing a Secret Slaughter
Brooke Aitken leads a covert cinematography team on
the documentary The Cove
46 When Not in Rome
Visual-effects supervisor Angus Bickerton
helps Salvatore Totino, ASC find religion on
Angels & Demons
54 Robots Run Rampant
Ben Seresin and ILMs Scott Farrar, ASC wreak havoc
in 15-perf 65mm for Transformers sequel
Departments
Features
Vi s i t us o nl i ne a t www. t he a s c . c o m
On Our Cover: Julia Child (Meryl Streep) demonstrates the proper way to debone fowl in Julie & Julia,
shot by Stephen Goldblatt, ASC, BSC. (Photo by David Giesbrecht, courtesy of Sony Pictures.)
8 Editors Note
10 Letters
12 Short Takes: Carousel
18 Production Slate: ASC/BSC Panel and
Stingray Sam
60 Post Focus: Technicolors DP Lights 2.0
64 New Products & Services
70 International Marketplace
72 Classified Ads
72 Ad Index
74 Clubhouse News
76 ASC Close-Up: Aaron Schneider
54
A U G U S T 2 0 0 9 V O L . 9 0 N O . 8
The International Journal of Film & Digital Production Techniques
46
38
A u g u s t 2 0 0 9 V o l . 9 0 , N o . 8
The International Journal of Film & Digital Production Techniques Since 1920
Visit us online at
www.theasc.com

PUBLISHER Martha Winterhalter

EDITORIAL
EXECUTIVE EDITOR Stephen Pizzello
SENIOR EDITOR Rachael K. Bosley
ASSOCIATE EDITOR Jon D. Witmer
TECHNICAL EDITOR Christopher Probst
CONTRIBUTING WRITERS
Stephanie Argy, Benjamin B, Douglas Bankston, Robert S. Birchard, John Calhoun,
Bob Davis, Bob Fisher, Simon Gray, Jim Hemphill, David Heuring, Jay Holben,
Noah Kadner, Ron Magid, Jean Oppenheimer, John Pavlus, Chris Pizzello, Jon Silberg,
Iain Stasukevich, Kenneth Sweeney, Patricia Thomson, David E. Williams

ART DEPARTMENT
CREATIVE DIRECTOR Marion Gore

ADVERTISING
ADVERTISING SALES DIRECTOR Angie Gollmann
323-936-3769 FAX 323-936-9188
e-mail: gollmann@pacbell.net
ADVERTISING SALES DIRECTOR Sanja Pearce
323-908-3114 FAX 323-876-4973
e-mail: sanja@ascmag.com
ADVERTISING SALES DIRECTOR Scott Burnell
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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 PRESIDENTS ASSISTANT Kim Weston
ASC ACCOUNTING MANAGER Mila Basely
ASC ACCOUNTS RECEIVABLE Corey Clark

American Cinematographer (ISSN 0002-7928), established 1920 and in its 89th 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. Article Reprints: Requests for high-quality article reprints (or electronic reprints) should be made to
Sheridan Reprints at (800) 635-7181 ext. 8065 or by e-mail hrobinson@tsp.sheridan.com.
Copyright 2007 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.

4
OFFICERS - 2009/2010
Michael Goi
President
Richard Crudo
Vice President
Owen Roizman
Vice President
Victor J. Kemper
Vice President
Matthew Leonetti
Treasurer
Rodney Taylor
Secretary
John C. Flinn III
Sergeant At Arms
MEMBERS OF THE BOARD
Curtis Clark
Richard Crudo
George Spiro Dibie
Richard Edlund
John C. Flinn III
John Hora
Victor J. Kemper
Matthew Leonetti
Stephen Lighthill
Isidore Mankofsky
Daryn Okada
Owen Roizman
Nancy Schreiber
Haskell Wexler
Vilmos Zsigmond
ALTERNATES
Fred Elmes
Steven Fierberg
Ron Garcia
Michael D. OShea
Michael Negrin
MUSEUM CURATOR
Steve Gainer
American Society of Cine ma tog ra phers
The ASC is not a labor union or a guild, but
an educational, cultural and pro fes sion al
or ga ni za tion. Membership is by invitation
to those who are actively en gaged as
di rec tors of photography and have
dem on strated out stand ing ability. ASC
membership has be come one of the highest
honors that can be bestowed upon a
pro fes sional cin e ma tog ra pher a mark
of prestige and excellence.
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O
ur publicity pals at Sony Pictures could not have
picked a better time to alert us to an early
screening of Julie & Julia, a foodies delight that
stars Meryl Streep as Julia Child and Amy Adams
as one of her most motivated disciples. My mother
was in town for a visit, and as a longtime fan of
Childs, she was the perfect test viewer. As tantaliz-
ing images of Paris bistros and gourmet cuisine
glided across the screen, Mom sighed with content-
ment. Suffice to say, the movie should be a hit with
its target audience.
Stephen Goldblatt, ASC, BSC, the man
responsible for the sumptuous cinematography,
was so enthusiastic about the project that he
contacted us early on to offer a sneak peek at the special sauces he and colorist Steve
Scott were whipping up at EFilm. AC contributing writer Jean Oppenheimer and I made
several trips (wisely, after lunch) to absorb the full flavor of their approach, which is
detailed in Jeans main course on the film (Fellow Foodies, page 28) and side dish on
the DI (page 32).
Sometimes its better not to ask how certain foods end up on your plate. The
daring documentary The Cove uses covert cinematography to expose mass killings of
dolphins in Taiji, Japan, where the aquatic mammals meat which contains toxic
levels of mercury is sold to customers who may not know the risks. Director of photog-
raphy Brook Aitken and his cohorts recount their adventure for New York correspondent
Pat Thomson (Exposing a Secret Slaughter, page 38).
This issues special focus is innovative CG effects, and London correspondent
Mark Hope-Jones details the collaboration that allowed Angels & Demons to film
sequences set in Vatican City, the Passetto di Borgo and other locations in Rome on a
soundstage in Los Angeles (When Not in Rome, page 46). Visual-effects supervisor
Angus Bickerton and his team coordinated with cinematographer Salvatore Totino, ASC,
who managed to fool even a veteran effects expert with some car-chase footage. When
I told him it was all CG, he didnt believe me and had to watch it again, Totino recalls.
It was fantastic that such a trained eye couldnt tell!
Transformers: Revenge of the Fallen also employed extensive CGI for key
action sequences set in exotic locales, including the pyramids in Egypt. Cinematographer
Ben Seresin consulted with ILM visual-effects supervisor Scott Farrar, ASC, and his team
to produce two major battle sequences shot in 15-perf 65mm and VistaVision as well as
anamorphic 35mm. The grand scale of Imax really appealed to us, and the huge physi-
cal scale of these robots seemed perfect for the format, Seresin tells Jay Holben, who
also interviewed Farrar (Robots Run Rampant, page 54). Judging by the pictures box-
office returns, the promise of a big-screen spectacle still draws a crowd.
Stephen Pizzello
Executive Editor
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Editors Note
8
End of an Era?
I am writing regarding your May
09 article about the Atom Egoyan film
Adoration, shot by Paul Sarossy, BSC,
CSC. First, I must say I love Pauls work,
particularly The Sweet Hereafter, which
is one of my favorite films. I have studied
that film many times, and it has been an
inspiration for a lot of my own anamor-
phic work.
I do believe there are errors in the
article regarding photochemical timers.
Regarding a photochemical finish, Paul
says, The great timers at Deluxe
[Canada], Chris Hinton and Art
Montreuil, are gone.... We just wanted
to shoot it, develop it, time it and print it.
That proved to be almost impossible.
The article goes on to say the filmmak-
ers had to digitally time two reels
because of dirt introduced at the nega-
tive-cutting stage. Then, Paul says, Two
summers ago, I photochemically timed
Charlie Bartlett at Deluxe Hollywood,
and that was a great experience, but I
was led to understand that we were
using the last timer still working, Chris
Regan. He continues, Even in Holly-
wood, its the end of an era, and I mourn
the passing of this absolutely beautiful
medium. Its not over yet, but you can
see the future evolving.
There is no doubt that there are
many advantages to a digital intermedi-
ate it is a powerful tool, as Paul notes
but you can still time a film photo-
chemically, and for some dramas, it is a
beautiful and creative choice. I timed the
anamorphic feature That Evening Sun
photochemically at Deluxe this year, and
there are still many timers working
there. In fact, I asked Harry Muller, the
timer with whom I worked, how many
photochemical timers still work at the
lab. In an e-mail, he responded, Deluxe
Hollywood has 18 photochemical timers,
eight of which I would classify as
veteran timers. I also asked Terry
Haggar at Technicolor to comment. Terry
wrote, I can assure you the crew I am
working with now is technically the best
there is not the characters of old, but
very good. Three have been digital
colorists. All in all, we have 11 timers,
and we handle a lot of film.
By the way, you should see the
smile on a timers face when you arrive
for a photochemical finish.
I look forward to more films from
Paul Sarossy, and I even hope well see
another with a photochemical finish. If I
had a print of The Sweet Hereafter, Id
watch it this afternoon. I guess a DVD
will have to do.
Rodney Taylor, ASC
Los Angeles, Calif.
Letters to the editor can be sent to:
Letters, American Cinematogra-
pher, 1782 N. Orange Dr., Los Ange-
les, CA, 90028. Letters must include
your full name, address and tele-
phone number. AC reserves the
right to edit submissions for length
and clarity.
Letters
10
P
roduced to show off the features of
the new Philips Cinema 21:9
widescreen television, the 2-minute
spot Carousel (www.philips.com
/cinema) begins with a gang of robbers,
dressed in jumpsuits and clown masks,
trapped in an alley by a police blockade.
As a gun battle rages, the camera moves
into an adjacent hospital, where more
criminals face additional resistance.
Rather than presenting the action with
quick, kinetic cuts, director Adam Berg
chose to focus on a moment in time and
survey the violence with a fluid, extended
take that ends on the same frame with
which it begins.
Cinematographer Fredrik Bckar,
FSF recalls his initial impression of the
idea: I didnt know if we were going to
be able to do it in the short amount of
time we had. But Berg had executed a
similar concept albeit on a smaller
scale for a European jeans commer-
cial, and he brought that spots visual-
effects supervisor, Richard Lyons of
Stockholms Redrum Post, to Carousel.
With only three shooting days, the
crew set to work in a building at a univer-
sity in Prague that would serve as the
Carousel Showcases Philips New Widescreen TV
by Iain Stasukevich
Short Takes
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Right: A criminal
sends a police
officer through
the window of a
nurses station
in Carousel, a
spot for the
Philips Cinema
21:9 widescreen
television.
Below: The
crew prepares
to shoot the
nurses station;
a university
building in
Prague was
redressed to
serve as the
hospital.
12 August 2009
wagon from which a masked bandit is
pulled. All of this action was captured in
the first shot, and much of what ended
up onscreen existed practically on the
set, leaving the visual-effects team to
handle wire removals, a few set exten-
sions, and environmental effects such as
fire, shattering glass and bullets. We
had a bunch of people hanging from
cranes and wires, recalls Bckar. And
we had cars on cranes, hanging from
wires. We filmed [those elements],
cleared the set and then filmed it again.
Using a Milo motion-control rig, the first
pass was shot with an Arri 435 rolling at
50 fps to help the actors maintain their
poses. A clean pass was then
photographed at 12 fps, and effects
artists later filled in background
elements that were obfuscated in the
first pass.
Working with what was essen-
tially a static image allowed Bckar to
get creative with his lighting, and he
knew the lamps would ultimately be
masked by digital fire effects. He filled
the back of the exploding truck with
tungsten Pars pointed in every direction.
I let them flare into the camera, know-
ing all of the lights I was using were
emanating from the source of the explo-
sion, he says. In a sense, that made
things easier. If wed actually blown that
car up, it would have had to come down,
14 August 2009
hospital; Berg worked out the actors
blocking while Bckar, Lyons and produc-
tion designer Petr Kunc, working from
detailed storyboards, measured every
nook and cranny of the space. An
animatic was assembled that showed
the filmmakers exactly how the shot
would play out, with the dimensions of
the wire-frame building exactly match-
ing those of the practical building.
The camera move actually
comprises seven separate shots stitched
together in a Flame console to create
one seamless take. We wanted to
make it work repeatedly, with a reveal at
the end, so when the film ends, you
learn something new and can watch it
again with a different perspective, says
Berg. Bckar adds, The linearity of the
shot is true. You can walk [the location]
the way its played out in the film.
Carousel begins with the
camera focused on the face of a police
officer atop the roof of a patrol car. The
camera then pans left to reveal an
armored truck in mid-explosion, its
shockwave launching nearby bodies and
vehicles into the air. Pushing through
flames and burning cash, the camera
maneuvers around a wrecked station
The commercial
begins outside
the hospital,
where an
armored car is
captured mid-
explosion. With
actors and
vehicles
suspended from
wires,
cinematographer
Fredrik Bckar,
FSF utilized a
Milo motion-
control rig and
filled the back of
the armored car
with tungsten
Pars to simulate
the explosion,
which was
enhanced by
visual-effects
supervisor
Richard Lyons at
Stockholms
Redrum Post.
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16 August 2009
and to continue lighting the scene, we
would have needed lights on the ground
or on Condors, which would have been a
lot harder to hide.
Although we wanted the
images to have an otherworldly look, we
wanted naturalism in the blown-out
highlights around the explosion and the
way the explosion spreads across the
scene, continues the cinematographer.
In the background, the crew placed tung-
sten 12Ks to rake the walls, along with
650-watt, 1K and 2K lights for accents.
If you scroll through the film, youll
notice Im not using a tremendous
amount of backlight to lift objects out of
the background light falls the way it
would if this were actually happening,
he notes. It was intimidating because
everyone could see every possible
mistake I could make. I went through
each shot with my gaffer, Pavel Kroupa,
about a thousand times!
The second shot, which takes the
camera inside the hospital, begins on a
SuperTechnocrane 50 manually operated
by Bckar. To match the final position of
one shot with the first position of the
next, 1st AC Franta Novak marked the
lens location with a lens donut rigged to
a C-stand arm; when the first camera
was moved, the donut would remain to
give the crew the proper position for the
next setup. Editor Paul Hardcastle, who
was on set with an Avid Xpress system,
took a feed from the video tap and
created low-resolution transitions to
make sure the positions matched as
closely as possible. All of these transi-
tions are very open, Lyons emphasizes.
We didnt use the standard frame wipe
to hide the move from one shot to
another.
Once inside the hospital, the third
shot again had the camera on the Milo,
this time for a 360-degree move around
a nurses station, where a robber kicks a
cop through the glass enclosure; the CG
debris was rendered in 3ds Max by
Lyons team at Redrum. A dollying Scor-
pio crane with a 3-axis manual head
then picks up where the Milo leaves off,
revealing a SWAT officer and a clown
vaulting over the edge of the second-
floor staircase. In addition to erasing the
actors harnesses and wires, Lyons
team had to create a CG ceiling because
the real one was blocked by a truss.
On the second floor, the camera
returns to the motion-controlled Milo for
a hallway shootout, then goes to a Fisher
dolly, and finally ends on the
SuperTechno for a dizzying push out of a
window and back down to the officer
atop the patrol car seen in the films first
frame.
Bckar shot Carousel in Super
35mm. The Philips TV boasts a 2.33:1
aspect ratio, and the filmmakers
planned to use the extra space on the
bottom and top of the frame to reposi-
tion the shot if necessary. Bckar origi-
nally wanted to shoot the spot in
anamorphic, but he couldnt rationalize
the economic and logistical tradeoffs.
You need to stop down an anamorphic
lens above T4 to make it sharp, and with
this kind of setup, we couldnt do it, he
explains. Instead, he maintained a T4
and shot with two Cooke S4 prime
lenses, a 21mm for interiors and a
27mm for exteriors.
He shot the commercial on Kodak
Vision3 500T 5219, which he chose for
its tremendous latitude and crisp
detail, he says. It holds details below
stop in a very good way. Also, it fit the
look I wanted: theres a beautiful, pastel-
like transition between the shadows and
the mid-tones. The film went through
two 1080p telecine transfers at The
Moving Picture Co. in London under the
supervision of senior colorist Jean
Clement Soret. The first transfer
produced a flat, technical grade for the
visual-effects team and to bend the
shadows and highlights toward the
desired look. The digital footage was
then up-rezzed to 2K and printed back to
film, then telecined at 1080p a second
time. Bckar explains, By that time, we
had all of the effects in there, and when
we transferred it again, it helped blend
the CG work with the live-action
elements.
Considering the effort that went
into Carousel, Berg muses, We spent
a lot of time on small things that a casual
viewer might not notice, because we
figured others would stop and look at it
frame-by-frame to see how everything
works together. It was a great challenge,
but it was also a joy to make. I
Although
Carousel
appears to be one
long take, the
spot actually
comprises seven
different shots.
Among the
setups, a dollying
Scorpio crane
with a 3-axis
manual head
captured a robber
pushing a SWAT
officer over a
second-story
ledge (above),
and a Milo
motion-control rig
was used to move
through a hallway
on the second
floor (below).
18 August 2009
ASC, BSC Celebrate
Milestones
by Jon D. Witmer
Its been 90 years since a group of
15 cameramen transformed the Cinema
Camera Club and the Static Club of
America into the American Society of
Cinematographers, and 60 years since 55
British cameramen followed their lead
and established the British Society of
Cinematographers. The two milestones
were recently celebrated by members of
both societies during the Cine Gear Expo
in Hollywood.
The anniversary panel was
moderated by George Spiro Dibie, ASC,
and comprised ASC and BSC presidents
Michael Goi and Sue Gibson, respec-
tively; ASC members Richard Crudo,
Allen Daviau, Guillermo Navarro, Daryn
Okada, Owen Roizman and Nancy
Schreiber; and BSC members John Daly,
Joe Dunton, Phil Meheux, Nic Morris
and Dick Pope.
The discussion captured the
sense that todays cinematographers are
part of a tradition born with the cinema,
and one that will continue for as long as
audiences watch moving images. As Goi
observed, the role of the cinematogra-
pher is essentially no different now
than it was in the 1900s, when cinema
was starting; in 1927, when sound came
into it; when two-strip and then three-
strip Technicolor came in; and when
widescreen formats came in. There has
always been evolution and change in the
industry; thats a given. Weve always
found ways to tell the stories we want to
tell in the way we want to tell them in an
evolving atmosphere.
At the ASC and the BSC, we
embrace that, Goi continued. We
analyze [a new development] for what it
is, and we research it and see where it
might go. Our job is to keep track of it
and inform producers about these tech-
nologies and their capabilities. After
agreeing, Pope added, The job remains
the same as it was in silent-movie days:
its telling the story in images. Thats the
be-all and end-all of it. Whatever the
technology is, thats the job: realizing
the dream of the director, realizing his
vision and putting 100 percent of
your experience and skill into it.
During the 90-minute panel, the
audience asked the cinematographers
questions covering an array of topics,
including digital intermediates, 3-D
movies, the future of 16mm film, collab-
orating with visual-effects supervisors,
and the societies responsibilities to
future filmmakers. Addressing the latter
topic, Goi said, Its something we all
take very seriously. Its a responsibility
to give back to the community, to
encourage and educate the next gener-
ation of cinematographers, and to
preserve and honor our history which
is really the history of world cinema.
Transatlantic Allies and a Sci-Fi Serial
Production Slate
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.
Members of a
joint ASC/BSC
panel
discussion held
during the
Cine Gear Expo
gather around
the cakes
celebrating the
societies 90th
and 60th
anniversaries,
respectively.
From left:
George Spiro
Dibie, ASC;
Daryn Okada,
ASC; Dick
Pope, BSC; Phil
Meheux, BSC;
ASC President
Michael Goi;
Nancy
Schreiber, ASC;
BSC President
Sue Gibson;
Nic Morris,
BSC; Allen
Daviau, ASC;
Guillermo
Navarro, ASC;
Owen Roizman,
ASC; John Daly,
BSC; and Joe
Dunton, BSC.
Perhaps the biggest concern of
the day was how cinematographers can
protect the integrity of their images
through digital post workflows and later
repurposing for home viewing. Weve
got to protect that imagery because its
all that weve got as cameramen, said
Meheux. What you need is a director
behind you whos going to support you.
Daviau agreed, noting, On the most
successful collaborations Ive had, I was
in total agreement from the beginning
with the producer and the director.
Were all in this together.
We seem to be far more
involved now in postproduction and
workflows than we ever were, added
Daly. We used to be talking about film
stocks and cameras, and now its work-
flows and raw data. You just have to
keep reading up and communicating
with each other. We cant afford to sit
back.
Many of the panelists also partic-
ipated in the BSC-sponsored panel
Preserving the Future of the Moving
Image, which focused on the camera-
assessment tests recently undertaken by
the BSC; this discussion touched on the
Camera-Assessment Series that was
recently undertaken by the ASC and the
Producers Guild of America (AC June
09). I think it speaks to international
concerns that the ASC and BSC virtu-
ally simultaneously embarked on
camera-assessment tests, noted Goi.
Its going to be an interesting exchange
of information. Ultimately, were doing
all of this because its important for cine-
matographers to maintain control of the
images we create and how we create
them. Were in an atmosphere right now
where networks or other factions are
starting to dictate [the technology we
use] to shoot, and that has always been
the purview of the cinematographer. We
make those decisions because we know
what will be best for a particular project
and most cost-efficient for the produc-
ers.
During the two-day expo, ASC
members also participated in other
panel discussions. Rodney Taylor, Shane
Hurlbut and Okada sat down with ASC
publicist Bob Fisher for A Creative
Choice: DI or Traditional Optical Timing;
associate member Michael Bravin
moderated Band Pro Presents SI-2K;
Fisher returned to the stage for A
Renaissance of the Techniscope
Format before moderating a discussion
American Cinematographer 19
Left: Daly takes
the microphone
to answer a
question from the
crowd. Below:
Dibie keeps the
audience and
the panelists
entertained.
between Roizman and Tobias
Schliessler, ASC, The Taking of Pelham
1 2 3: Then and Now; Scott Farrar, ASC
joined Visual-Effects Supervisors and
Directors: How They Collaborate,
moderated by Richard Edlund, ASC; Bill
Roe, ASC and Vilmos Zsigmond, ASC
dissected The Anatomy of a Television
Pilot: Eastwick; and Steven Poster, ASC
moderated Transitioning to the Future:
The Role of the ICG.
Several master classes were
also held in conjunction with Cine Gear.
Participating ASC members included
Ron Dexter, who presented Cinematog-
raphy Survival Skills You Can Learn on
Your Own; Christopher Baffa, who
presented Glee: From Ambitious Pilot
to the Reality of an Episodic Series;
Yuri Neyman, who presented 3cP and
its Color and Workflow Management
for Arri, Panasonic, Panavision, Red and
Silicon Imaging Digital Cameras; and
Michael Bonvillain, who participated in
a lighting workshop.
Before ending the ASC-BSC
anniversary panel, Gibson took the
microphone to express her gratitude:
Thank you very much to the ASC and to
George Spiro Dibie for inviting us all
over here and making this such an
enjoyable occasion. Members of both
societies then gathered outdoors to
enjoy an anniversary cake. Gibson told
AC, I became a member [of the BSC] in
1992 I was given my BSC certificate
by Freddie Young, one of the founding
members and its a great honor that
I should be here as the first woman
member of the BSC, and now president.
Theres 150 years of experience
in cinematography between the two
societies, she noted, and both are still
going strong and delivering on what
they set out to do, which is to make the
highest standards in cinematography
and further the art of filmmaking.
Goi and Gibson smile for the cameras before digging into the cakes.

20
An Outer-Space Adventure
by Iain Stasukevich
Billed as a film for screens of all
sizes, Stingray Sam was born of musi-
cian/filmmaker Cory McAbees involve-
ment with the Sundance Institutes
Global Short Film Project, which encour-
ages filmmakers to produce content for
mobile distribution. For his second
feature (following the 2001 musical The
American Astronaut), he began thinking
about a multi-platform release. The
model lends itself well to an episodic
format, so McAbee decided to break
Stingray Sam into six 10-minute
vignettes that can be viewed individu-
ally or as a whole. The sections work
together as a consistent unit, but each
episode still needs its own beginning,
middle and end, and has its own
philosophies and technologies.
Stingray Sam is the tale of two
space convicts, lounge singer Stingray
Sam (played by McAbee) and perennial
scoundrel The Quasar Kid (Crugie), who
must earn their freedom by rescuing a
little girl (Willa Vy) from a sinister, genet-
ically engineered aristocrat named Fred-
ward. Some singing and dancing are
involved, but McAbee wanted Stingray
Sam to stand apart from The American
Astronaut, so he turned to the singing
cowboy stars and Flash Gordon serials
of the 1930s and 1940s for inspiration. I
wanted to make a project that embraced
American culture but also criticized
certain elements of it, such as privatized
prison systems, pharmaceuticals and
the depletion of natural resources, says
the director.
Cinematographer Scott Miller
was brought aboard by producer Becky
Glupczynski, who had worked with him
on Maria Full of Grace. (On that film,
Miller was the gaffer for cinematogra-
pher Jim Denault.) It was October 2008,
and Stingray Samhad been accepted
sight unseen into the 2009 Sundance
Film Festival, which gave Miller just over
a week of prep for the 18-day shoot.
22 August 2009
Right: Stingray
Sam (Cory
McAbee)
entertains the
staff of a fertility
clinic with a
song and dance.
Below: The evil
Fredward
(Joshua Taylor)
tries to thwart
Sams rescue of
a little girl
(Willa Vy, left).
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Above: Collages
designed by
John Borruso
bookend
Stingray Sam.
Here, Fredward
stands between
the police and
his tuxedoed
cronies inside
his secret lair.
Below:
Cinematographer
Scott Miller (on
ladder) finds
Sams frame after
the intergalactic
lounge singer
crash-lands in
the desert.
Schedule and budget considerations led
the filmmakers to shoot digitally
instead of on film. (A short sequence
was shot in Super 8mm using Kodak
Tri-X Reversal and Pro8mms Max8
Classic.) After considering Arris D-20
and Reds One, they decided a simpler
post workflow would be the best route
to take. We tested the Sony EX3 and
the Panasonic HPX3000, and with the
Panasonic we noticed a more fluid
capture of motion, especially with any
kind of pans from left to right, says
Miller. The AVC-Intra 100 codec also
seemed to handle contrast fairly well;
knowing we would be shooting outside,
I wanted that extra image control.
The filmmakers main challenge
was figuring out how to shoot a piece
that would retain its effectiveness on a
mobile-phone screen as well as a
movie-theater screen. One idea was to
limit extraneous camera movement;
looking at the old serials, they noticed
frequent wide, medium and three-
quarter compositions and decided to
incorporate them into Stingray Sam. In
keeping with the classic serials, they
composed their shots for a 1.33:1
frame and decided to finish in high-
contrast black-and-white. Having the
opportunity to work with an aspect
ratio the industry has left behind was a
real treat, says Miller.
Except for The Quasar Kids tin-
can spaceship, a set that was built in a
recording studio, the picture was shot
on location. To maintain the shallow
depth of field needed to keep viewers
attention on the characters, the actors
were kept close to the camera, and
Miller used a P+S Technik adapter with
16mm and 40mm Zeiss lenses open at
T2.8 or T2.8/4.
Each episode takes place in a
different alien world. The settings
include a seedy Martian bar, an indus-
trial male-fertility clinic, and a planet
that bears a striking resemblance to
Brooklyn. Miller worked with produc-
tion designer Molly Page to create the
interstellar settings in New York City
locations. We decorated walls with
interesting and bizarre patterns, and
kept signage and other recognizable
things out of the frame, says Page.
The fertility clinic is an example
of a location with a built-in look. Shot
in the hallway of a public high school
and the basement of a church, the
scenes are meant to feel sterile and
cold. That episode has a lot of white
on white, notes Miller. [Wardrobe
designer] Stephani Lewis had created a
lot of white costumes, and we were in
a space that was meant to look simple
and higher-key. We also lit it a bit
brighter and timed it a bit brighter than
some of the other episodes.
In the high-school hallway,
Miller placed 1.2K Arri Pars at the end
of the corridor to create a sheen along
the floor and walls, and filled in shadow
areas with 2'x4' tungsten Kino Flos. The
scene in which Stingray Sam regales a
large gathering of the clinics faculty
with a song-and-dance number was
shot in a church basement. The ceiling
was too low to facilitate lighting from
above, so Very Narrow Spot Pars and
Source Four Pars were aimed into silver
reflectors affixed to the ceiling. Miller
filled in the scientists with roving tung-
sten Kino Flos and by bouncing light off
two 8'x8' Ultrabounce frames.
Despite its high-key lighting and
stark production design, the image
rarely clips in the highlights and
exhibits remarkable detail in the
midtones and shadows. If I could keep
the image just below the 90 to 95
24 August 2009
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26 August 2009
percent IRE range, the picture seemed
to hold together 5 or 6 stops of latitude
below that. Another thing that seemed
to work was shooting with a soft, direc-
tional contrast, knowing that more
contrast would be added later in post; I
tried to keep the shadows about 3
stops under key, knowing we could take
that to black later.
Fredwards secret lair is the
visual opposite of the fertility clinic.
Working in the wood-paneled confer-
ence room at Manhattans Gershwin
Hotel, Miller had to light a dark location
against bright costumes and light skin
tones the pasty-faced Fredward and
his tuxedoed cronies are clad in white,
while The Quasar Kid wears a skintight,
sequined jumpsuit. Gaffer Cait Davis
and key grip August Popkin rigged eight
36" China balls with 500-watt tungsten
bulbs, creating an even toplight that
would allow the actors to move around
freely. The dark walls acted as negative
fill, while the action was separated from
the background using daylight-balanced
Kino Flos and Source Four Pars bounced
off soft silver reflectors.
Our heroes part company after
they rescue the girl, and Stingray
decides to return her to her father. After
crash-landing in the middle of a desert,
Stingray and the girl find themselves on
the wrong end of Fredwards anti-matter
pistol. The production found a stretch of
beach on Long Island with enough open
space to stage the standoff, and Miller
set all of his shots above the actors
eyelines to mask incongruous terrain. It
solved the problem of seeing anything
we werent supposed to see, and it also
reduced the background to the texture of
the sand, he recalls. The low winter
sun was used to frontlight the actors,
and tungsten Pars were used to fill in
the shadows when necessary.
The scene gave Miller one of the
most striking compositions in the series:
a long, wide shot of the beach set
against a dark sky, with a line of sand at
the bottom of the frame to hide the
ocean. Fredward and the girl are on one
side of the frame, and Stingray is on the
other. At first glance, the background
seems otherworldly enough to be a
painted backing, but it was a real sky!
says Miller.
I used an old 85mm Zeiss lens
for that shot, he continues. When
youre recording to video with a long
lens on a small chip, and there are only
two planes of focus to a shot the
actors and the sky the P+S Technik
adapter gives you a greater sense of
compression. If there had been a third
element between the two of them, it
wouldnt have looked as good.
The combination of gentler
lenses and the adapter created a thick
bokeh around the edge of the glass and
added halation to the hot spots, enhanc-
ing the older film look Miller and
McAbee sought. Miller also used
Schneider Double Fog filters (
1
8 for
close-ups and
1
4 for wider shots) to
accentuate the ethereal quality. He took
a similar approach to photographing the
rest of that world Brooklyns Green-
point neighborhood using 85mm and
135mm lenses to compress locations
into paintings and backdrops.
The filmmakers did manage to
work in some practical 2-D elements.
The film is bookended by Terry Gilliam-
style collages that were designed by
West Coast artist John Borruso. Though
McAbee originally intended to integrate
them into the movie, he eventually
decided they didnt fit the design of the
rest of the picture. Glupczynski had
another idea. Miller explains: The P+S
Technik adapters oscillating ground
glass adds an organic texture to the
video image, and we decided to use the
HPX3000 with a zoom controller and a
dolly to photograph each collage. The
human control seemed to bridge the gap
and create a cohesion between the two
worlds.
Stingray Sam was onlined at
Final Frame in New York, with colorist
Will Cox at the Nucoda Film Master.
Because the final image would be black-
and-white, Miller used mixed color
temperatures for his separators and fill
lights throughout production. By putting
them on a different color channel in
post, he was able to better isolate and
adjust them.
Stingray Sam was completed in
time for Sundance, where it was
projected digitally. McAbee would like
to see the film get a multi-platform
release, but for now, he is hand-deliver-
ing the HD master to every festival
screening. I just hope people have a
chance to see this movie, says Miller.
Whether they see 61 minutes or 10
minutes, theyll feel its a complete, fully
realized world. All of our decisions were
geared toward keeping the audience
within the small universe Cory created.
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McAbee, who
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Sams six 10-
minute vignettes,
stands at the
ready for a
camera test
while Miller
checks the
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28 August 2009
I
t is often said that the most
important person on any film
set is the catering chef fine
cuisine doesnt guarantee an
easy shoot, but it goes a long way
toward improving the crews mood.
On Julie & Julia, the crew dined on
delicacies that included boeuf bour-
guignon, pate de canard en croute
and lobster thermidor, and that was
before breaking for lunch. Perhaps
not since Babettes Feast has food
played such an important role in a
film. On most movies, you might
use a special filter to shoot close-ups
of the actresses, notes Stephen
Goldblatt, ASC, BSC, but on this
one, food became the real beauty
shot.
Based on real people and
events, Julie & Julia tells the parallel
stories of two women who lived 50
years apart but shared a passion for
cooking: Julia Child (Meryl Streep)
and Julie Powell (Amy Adams). In
1951, Child was living in Paris,
where her husband, Paul (Stanley
Tucci), a career diplomat, had been
assigned after the war. With little to
occupy her, she decided to take a
class at the Cordon Bleu Cooking
School. In 2001, in the wake of the
terrorist attacks on the United
States, New Yorker Powell was
searching for an activity that might
lift her spirits. She decided to make
every recipe in Childs landmark
cookbook, Mastering the Art of
French Cooking, and document her
efforts online. Her daily blog
became so popular that it was
turned into a book, which served as
Julie & Julia, shot by Stephen Goldblatt, ASC,
BSC, illustrates how the legendary Julia Child
impacted the life of an acolyte.
by Jean Oppenheimer
Unit photography by Jonathan Wenk
Fellow
Foodies
American Cinematographer 29
the basis for the film.
Directed by Nora Ephron,
Julie & Julia jumps back and forth
between the two womens stories,
documenting not only their culinary
endeavors but also their relation-
ships with their respective husbands.
We shot the Julie story first, and
only after we completed it did we
start shooting the Julia story, says
Goldblatt. He wanted each section
to have its own mood and look,
which he describes as harsh
American sunlight and bold,
contrasty colors for Julies life in
Queens, and pastel tones and a soft,
overcast light for Julias life in Paris.
The cinematographer a-
chieved both looks with the same
film stocks, using Kodak Vision3
500T 5219 (rated at EI 320) for all
interiors and Vision2 250D 5205
and 50D 5201 for exteriors. For the
Paris sequences, he added a light
Tiffen Black ProMist (
1
4 or
1
8) to the
lens to give a little glow to the light
and flatten things out a bit, he says.
I like shooting at T2.8, and
todays stocks make that easy to
achieve, continues Goldblatt. My
favorite stock at the moment is 5219;
it has an extraordinary ability to dig
into shadows and highlights, and it
takes the digital intermediate so
beautifully.
With the exception of a small
amount of Paris footage that was
processed at Deluxe London, all of
the productions footage was
processed at Technicolor New York,
where Goldblatt has a long-standing
relationship with Joey Violante and
Martin Zeichner, who timed select
print and high-definition dailies,
respectively. (Julie & Julia was shot
in Super 1.85:1, and the first few
weeks of dailies were printed.)
Technicolor provided us with a
beautiful HD projector, notes
Goldblatt. Nora and I would watch
projected dailies at lunchtime on a
12-foot-wide screen.
Camera equipment was
provided by Panavision, a team
effort involving Phil Radin in
Woodland Hills, Calif., and Scott
Fleischer and Gail Savarese in New
York. The productions package
comprised two Panaflex Platinums,
a Lightweight for Steadicam work,
Primo prime lenses, a low-angle
prism and four zooms (Primo 4:1,
11:1, 3:1 and Macro). Im not as
crazed about lenses as I used to be
because we can make such radical
changes in the DI, says Goldblatt.
Certainly, the lenses need to be
sharp, not too contrasty, and
comfortable for the assistants, but I
dont see such a vast difference
nowadays between Primos and
Cookes. Production design, lighting
and wardrobe have far more effect
on the final image than the subtle
differences between very good
Opposite:
Blogger-
turned-chef
Julie Powell
(Amy Adams)
pays homage to
her idol, Julia
Child (Meryl
Streep), while
visiting an
exhibition in
Childs honor.
This page, top:
The boisterous
Child whips up
a dish. Bottom:
Stephen
Goldblatt, ASC,
BSC meters the
leading lady
while co-star
Stanley Tucci
(portraying
Childs
husband, Paul)
contemplates
lunch.
P
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s
.
Right: A
squeamish
Powell prepares
to boil her first
lobster. Below:
Powells
husband, Eric
(Chris Messina),
samples some
chocolate
frosting. The
couples small
kitchen was part
of an apartment
set built onstage
at Silvercup
Studios in New
York. It was
like a closet!
recalls
Goldblatt. We
tore every single
wall out again
and again just to
get our
coverage.
30 August 2009
lenses. Those differences were much
more of an issue in the days before
the DI.
The Paris and Queens apart-
ment interiors were built onstage at
Silvercup Studios in New York.
Childs residence, which was
modeled on her real home, is L-
shaped and spacious and boasts
large, leaded-glass windows. Every
wall in the set was wild, and all of
the windows were specially built
with real leaded glass. In addition
to looking more authentic than any
kind of substitution, the leaded glass
helps diffuse what we see outside
the windows, notes production
designer Mark Ricker. For winter
scenes, we dabbed a kind of wax
mixture onto the glass to give it a
frosted look.
Two sides of the set included
exterior faades. Dolly shots made
from an elevated platform could
track past several sections of faade
while following the actors from
room to room. That helped give real
dimension to the set, observes 1st
AC Larry Huston. Gaffer Gene Engel
was responsible for conjuring the
soft light Goldblatt wanted for the
Paris scenes on the New York stage.
We probably had 900 units operat-
ing on that set, and they were all on a
dimmer system, right down to the
outlets in the walls, says Engels.
Two layers of bleached
Fellow Foodies
muslin covered every ceiling, and
20Ks were suspended at different
angles above them to create direc-
tional light. For keylight, 5Ks and
other Fresnel lights were set to rake
across a 12'x25' frame of rippled
bleached muslin. Raking the light
across rippled muslin is what
produces that soft, shadowless
effect, explains Engel. A camera
can dolly to within 2 feet of an actor
without the operator or assistant
casting a shadow, and two actors can
stand 6 or 8 inches apart and cast no
shadows as they talk. Rippled
muslin also takes every wrinkle out
of every face; it makes actors look
good, and it makes the set look
good.
I never bounce off anything
flat, adds the gaffer. Sometimes Id
throw a 10-by-10 rag on the floor,
kick it into a bunch and bounce into
that.
Goldblatts crew often had to
pull walls to facilitate the best light-
ing for the actors. For shots of Streep
in Childs 10'x12' kitchen, for exam-
ple, a wall would come down and a
12'x25' frame of rippled bleached
muslin would go up, with a 5 or 10K
gelled with
1
8 or straw behind it.
It looks as if the light is coming
from a window, says Goldblatt.
One concern was how to
make Streep appear as tall as Child,
who was 6'2". The actress wore plat-
form shoes in every scene in which
her feet werent visible. When stand-
ing still, she stood on apple boxes
or pancakes. When she had to walk
alongside another character, she
walked on 4"-high walkways that
snaked through the sets. Even when
seated, Streep was elevated she
always sat on a pillow. To help sell
the illusion, we often filmed Meryl
American Cinematographer 31
The Childs
celebrate life in
a stylish French
bistro, which
was actually a
restaurant in
New York.
Goldblatt says
the locations
mirrored walls
nearly drove
me crazy, but
gaffer Gene
Engel provided
a solution: We
had to bank the
lights off two or
three mirrors to
avoid seeing
the light and
camera
shadows. The
look of the
scene was
really made by
the Linestra
tubes; I
revamped them
and made
them into
incandescents
so they could
be dimmed.
Thats why the
scene has a
warm look.
32 August 2009
from a slightly lower angle than
might have been entirely flattering,
but she encouraged it, says
Goldblatt. Julia Child was not a
small woman, and Meryl wanted to
be true to that. When we wanted her
to look her best, we raised the
camera.
Whereas Childs apartment is
roomy, the studio apartment where
Powell lives is a modest 43'x19'. The
kitchen is 6'8"x6'3" tight quarters
in which to cook, much less to
shoot. It was like a closet! recalls
Goldblatt. We tore every single wall
out again and again just to get our
coverage. On a 27mm lens, with one
wall taken out and [the camera]
back a couple of feet, we could just
get everything into frame. After a
pause, he laughs, Actually, at times
it was rather a challenge to keep the
small space from looking bigger
than it was.
Outside the kitchens sole
window were three 5Ks shooting up
at beadboards or rippled muslin. For
the rest of the apartment, 5Ks and
10Ks were aimed through windows,
replicating harsh sunlight.
Ceilings of the Queens set
comprised bleached muslin, with
lights positioned above them. Two
small skylights, never seen on
camera, serve as additional light
sources. Smaller and darker than the
Childs apartment, the Powells
home relied more heavily on practi-
cals.
A 50' Technocrane with a
Scorpio Head was used for perhaps
the most ambitious setup: a night-
exterior shot in Queens that starts
extremely wide on Powells building
and ends with a close-up of her at
her computer, seen through a
second-floor window. This is the
only shot of Powells apartment that
was filmed on location. To help
define the Con-Edison power
station visible in the distance in the
wide view, eight 12K Pars were
grouped together on the ground
about of a mile away. To light the
Innovations Spice Up Julie & Julias DI
K
odaks high-contrast Vision
Premier print stock would seem
to be an unlikely choice for a film
such as Julie & Julia. As Steven J.
Scott, EFilms supervising digital
colorist, notes, When youre trying
to make the leading ladies look as
soft and beautiful as possible,
Premier isnt the first stock that
comes to mind, as its stronger blacks
and saturated colors can result in a
harsher, less flattering look.
So why Premier? Because
the filmmakers believed everything
around the actors including
colorful Paris bistros, stylish period
dress and dcor, and, perhaps most
importantly, the food was best
served by Premiers vibrant color
and strong blacks.
However, Kodaks stan-
dard Vision promised a gentler look
and smoother skin tones. Director
of photography Stephen Goldblatt,
ASC, BSC wanted the best of both
worlds, and in the end, he got it,
thanks to a digital filter developed by
Scott, his longtime collaborator in
the digital-intermediate suite. With
our software and proprietary filter,
we could tap the advantages of each
stock wherever we wanted, says
Scott.
Scott had been tinkering
with the idea for some time, and
Julie & Julia seemed the perfect film
on which to try out the new tool.
After testing both print stocks, the
filmmakers decided to print on
Premier using the new DI filter.
During the digital grade, Scott and
Goldblatt used EFilms proprietary
Premier Deluxe look-up table and
added Scotts new filter, which
allowed them to selectively emulate
some of Visions characteristics, even
though they were printing on
Premier.
As an example, Scott
points to a scene in which Julia
Child (Meryl Streep) and her
husband (Stanley Tucci) sit in a
corner booth in a French bistro.
Stephen wanted the rich, saturated
colors of the dcor and the deep color
of Meryls dress to come through, but
he also wanted Meryl and Stanleys
skin tones to be soft and luminous.
With this filter, we were able to get
both. The scene has an almost three-
strip Technicolor look. (The results
were so impressive that Scott used the
filter again on the next picture he
graded, Night at the Museum 2,
whose entire Imax run was printed
on Premier.)
Goldblatt was also pleased
with something else Scott worked
out for Julie & Julias DI, a sunshine
effect. The production spent its last
two weeks in Paris, shooting exteri-
ors, and I prayed to the gods of
weather that we would have the
dull, overcast skies that are so
wonderful for actors close-ups,
recalls Goldblatt. The gods listened
to me, but I found that the wide
shots, the architectural shots, needed
some bite, and dull light didnt give it
to them.
The first use of the digital
sunshine effect can be seen right after
the opening credits. The Childs arrive
at their new Paris residence in a
powder-blue American sedan that
rounds a corner and pulls up to the
front gate; the camera starts low and
wide on a crane at street level and
tracks out as the arm booms up.
Goldblatt wanted subtle streaks of
sunlight to grace the buildings in the
wide shot, and he wanted shafts of
light hitting the walls of the house as
Julia enters the courtyard. But on the
day of filming, there was no hard
sunlight. Scott solved the problem by
creating a series of articulated mattes
that moved through the scene. Youd
think it was real sunlight, says
Goldblatt, but it was a matte done
on the fly during the DI.
Jean Oppenheimer
Fellow Foodies
exterior of the apartment building,
20Ks with apricot gels raked the walls
through 12'x12' frames of rippled
bleached muslin. The Technocrane
was parked across the street on a 25'
dolly track.
The shot starts wide, with the
4:1 zoom set at 21mm. As the crane
dollies forward, the telescoping arm is
extended and raised; at the same
time, the lens zooms in. The shot
ends with the camera 25' above the
ground and the focal length at
75mm. 1st AC Huston had his work
cut out for him. Focus was about 7
feet and was accomplished by attach-
ing a laser to the remote head to mark
the cameras position, he says. I cali-
brated the relationship between the
laser marks on the street and Amys
focus upstairs by running back and
forth between the street and the
second floor, taking measurements. I
used a wireless video attached to my
Preston radio focus control to see the
composition.
It takes 25 seconds for the
camera to reach the window through
which Powell is seen. Apart from the
practical desk lamp next to her, the
interior is lit with Linestra tubes. (A
Chimera pancake was mounted to
the camera and dialed up as the
camera got closer to Adams).
Goldblatt is pleased with the result:
Its a beautiful shot because there
are no cuts, and it really is Queens.
A later shot of Powell through
the same window was filmed on the
soundstage. She is again typing at
her desk, and we again see her
through the glass, but this time the
window is reflecting the lights and
buildings of Manhattan mini
cutouts placed just behind the
camera to reflect in the glass. Its a
American Cinematographer 33
Left: In one of
Goldblatts
favorite scenes,
Child takes a
cooking course
at the Cordon
Bleu Cooking
School, where
she towers over
her male
classmates. The
scene was shot
on set at
Silvercup, where
Goldblatt took
advantage of a
custom-built bay
light built by
gaffer Engel.
Because the
room is white, it
naturally fills
itself in, and we
only needed one
big light source,
notes Goldblatt.
I loved what I
could do with
bounce light in
that set. Below:
Throughout
production, the
crew came up
with a variety of
ways to give
Streep a lift in
her portrayal of
the 6'2" chef.
B
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M
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.
34 August 2009
way to trick the eye into believing its
a real location, says Goldblatt. We
did a combination track and zoom
into Amy, and the reflections give
the shot a real sense of place.
In one of Goldblatts favorite
scenes, Child attends her first class at
the Cordon Bleu Cooking School.
She is the sole female standing in a
row of male students, and she
towers over them all. The set, built at
Silvercup, was based on photos of
the real location. The room is almost
completely white, with shiny tile on
the walls. Because the room is
white, it naturally fills itself in, and
we only needed one big light
source, notes Goldblatt. I loved
what I could do with bounce light in
that set. Engel custom-built a 6'x6'
bay light comprising 12 2K nooks
going through rippled muslin. We
could actually dial in which section
we wanted to use with our dimmer
system, says the gaffer. We made it
almost the size of the room and then
just teased it off the walls so it had a
nice down look without giving the
actors raccoon shadows. We never
used a light directly over the actors.
The production moved to
Paris for the final two weeks of the
shoot, and most of the movies exte-
riors were filmed there. One excep-
tion was a train station thats
Fellow Foodies
Above, left and
right: A 50'
Technocrane
was used to
capture an
ambitious night-
exterior shot that
pushes in toward
Powells
apartment
window until we
see her typing at
her desk; a later
shot of Powell
seen through the
same window
was filmed
onstage, where
mini cutouts
were used to
create
reflections of the
Manhattan
skyline. Middle
and bottom:
Lights deployed
on a rooftop
helped the
filmmakers
capture a scene
in which Powell
serves up a feast
for her friends.
M
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supposed to be in Paris; the film-
makers originally planned to shoot
at La Gare du Nord in Paris, but the
train station in Hoboken, N.J.,
whose architecture was strongly
influenced by the Beaux Art move-
ment, proved to be ideal and
much less expensive. With its deco-
rative molding, the shape of its
windows and its iron staircases, the
Hoboken station gave us the feel of a
French train station, says Ricker. (A
different section of the station was
used for a scene set at a Boston
terminal.)
All interior scenes set in
France were filmed in New York.
One of the useful things about New
York is that so much of its classic
architecture is French, says
Goldblatt. Finding rooms and
buildings that could pass for Paris
locations proved remarkably easy,
but one location proved particularly
challenging: a restaurant with
mirrored walls where Child dines
with her husband. That scene
nearly drove me crazy, recalls
Goldblatt. We couldnt light Meryl
and Stanley directly; we had to aim
light at a mirror and bounce it onto
them. Just getting the camera in
position so we could photograph
the actors without seeing ourselves
was a nightmare. I honestly cant
imagine doing a shot like that with-
out Gene Engel.
It was like playing pool, says
Engel. We had to bank the lights off
two or three mirrors to avoid seeing
the light and camera shadows. The
look of the scene was really made by
the Linestra tubes; I revamped them
and made them into incandescents
so they could be dimmed. Thats
why the scene has a warm look.
With a laugh, he adds, During the
shot, most of the crew were lying on
the floor to avoid being reflected in
the mirrors.
Fellow Foodies
36
Goldblatt positions a finely cooked fowl for
its close-up.
Another sequence that pleases
Goldblatt shows Childs sister (Jane
Lynch) getting married in a large,
outdoor pavilion. Ricker stumbled
upon the location in Brooklyn. In
the center of the roof was a nice,
round opening, almost like a
skylight, recalls Goldblatt. You
couldnt see it on camera, but it
provided a perfect spot to hang a
spherical helium balloon and lower
a remote head to get shots of people
dancing below. The scene took
place during the day, and Goldblatt
switched to the 50-ASA stock. Ten
18Ks going through 20' x 40' frames
of quarter grid cloth were placed on
the lawn close to the pavilion. As
daylight faded, straw gels were added
to the lamps.
Finally, what would a film
about gourmets be without shots of
sumptuous-looking food? Goldblatt,
who shot quite a few food commer-
cials when he was starting out in the
business, wanted to handle the food
photography himself rather than
turn it over to a second unit. (One
food shot in the final cut was made
by 2nd-unit cinematographer David
Dunlap, whom Goldblatt also credits
with making a couple of spectacular
Manhattan cityscapes for which I am
grateful.) There is nothing mysteri-
ous about shooting food except the
desire to do it, Goldblatt notes
wryly. Its really just still photogra-
phy. Of course, the real key is having
a brilliant chef and food stylist. He
made the beauty shots with an 11:1
zoom usually used at a fixed focal
length and upped the exposure to
T5.6 to get a bit more depth of field.
A single light was usually sufficient
to illuminate the subject. Typically,
an electrician held a pancake light
over the table at a variety of angles,
and Goldblatt would look through
the lens to determine the right angle.
The size of the bulb varied, ranging
from 50-2,000 watts.
These were some of the most
pleasurable days of the shoot. After
we photographed the food, says
Goldblatt, we ate it. I
TECHNICAL SPECS
Super 1.85:1
(Super 35mm for 1.85:1 extraction)
Panaflex Platinum, Lightweight
Primo lenses
Kodak Vision3 500T 5219;
Vision2 50D 5201, 250D 5205
Digital Intermediate
Printed on Kodak
Vision Premier 2393
37
38 August 2009
W
hen director Louie
Psihoyos decided to bring
Colorado-based cine-
matographer Brook Aitken
aboard The Cove as the
director of photography, he weighed
Aitkens agility and athleticism as
carefully as he did his technical
expertise. We needed people who
were like pirates because we were
essentially breaking and entering,
says Psihoyos.
The target was a heavily
guarded cove in Taiji, Japan, where
local fishermen slaughter an esti-
mated 2,300 dolphins every year as
part of an effort to locate bottlenose
females, which are in demand at
marine parks around the world.
After luring scores of dolphins away
from their migratory path, the fish-
ermen herd the creatures into the
cove; separate out the bottlenose
females; and spear the rest of the
animals to death and sell the meat,
which contains toxic levels of mer-
cury. Led by Richard OBarry, who
trained dolphins for TVs Flipper in
the 1960s, conservationists have
attempted to stop the slaughter, but
so far they have failed.
Psihoyos, a top National
Geographic photographer, co-
founded the Oceanic Preservation
Society (based in Boulder, Colo.)
with Jim Clark, the venture capitalist
behind Silicon Graphics and
Netscape. The Cove is an OPS proj-
ect, and as mission-driven docu-
mentaries go, it was lacking neither
funds nor talent. To make the movie,
which took close to three years,
Psihoyos assembled what he called
an Oceans 11 team; in addition to
OBarry, his collaborators included
an electronics wiz who customized
some of the cameras; expert mold-
makers who created camera hous-
ings that could pass for native rocks;
two champion free-divers who
placed cameras and hydrophones
underwater at night; and Aitken,
who had to ensure that everyone
understood the essentials of camera
operation because everyone was
shooting. Traditional roles went out
the window pretty quickly, Aitken
Filmmakers, activists and other experts join forces on The Cove, a
documentary that exposes the brutal killing of dolphins in Taiji, Japan.
by Patricia Thomson
Exposing
a
Secret Slaughter
acknowledges.
Every member of the team
had to be somebody who wasnt
afraid to hang off a cliff, sleep outside
in a camouflaged spot, and eat nuts
and berries, notes Aitken. As the
director of photography, he also had
to be able to shoot run-and-gun
while composing impeccably
framed shots under Psihoyos super-
vision. Louie has a very particular
eye, and wed spend hours, days and
weeks shooting certain shots or time
lapses, says Aitken. I learned a lot
from him about how to make every
single pixel count.
The projects main format was
high-definition video. We wanted
to get as high a resolution as possible
and have media that was easy to
store, review and duplicate, says
Aitken. The production purchased
four Sony PDW-F350L cameras,
which use Sony Professional Discs
with blue-laser technology; at 23GB,
each reusable, single-layer disc can
hold 60 minutes of HD-quality
imagery. The package also included
thermal-imaging cameras, night-
vision cameras, a remote-controlled
mini-helicopter cam, and a remote-
controlled camera mounted to a
blimp that was painted to look like a
dolphin.
The Cove begins by providing
some background on dolphins,
OBarry and Taiji, a fishing village of
3,000 that boasts a whale museum
and dolphinarium just yards from
the killing cove. This section of the
movie features underwater footage
of dolphins shot by free-divers Kirk
Krack and Mandy-Rae Cruickshank.
Psihoyos notes that successful
underwater photography requires
clear water, good light and a
rebreather, a closed breathing system
that regulates the amount of oxygen
and scrubs out carbon dioxide. Its
purpose is to prevent bubbles, and
for photographers, thats good for
both keeping the frame clean and
not disturbing the animals. Whales
and dolphins consider bubbles a sign
American Cinematographer 39
Opposite: World-
champion free-
diver Mandy-Rae
Cruickshank,
whose skills
include the
ability to hold
her breath for
over six minutes,
was a key
member of the
team behind The
Cove.
This page, top:
Cinematographer
Brook Aitken
sets up a shot on
location in
Japan. Bottom:
This angle of the
cove shows the
green tarps that
are unrolled to
help hide the
killing.
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40 August 2009
Exposing a Secret Slaughter
of aggression you never want to
be around a big whale thats blowing
a lot of bubbles, notes the director.
The rebreather is not for beginners,
however. Its super-dangerous, says
Aitken. There are computers that
calculate the levels, but you can kill
yourself if you dont know what
youre doing.
When filming dolphins,
mobility is key. They get bored real-
ly quickly, and if you cant keep up or
entertain them, they take off, says
Psihoyos. And you cant chase an
animal that just swam down from
Greenland! To stay lightweight, the
filmmakers worked with Sonys
HVR-A1U HDV camera, which
weighs 3 pounds. If you shoot with
a rebreather and carry a Sony F900,
you probably have about 110
pounds of gear, says Psihoyos. Its
like trying to push a Volkswagon
through the water!
Also featured in The Coves
first section is time-lapse photogra-
phy of Japanese fish markets, includ-
ing Tsukiji, the worlds largest. This
footage, which shows the unimagin-
able volume of fish caught and sold
every day, was shot with Psihoyos
Canon EOS-5D Mark II digital SLR;
the camera was mounted on a plate
Top: Once in the
cove, dolphins
who arent
deemed
desirable for
marine parks
are stabbed to
death. Middle:
Fishermen use
an array of
tricks to divert
dolphins from
their migratory
path, which
hews to Japans
coastline, and
herd them into
the cove.
Bottom: Local
police post
bogus danger
signs to keep
unwanted
spectators away
from the area.
attached to a small motion head
that was programmed to rotate over
a set period of time. Unfortunately,
that had to be hooked up to a laptop
and hard drive, because it was cap-
turing so much information we
couldnt store it all on memory
cards, recalls Aitken.
Time-lapse shots of the Taiji
fish market, Tokyos famous
Shibuya Crossing and various land-
scapes were captured with the
F350L. That camera was nice for
time lapse, because with Blu-ray, I
could shoot 1 fps and go for more
than 24 hours straight, notes the
cinematographer. We had to just
let the exposure go and auto-com-
pensate, but it worked out well,
given the circumstances. One
unanticipated advantage to the
time-lapse work is that it gave the
filmmakers a convincing alibi when
they were stopped by local police,
who constantly tailed them. If peo-
ple were curious about what we
were doing out in the middle of the
night, wed say we were going to
look at our cameras in the fish mar-
ket, says Aitken.
The Cove also documents the
covert operation that was necessary
to record the dolphin slaughter. The
team planted gear in the cove seven
times, going in one night to place it,
and retrieving it the next. Night-
vision and thermal-imaging cam-
eras were critical to this phase.
Night vision was done with the
A1U, set in its Night Shot mode.
Aitken explains, Theres an
infrared light built into the camera,
but we supplemented that with a
hot-shoe-mounted infrared light [a
Sony HVL-Irm Battery IR] for a lit-
tle more punch. Because the cam-
era relies on bounced rays, its good
for only short distances. The falloff
is maybe 20 feet, says Aitken. Its
not like the FLIR, which works on a
heat signature.
The FLIR, or Forward-
Looking Infrared P640, was initially
intended only for night-time sur-
Above: Director
Louis Psihoyos
(left) and
special-effects
artists discuss
the design of a
rock-cam
housing that will
blend in with the
native rocks at
the cove.
Middle: Charles
Hambleton, the
designated
coordinator of
clandestine
operations,
prepares a rock
cam. Bottom:
Aitken and
Psihoyos at
work.
American Cinematographer 41
42 August 2009
veillance, so the OPS team could
spot approaching security guards
and make an escape. The FLIR is
very sensitive in terms of heat signa-
tures, says Aitken. Using the tem-
perature spectrum on the menu,
you can change the sensitivity for
different temperature ranges. It
saved us a few times as we were
sneaking around in the dark. We
were able to see if there was a guard
or dog or sometimes just a bird in
a tree half a mile away. In the
end, Psihoyos decided to incorpo-
rate some of the infrared footage in
the film; it appears in its black-and-
white mode. The first model we
took to Japan couldnt shoot color,
and although the second one did,
Louie decided to keep it in sync with
the first.
At night, the team would
plant up to four cameras. On the
cliffs, they positioned XDCams
mounted with either a Fujinon tele-
photo lens (18x5.5mm) and 2x
extender, or a super-wide-angle
Fujinon (3.3x13mm). Cameramen
wearing full camouflage and face
paint spent the night in blinds and
had some close calls with security
guards. Closer in, they used five
rock cams, Sony HDR-SR1s in
housings that were custom-created
by two special-effects artists at
Kerner Optical, Nelson Hall and
Danny Wagner. One of my friends,
Wim van Thillo, used to work at
Industrial Light & Magic, and part
of that spun off into Kerner
Optical, explains Psihoyos. Nelson
and Danny made the camera hous-
ings under the supervision of Kevin
Wallace. Made of foam molded
around Pelican cases, the housings
matched the color and texture of
Taijis rocks exactly; the filmmakers
gleaned the necessary details from
satellite photographs. They really
outdid themselves, marvels
Psihoyos. When we went back to
retrieve the rock cams, we had to
pick up the rocks to tell which were
real.
Top and middle:
A night-vision
camera was
necessary to
capture some of
the teams work.
Bottom: A frame
from an infrared
camera shows
free-divers
Cruickshank
and Kirk Krack
getting ready to
sneak into the
water.
Exposing a Secret Slaughter
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The SR1 has four hours of
battery life, which wasnt enough to
meet the filmmakers needs the
cameras had to be switched on in the
dead of the night and then run until
dawn, when the slaughter occurred.
(Aitken notes, We had to pray they
were framed correctly in the dark.)
The filmmakers took the cameras to
Wyndham Hannaway of GW
Hannaway & Associates in Boulder,
Colo. Wyndham is a genius, says
Aitken. He was literally pulling cir-
cuit boards out of cameras and hot-
rodding in 11-hour batteries. These
expedition-grade batteries were
duct-taped around a souped-up
hard drive. When you opened up
the rock, it looked like a bomb it
was full of these large batteries that
looked like sticks of dynamite, says
Psihoyos. If wed been caught with
that thing, Im sure we would have
been shot!
For covert underwater work,
they placed an A1U and Sonys larg-
er HVR-Z1U, shooting in HDV
mode. These cameras, too, needed
camouflage. Attempting a poor-
mans version of the rock-cams,
director of expeditions Simon
Hutchins had the team buy instant
cement and chicken wire at a local
shop. Aitken recalls, We borrowed a
busboys tub from the hotel restau-
rant and got lots of chopsticks, and
we were able to make a synthetic
rock in the hotel room, mixing the
cement with chopsticks. Those
underwater cameras successfully
captured the sickening tide of blood
that washes through the bay during
the slaughter.
Another powerful shot is an
aerial reveal, when the camera pass-
Exposing a Secret Slaughter
44
The filmmakers
planned to
capture aerial
footage with a
mini-helicopter
and a blimp-
cam, but windy
conditions kept
the blimp out of
circulation.
es over a cliff to show the crimson-
colored cove; this footage was cap-
tured by a small JR Voyager Z260
helicopter that had an A1U on its
gyrostabilized Airfoil Prolight cam-
era mount. Attempts to capture sim-
ilar footage with the dolphin blimp
failed, however, because conditions
were usually too windy. However,
the blimp did provide an entertain-
ing diversion when local police
threw up a road block and insisted
on inspecting the transport truck.
The hydraulic door opened to
reveal this 30-foot dolphin blimp,
and all the cops started laughing,
recalls Psihoyos. How could they
arrest any of us after that?
More often, though, police
and town officials were hostile. The
filmmakers fired their translator
after they began to suspect she was
reporting their movements, and the
crew was never sure whether it was
police or maids who visited their
hotel rooms. As a result, they never
tested the reusability of the Blu-ray
discs. Instead, all discs and tapes
were hidden in a hotel air vent, then
hand-carried the next day to FedEx
in Osaka or Tokyo.
The digital-intermediate
scanning and color-correction were
handled by Final Frame in New
York, where Psihoyos worked with
colorist Will Cox. At press time,
the filmout was underway at
Technicolor Los Angeles.
After making its premiere at
the 2009 Sundance Film Festival,
where it won an audience award,
The Cove landed a coveted slot at
New Yorks New Directors New
Films festival and a theatrical release
through Roadside Attractions.
Because the goal is to reach as many
viewers as possible, OPS is also con-
sidering making a Japanese-dubbed
version available on YouTube in
Japan. We want four things, says
Psihoyos. We want to shut down
the cove, reduce demand for dolphin
parks by encouraging people to boy-
cott them, educate people to eat
lower on the food chain so they can
avoid toxic seafood, and help people
understand that seafood is toxic
because of human endeavors. I
TECHNICAL SPECS
1.85:1
(16x9 original)
High-Definition Video
Sony PDW-F350L, HVR-A1U,
HVR-Z1U;
FLIR P640; Canon EOS-5D Mark II
Fujinon lenses
Digital Intermediate
Printed on Kodak Vision 2383
45
46 August 2009
A
ngels & Demons was the first of
Dan Browns Robert Langdon
novels to be published, though
it is the second to be adapted
for the screen, following the
success of The Da Vinci Code (AC
June 06). Many from the original
production team reassembled for
the sequel, including Ron Howard
and Salvatore Totino, ASC, for
whom it marked a fifth feature-film
collaboration.
Called once more from aca-
demic life to solve a European mur-
der mystery, symbologist Langdon
(Tom Hanks) finds himself in a race
against time to unravel a sequence of
cryptograms and locate a bomb that
threatens to destroy the Vatican. His
chase takes him to a succession of
famous Roman landmarks as he
retraces the Path of Illumination
described by an ancient secret socie-
ty that may be trying to unseat the
Catholic Church on the eve of a
papal election.
Originally, we were set to
repeat the M.O. of Da Vinci, says
visual-effects supervisor Angus
Bickerton. That is, go to a
European city in this case, Rome
shoot there for a few weeks, and
then return to Shepperton Studios
in London. But the writers strike
halted the production, and at that
stage, the decision was made to
shoot in Los Angeles instead of
London. [Visual-effects producer]
Barrie Hemsley, [production
designer] Allan Cameron and I were
WhenNot
in
Rome
Angus Bickerton
leads a team
of digital-effects
artists on a
quest to create
convincing
locations for
Angels & Demons,
shot by Salvatore
Totino, ASC.
by Mark Hope-Jones
want anything to slow us down,
especially visual effects. We couldnt
always do multiple passes for back-
grounds and greenscreen work, and
that made Angus job much more
difficult.
We had discussions in prep
about moods and feels for certain
pretty much the only people kept on
from the initial preproduction setup
at Shepperton.
With much of the films
action centering on Vatican City in
Rome, the filmmakers knew they
would not be granted permission to
shoot at a number of important
locations. During the few weeks of
prep at Shepperton, Bickerton,
Hemsley and Cameron made signif-
icant progress in deciding how to
solve the problems this would cre-
ate. It was because wed made those
key decisions that we were kept on,
says Bickerton. We transferred a lot
of the planning from Shepperton
straight to Sony Studios.
The fact that many locations
would be inaccessible to the produc-
tion meant that Angels & Demons
would require many more visual-
effects shots than its predecessor. A
total of 917 shots made it into the
final edit, with the work split fairly
equally between Bickertons in-
house team and four facilities:
Moving Picture Co., Double
Negative and The Senate in London,
and CIS in Vancouver.
Bickerton, who also super-
vised the visual effects on The Da
Vinci Code, knew the effects work
would have to fit smoothly into
Howard and Totinos well-estab-
lished methods. Ron works very
quickly, notes Totino. He comes to
work very prepared, and the whole
day is just non-stop, so we didnt
American Cinematographer 47
locations, and Sal put together refer-
ence pictures for us images from
commercials and films, recalls
Bickerton. As the sets were being
built, wed go down and discuss the
practicalities how to get green-
screens in and how Sal would light
them. I tried to study everything Sal
P
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s

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n
y

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r
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s
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e
r
.
Opposite and this
page: Visual-
effects artists at
Moving Picture
Co. were tasked
with making it
look as though
actors Tom
Hanks and
Ayelet Zurer are
running through
the streets of
Rome in these
scenes from
Angels &
Demons.
48 August 2009
When Not in Rome
was doing in order to learn his light-
ing style and mimic it in our 3-D
environments.
The Sistine Chapel scenes
serve as a good example of how CG
elements were blended with sets and
practical lighting. Allans crew built
a fabulous set that went up to 40 feet
high, and MPC had to digitally cre-
ate the ceiling and build some detail
in the windows, says Bickerton.
Essentially, we used the same
methodology for all of those loca-
tions: wed go out and accrue as
much photography as possible and
then image-project that onto as low
a resolution geometry as we could
get away with. Theres a lot of online
reference material for the Sistine
Chapel; with a bit of concentrated
searching, you can find fairly
detailed imagery. Thousands of
tourists take pictures of it every day,
even though youre not allowed to,
so we passed ourselves off as tourists
to get pictures of that, as well as the
Pantheon, St. Peters Basilica and St.
Peters Square.
Of the six windows along
each side of the Sistine Chapel, only
one was physically built into
Camerons set; the rest were CGI. I
had to put in several lighting units to
replicate the sunlight that would be
coming in those windows, says
Totino. I used a 20K beam projec-
tor coming through the one window
we had and then several others in a
row for the windows Angus would
be adding. Bickerton, working with
MPC visual-effects supervisor
Richard Stammers, put in the CG
windows and some lighting effects
that were blended with the physical
beams from Totinos lights.
Among other architec-
tural treasures glimpsed during
Langdons hectic dash around Rome
is the Passetto di Borgo, an elevated
walkway that links St. Peters Basilica
with the Castel SantAngelo. Owned
by the Vatican and the city of Rome,
parts of the Passetto were accessible
to the filmmakers, but the area was
Top to bottom:
Input elements
(first and third
photos) and
final shots
(second and
fourth photos)
show MPCs
work on a
Sistine Chapel
sequence,
carried out
under the
supervision of
MPCs Richard
Stammers and
Angus
Bickerton, the
films visual-
effects
supervisor.
too cramped to accommodate a
large crew, and the surrounding
streets would have been difficult to
control. Therefore, a greenscreen set
was built onstage in L.A., and the
MPC team set forth to gather as
much photographic material from
the real location as possible.
The environment we created
was a combination of multiple
bracketed stills taken at different
times of day, says Stammers.
Although its a night scene, we shot
daytime and nighttime stills and
blended them to get day-for-night
moonlight; there was no visible
moonlight at the location at night,
so by adding a percentage of day-
light, we gave it a more lit feel, which
Sal would have wanted from the
location.
Bracketing still images served
not only to imitate the look Totino
might have achieved on a real night
shoot, but also to give the images a
much wider dynamic range. On
some occasions, we combined up to
seven bracketed shots, in theory cre-
ating a greater dynamic range than
film could have captured, says
Stammers. But generally, three
bracketed exposures at stops above
and below the mid-exposure gave us
a pretty good range.
The largest location to which
the production was forbidden access
was St. Peters Square, the vast piaz-
za in front of the basilica. One of
my big concerns was how we were
going to track the shots, says
Bickerton. We were potentially
going to go handheld and
Steadicam, wandering for up to 100
meters through the square with a
crowd of 300 people blocking our
markers.
After exploring a few real-
time tracking options, Bickerton
dismissed them as too cumbersome.
Instead, he fixed on the notion of
attaching AVCHD camcorders to all
of the film cameras and doing the
tracking in post. Angus approached
us one day and asked if wed mind if
he put small, consumer HD cam-
eras on our cameras, recalls Totino.
There was a little extra weight
when we were handheld or on
Steadicam, but by doing that, Angus
was able to track the cameras and
see everything they were seeing. My
guys were too busy to keep turning
the HD cameras on and off, so
Visual-effects artists at CIS Vancouver,
working under the supervision of Mark
Breakspear, tackled a car chase. Angus
shot tiled background plates that we
stitched together, and combined with
delicate practical camera moves, added
vibration and environmental reflections,
the shot looks like it was shot for real,
says Breakspear.
American Cinematographer 49
50 August 2009
When Not in Rome
Angus team did that with remote
controls.
Initial tests were shot with a
Sanyo AVCHD camera that
Bickerton had bought at Heathrow
Airport, where the idea first
occurred to him. After Double
Negative reported back that the
footage could indeed be used for
tracking, Bickerton purchased nine
of Canons newly released HF10
camcorders. At 17 megabits per sec-
ond, it was the least compressed of
all the AVCHD cameras, he says. It
was even smaller than the Sanyo,
and as long as we bought them in
the States, they were 24p, which
meant I didnt have to worry about
any synchronizing issues. Every
morning we mounted those cam-
eras with wide-angle adapters on
top of the film cameras. The premise
was that if Sal wanted to shoot with
a long lens, or handheld, or anything
where tracking markers might not
be obvious, we would track off the
HD camera. Double Negative told
me about half of their St. Peters
Square shots were tracked from
those cameras.
A sequence involving CGI
that Totino is especially pleased with
is a nighttime car chase through
Rome. I fought really hard to shoot
it practically, but shooting driving
sequences at night in Rome would
have been too expensive, he says.
My problem with nighttime
processed car interiors is that the
cameras are always inside the car,
and the CG backgrounds just dont
look right. So when they decided to
shoot it processed, I fought to get the
The challenge
this shot posed
to the CIS
Vancouver
team was
conveying the
sense of space
by continuing
the crowd back
down the
nave while
continuing the
practical
lighting
achieved on the
set, says
Breakspear.
2-D artist
Thierry Muller
allowed
painted shafts
of light and
slowly wafting
atmosphere to
gently build
up over
distance to
achieve the
volume we
were looking
for.
cameras outside the car, handheld.
We basically sat on the hood with
the cameras on a sandbag, panning
back and forth to give it movement.
That created a huge challenge for
Angus because he then had the
backgrounds and also the reflections
on the car, but it allowed me to use
interactive lighting and make it feel
real. We set up two lighting rigs par-
allel with the car, connected them to
a computer and created a chase
sequence so the lights would move
over the car.
Bickerton worked with the
second unit to photograph plates
that could be used for backgrounds
and windscreen reflections. The
scene called for some specific actions
as this convoy of police cars weaves
its way through the traffic, he says.
We decided we needed 360-degree
plates, but we couldnt shoot one
side plate, the other side plate and
then the back view because it would
have meant multiple passes with
completely different action going
on; it was better to capture as much
as possible in one go. We found a
Fiat van with two side doors, and by
shooting with five cameras, we were
able to get approximately 200
degrees of coverage. There were
three cameras with 21mm lenses on
a plate at the back of the van and two
cameras with 25mm lenses shooting
out through the side doors. That
allowed us to limit ourselves to just
two passes: 200 degrees facing back-
ward with the first pass and 200
degrees facing forward with the sec-
ond, with a slight overlap of the side
cameras. In addition, we had a sixth
camera with a 14mm lens mounted
at 45 degrees above the front three
cameras for windscreen reflections.
Once the greenscreens were
shot, Bickerton and Mark Break-
spear, visual-effects supervisor at
CIS, began assembling the compos-
ite images. By shooting 360-degree
plates, they had given Totino com-
plete freedom with his camerawork;
if a shot encompassed two plates,
then they were simply stitched
together. Its important to give
filmmakers that freedom for these
kinds of shots because they can get
very staid otherwise, says
Bickerton. It was complicated, but
I think it was worth it, and I hope
no one thinks about them as
Creating a sense of space using light and
darkness was also the challenge on this shot,
which was achieved by the CIS Vancouver
team. We wanted to hint at the massiveness
of the nave, not show everything, says
Breakspear. For this shot, the floor looked
too ragged, so we ended up replacing it with
a CG version. 2-D artist Stephen James used
this shot to set the look and feel for the other
shots in the sequence.
American Cinematographer 51
process shots.
Although all the plate shots
were photographed with as much in
focus as possible, Bickerton and
Breakspear paid a great deal of
attention to depth of field in post. If
youre actually shooting actors in a
car at night, wide open and with no
depth of field, you focus on the
actors in the foreground, and lights
in the background just become cir-
cles of confusion, explains
Bickerton. You get some very inter-
esting little artifacts, and we tried to
put in all those little subtleties to
make it feel absolutely real.
Totino could not be happier
with the result. This driving
sequence presented a huge challenge,
and Angus really rose to the occasion
as a collaborator, says the cine-
matographer. When I was at EFilm
doing the digital intermediate, I had
a visit from a visual-effects supervi-
sor who has been in the industry for
an extremely long time. I showed
him the car sequence and asked
what he thought. He liked it, but
when I told him it was all CG, he
didnt believe me and had to watch it
again. It was fantastic that such a
trained eye couldnt tell!
For Bickerton, the success of
the sequence illustrates how close
collaboration between the visual
effects and camera departments can
only benefit a production. Sal is
part of Ron Howards trusted team,
and theyre both very quick and very
creative they keep the set mov-
ing, he says. They discuss a lot
beforehand, but they also like to find
things on the day, and its important
that visual-effects work doesnt stop
any of that. Going with the flow
means our work is more likely to fit
in with the tone of the movie. I
52 August 2009
As the
Camerlengo
[Ewan
McGregor]
appears inside
the nave, we
were faced
with the
problem of
making a tiny
set in Los
Angeles look
like a huge
church in
Rome, says
Breakspear.
We ended up
replacing
everything
except Ewan
and even rebuilt
him for the first
few walk
cycles in order
to remove a
practical lamp
that he walked
behind. We
added new
reflections and
lighting to
match
Salvatores
lighting of the
practical set.
When Not in Rome
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I
nspired by the Imax sequences in
last years The Dark Knight (AC
July 08), director Michael Bay
and cinematographer Ben
Seresin decided to embark on
their own large-format expedition
on Transformers: Revenge of the
Fallen by shooting two battle
sequences in 15-perf 65mm and
VistaVision as well as anamorphic
35mm. The grand scale of Imax
really appealed to us, and the huge
physical scale of these robots seemed
perfect for the format, says Seresin.
The two sequences selected for Imax
photography by Bay, Seresin and
Industrial Light & Magic visual-
effects supervisor Scott Farrar, ASC,
were a forest battle and the climactic
showdown between the Autobots
and Decepticons over the Great
Pyramids in Giza, Egypt.
Compared to the choice you
have with 35mm equipment, the
equipment choices for 15-perf
65mm are definitely limited, says
Seresin. 65mm is considered a relic
from the past, so the industry as a
whole hasnt concentrated on devel-
oping cameras that can take [hori-
zontal] 65mm film. We used Imax
[MSM 9802 and MKIII] cameras
and the Iwerks IW5A system. Large-
format cameras are designed prima-
rily for documentary and landscape
type of filming, not a Michael Bay
action picture, but they performed
fantastically.
One of the idiosyncrasies of
Robots Run
Rampant
54 August 2009
Cinematographer Ben
Seresin and Industrial Light
& Magics Scott Farrar, ASC
tackle 15-perf 65mm for
two sequences in
Transformers: Revenge
of the Fallen.
by Jay Holben
Unit photography by
Jaimie Trueblood and Robert Zuckerman
the Iwerks camera is the viewing sys-
tem, he notes. Theres a very odd
ground glass in the viewfinder that
designates the images sweet spot,
which is about one-third of the way
up the screen, favoring the center. I
was a bit skeptical about this sweet
spot at first, but there is some truth
to it; the way most Imax theaters are
designed, most of the audience is sit-
ting at a height about one-quarter of
the way up the screen, and in that
location, its most comfortable for
your eyes to fall a little below the
center, at that sweet spot.
Composing for 15-perf
65mm is a whole new discipline,
continues Seresin. You have to be
very careful to compose the shot in
such a way that the viewers eyes will
be able to follow the action natural-
ly; in general, that means avoiding
staging a lot of action at the edges of
the frame or too high in the frame
and not having action move too
quickly across the frame. In addi-
tion, with the scale and amount of
detail in the frame, its important to
structure the action carefully so the
audience knows what to look at.
Unfortunately, the viewfinder mark-
ings that guide these compositional
rules can be very distracting for
operators who arent used to the for-
mat. The other problem with the
viewfinder is that its very dark,
especially at the stops we were
shooting at, which ranged from T16
to T32 it was often very difficult
to see anything through the
viewfinder.
15-perf 65mm is really
about detail and scale, and if youre
shooting with narrow depth of field,
you can put so much of the screen
out of focus that it can be discon-
certing and uncomfortable for the
viewer, he says. We found that the
best focal lengths were 80mm and
110mm, which are close to the nor-
mal field of view. The production
used Hasselblad lenses with the
Imax and Iwerks cameras.
Farrar, who supervised the
Opposite: Heroic
Autobot leader
Optimus Prime
staggers during
a battle in a
forest, one of
two sequences
director Michael
Bay and
cinematographer
Ben Seresin
chose to capture
in 15-perf 65mm
and VistaVision
as well as
anamorphic
35mm. This page,
top: Devastator,
an evil
Decepticon,
causes a stir
near the Great
Pyramids in the
films other
large-format
sequence.
Middle: Optimus
Prime gets
acquainted with
the Sphinx.
Bottom: Autobots
Skids (left) and
Mudflap scope
out the sights.
American Cinematographer 55
I
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a
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e
s

c
o
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r
t
e
s
y

o
f

P
a
r
a
m
o
u
n
t

P
i
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t
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s
.
visual-effects work on both large-
format sequences, notes, Sharpness
is definitely the key attribute to Imax
imagery, and that becomes an issue
when you have fast motion in an
action sequence. You can have so
much motion blur that it becomes
really uncomfortable to watch on
such a big screen. We realized we
would have to carefully adjust the
amount of motion blur in all of the
effects that we did. Some people
doubted we could do it, but we
found that we could get away with it
if we made very careful adjustments.
If you get rid of all of the motion
blur, the action has a kind of stacca-
to representation that doesnt look
right, but if you have too much, it
becomes ugly quickly it all
depends on the object and how fast
its moving through frame. With
dynamic adjustments, sometimes
within single shots, we could fine-
tune the amount of motion blur for
each movement and action, and it
worked really well.
Both Imax sequences also
incorporate VistaVision footage as
well as 35mm anamorphic footage.
We couldnt get enough Imax and
Iwerks cameras to cover what we
wanted, so we used VistaVision as a
kind of intermediate between Imax
and anamorphic, explains Seresin.
For the 35mm material, we were
shooting around a T8 to T11 to
match the depth of field of the 15-
perf 65mm material.
Kodak Vision3 500T 5219 was
used for all three formats. Thats
really a testimony to the perform-
ance capabilities of that stock, says
Seresin. It stands up amazingly well
even in Imax projection, with very
little grain and so much detail.
The filmmakers studied The
Dark Knight to plan how to transi-
Robots Run Rampant
Above: Bay
calls action as
operators
Jacques
Jouffret (right,
in white hat)
and Lucas
Bielan wield
their cameras,
and 1st AC John
Connor (in
orange shirt)
keeps the image
sharp. Below:
The crew
prepares a
crane move at
the base of a
pyramid.
56 August 2009
tion between the 2.40:1 anamorphic
aspect ratio and the 1.43:1 Imax
aspect ratio. Before I saw The Dark
Knight, I didnt believe it would be
possible to sit through those transi-
tions between formats without
being distracted, says Seresin.
Christopher Nolan and his team
were very careful about the place-
ment of those transitions, and we
took some cues from their work.
When we go from a close-up of Shia
[LaBeouf] to a wide, spectacular
action shot, we might jump from
2.40:1 to 1.43:1 between those two
shots.
When the screen nearly fills a
viewers peripheral vision, camera
moves are a risky undertaking,
because every move translates to a
near physical reaction in the viewer.
Given Bays penchant for high-
octane action, this made the Imax
format an obvious challenge. The
rules for Imax generally state that
you shouldnt move the camera, and
if you do, you must be very careful
and deliberate about it, notes
Seresin. This turned out to be the
area where we did the most testing!
Unfortunately, we were already into
production by the time we decided
to integrate Imax into the film, so we
didnt have a lot of test time. We
needed to find out where our limits
were, and all in all, we learned there
werent as many limitations as we
thought.
We had to be somewhat
careful about panning because
strobing was an issue, but we real-
ized there were a lot of moves we
could do successfully, he continues.
We avoided handheld work and
fast pans, but beyond that, pretty
much anything was OK. The cam-
eras arent as large and heavy as peo-
ple seem to think they are; we had to
adjust the remote heads a bit to
accommodate the larger magazines,
but apart from that, we were able to
Left: Bay
(gesturing) and
Seresin (right)
find their next
setup. Below,
(from left):
Seresin, actor
John Turturro,
Bay, and actors
Megan Fox,
Ramon
Rodriguez and
Shia LaBeouf
work through a
scene.
American Cinematographer 57
58 August 2009
use the cameras on all the gear we
wanted to use them on.
As far as lighting goes, we
had to do very little to accommo-
date the larger format, he adds.
Because we were shooting day exte-
riors, it wasnt hard to get the T16 or
T22 stops with 5219.
The greater resolution of the
15-perf 65mm negative led to signif-
icantly longer render times for those
shots at ILM, according to Farrar.
The negative area is roughly 10
times larger than 35mm anamor-
phic, and the amount of detail in
these robots that showed up in a sin-
gle frame was incredible, says
Farrar. It was taking us six times
longer to render each shot. In some
cases, we have shots with a fully syn-
thetic background and a very com-
plex, animated character in the fore-
ground; theres a lot of information
in those frames. Sometimes it took
72 hours per frame to render.
We did things on this film
that weve never done before, he
continues. The Devastator charac-
ter is the largest and most complex
character weve ever rendered
hes about 150 feet tall standing up.
Weve never had a bigger staff of
modelers, painters and animators
on one film. Everything about this
project is huge; for the first
Transformers film, we hit about 20
terabytes of information, and on
this one, we passed 150 terabytes!
Each shot has taken months and
months of man hours to complete.
In all aspects of filmmaking,
youre always learning, and this
project was no exception, con-
cludes Seresin. Each new job takes
on a life of its own, and you experi-
ment with lighting, camera moves
and so forth. We took on Imax and
learned the rules as we went along,
and the results are quite impressive.
For image quality, theres really
nothing better. I
Robots Run Rampant
Near right: Sam
Witwicky
(LaBeouf) and
Mikaela Banes
(Fox) run for
cover during a
Decepticon
attack. Far right:
Banes checks to
see if the coast
is clear. Below:
Autobot
Bumblebee
prepares to roll
into action.
the future in hand | createasphere.com
A world where entertainment technology and creative vision converge.
September 17, 2009 - Exposition/Conference | September 14-17, 2009 - Workshops
Expo Hall, Panels, Keynotes and Intensive Workshops FREE with Pre-Registration
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Exploring Technicolors
DP Lights on Takeo
by Jon Silberg
When cinematographer Kristina
Schulte-Eversum decided she wanted to
flash the negative on Takeo, her Ameri-
can Film Institute thesis project, she
quickly discovered what other cine-
matographers have learned the hard
way: the technique makes people
nervous. Producers are reluctant to build
something into the negative that might
prove difficult to fine-tune in post, and
labs worry that something can go wrong.
As it happened, Technicolors Creative
Bridge division was looking for a way to
beta-test its upgraded DP Lights previsu-
alization system on a film project. The
system, designed to help cinematogra-
phers build a look on set that can be codi-
fied and attached to the images as they
travel through the post pipeline, had
been used on a number of projects that
originated digitally, but Takeo became its
first film venture.
Schulte-Eversum was confident
she could process her negative normally
and come very close to creating the
desired effect in the final timing, but she
was worried that the final look would not
be reflected in the dailies. Its a very
dark story, and I was concerned that the
faculty, the producer and the editor
would become accustomed to the look of
the dailies and then be shocked after I
did the final color-correction, she says.
Technicolors DP Lights comprises
software that can be loaded onto a Mac
or PC laptop and a properly calibrated
external screen/display. On the set, the
cinematographer (or digital-imaging
technician) can dial up a look that they
can discuss with collaborators. The
system incorporates the ASC CDL (Color
Decision List), which means the cine-
matographer can adjust the image using
10 values (AC Oct. 08). The resultant
look is displayed on the console, and the
data from the single manipulated DPX
file is saved in the system and e-mailed
to the dailies colorist. If the final product
is to be released on 35mm, DP Lights
can also apply Technicolors proprietary
film-emulation look-up table.
Its about protecting the cine-
matographers intent, says Brian
Gaffney, who helps manage the deploy-
ment of DP Lights. You can set a look
on set, and theres an exchange media
Post Focus
P
h
o
t
o
s

c
o
u
r
t
e
s
y

o
f

T
e
c
h
n
i
c
o
l
o
r
.
Technicolors
Creative Bridge
division has
introduced the DP
Lights system,
which comprises
a portable
console
incorporating the
ASC CDL.
Cinematographers
can use the
system to time
images on set and
send CDL
information to
Technicolor,
where it is used
to time the dailies
without baking
the look into
either the film or
the original scan.
60 August 2009
that allows that intent to be protected.
Its not creating a LUT and sending it to
a post facility on a USB stick. DP Lights
allows the user to have his or her intent
carried through to the end.
For a film-originated project that
uses DP Lights, the productions footage
is sent to Technicolor for processing and
2K scanning, and then Technicolor
creates individual still frames (10-bit
DPX files) representing the various
camera setups and posts them to an FTP
site. The cinematographer can down-
load the stills and view them on a cali-
brated Apple Cinema Display. The
computer contains proprietary Techni-
color imaging software that the cine-
matographer can then use to fine-tune
the look and generate a CDL, which can
be e-mailed back to Technicolor, where
that vision can be baked into the dailies
without affecting the original scans.
Schulte-Eversum shot Takeo in 3-
perf Super 35mm using a Panavision
camera package and Fuji Eterna 400T
8583. I usually like a more saturated,
graphic image, but a softer look was
more appropriate for this story, she
observes. My work was about bowing
down to the story in every sense. And
now that Ive become used to Eterna
400, Ive fallen in love with it.
Throughout the week-long shoot,
when Technicolor sent the 10-bit DPX
files (still frames) back to the set,
Schulte-Eversum would sit down when
I had the time, open the software, do
the color-correction and then send back
my CDL, she recalls. Once I had the
system, I realized I could control the
flashed-negative effect in ways that
hadnt occurred to me I could satu-
rate the earlier scenes more and then
desaturate as the story progresses. If Id
really flashed the negative, I wouldnt
have been able to achieve that kind of
gradation unless Id shot more than one
film stock.
She adds that the system could
facilitate a dialogue with the colorist if
he or she sent back a suggestion in the
form of another CDL. The important
thing is that even though I was 70 miles
outside Los Angeles, I was confident
that what I was seeing on my monitor
How will you create,
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your vision?
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61
62 August 2009
was what they were seeing at Techni-
color, says the cinematographer. And I
knew the dailies would look exactly like
that.
The raw scans provided by Tech-
nicolor also gave Schulte-Eversum the
necessary information about exposure
and color balance in her negative; she
could access all of the picture informa-
tion in the scan. If she wanted to know
what it would look like printed up or
printed down, those options were at her
fingertips, too.
Im glad I was able to see the
look in dailies and talk about it with the
director, the talent and the producers as
we went along, but its also good that
we had the freedom to alter the look in
the final timing, she concludes. When
youre shooting, you cant know how
everything will be cut together, and its
great that we didnt have to lock
ourselves into a look too early. Instead,
we were able to see a proper visualiza-
tion of our ideas early in the process.
I
Cinematographer
Jon Felix (at
console) worked
with the DP
Lights system on
the feature Radio
Free Albemuth,
which at press
time was in
postproduction.
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Focus Enhancements
Embraces Compact Flash
Focus Enhancements Inc. has
announced the latest addition to its FS
acquisition product family, the FS-H200
Portable Compact Flash Direct to Edit
Recorder. The FS-H200 is the first of
Focus Enhancements portable DTE
recorders to feature removable solid-
state media, allowing for easy swap-out
of industry-standard Compact Flash (CF)
cards. Once recorded, user-supplied CF
cards can be easily mounted to both
Windows and Mac systems either via
USB 2.0 directly from the FS-H200 or via
standard memory-card readers.
Designed for use in the most extreme
conditions, the FS-H200 offers outstand-
ing performance even in high tempera-
tures (up to 122F), high altitudes and
extreme shock conditions.
We have been frequently asked
by our customers for an acquisition
device that provided the DTE workflow
they rely on together with the many
advantages of solid-state media, says
Matt McEwen, director of product
management for Focus Enhancements.
We believe Compact Flash has now
reached the required capacities, perfor-
mance and low-cost that our customers
are demanding to make this a viable
choice for our award-winning FS
recorder family.
Highlights of the FS-H200
include support of popular DTE formats,
such as QuickTime and M2T for HDV,
and RawDV, AVI Type 1, AVI Type 2,
Matrox AVI and Canopus AVI for DV; a
side-located removable CF slot that
accepts standard Type 1 266x CF cards,
which are currently available up to
32GB, providing over 2.5 hours of 720p
or 2.2 hours of 1080i HDV on a single
card; a polymer dust cover for shock and
moisture protection; 6-pin FireWire
interface to DV or HDV cameras; fast
USB 2.0 interface to Mac- or Windows-
based NLE systems; support for large
file sizes with UDF disk format; an ultra-
compact design that weighs only 12
ounces and features silent, fanless
operation; a color, backlit LCD for menu
navigation and status; a backlit scroll
wheel for menu navigation; a remov-
able 3-hour Li-Ion battery pack; and 12-
volt power input and supplied AC adap-
tor.
The FS-H200 is available through
the Focus Enhancements worldwide
dealer and distributor network for a
suggested price of $1,195. For more
information, visit www.focusinfo.com.
Cooke Reintroduces
Panchros
Cooke Optics Ltd. has
announced the rebirth of the Panchro By
Cooke lens. The PL-mount lens for
35mm film and digital production is a
redesign of the original Cooke Panchro
lenses.
Designed by the same team that
produces Cooke S4/i lenses, Panchro By
Cooke lenses are calibrated and color-
matched to existing Cooke lenses and
incorporate Cookes /i technology. At
T2.8, the new Panchro offers a small,
lightweight and affordable choice when
a faster lens is not crucial or when
shooting in difficult situations such as
crash scenes or other effects shots. The
price point also brings the benefits of
Cooke lenses to independent filmmak-
ers, film students and documentary
makers, while the reduced size and
weight and true focal-length markings
make Panchros ideal for stereoscopic
productions.
We are excited to bring Panchro
By Cooke back to the film industry, says
Les Zellan, chairman of Cooke Optics.
With the credibility of film history and
over 100 years of development behind
it, the Panchro By Cooke lens is a seri-
ous yet affordable piece of equipment
for professional filmmakers. The six
Panchro By Cooke prime lenses 18,
25, 32, 50, 72 and 100mm will be
available to purchase individually or as
a set at the end of 2009.
For more information, visit
www.cookeoptics.com.
Carl Zeiss Announces
Compact Primes
Carl Zeiss has introduced the
Compact Primes series of cine lenses.
Designed to work with all PL-mount film
and digital cine cameras, the color-
matched lenses offer uncompromising
quality, ergonomics and ruggedness to
moviemakers operating under tight
budget constraints; the series
comprises seven focal lengths:
18mm/T3.6, 21mm/T2.9, 25mm/T2.9,
28mm/T2.1, 35mm/T2.1, 50mm/T1.5
and 85mm/T1.5.
The Compact Primes modern
design results in high resolution, rich
New Products & Services
64 August 2009
contrast and low distortion, even in the
wide-angle range, and the lenses cover
a full-frame, 24mm x 36mm sensor size,
making them ideally suited for future
digital cinema cameras incorporating
this larger sensor. The small, light-
weight lenses are excellent for hand-
held and Steadicam setups, and all
seven lenses feature the same barrel
dimensions, with standard focus and iris
positions. Additionally, the 14-blade iris
has rounded edges that produce
perfectly circular, organic-looking, out-
of-focus highlights, while the Carl Zeiss
T* multilayer anti-reflective coating
reduces flares and provides superior
image contrast.
Carl Zeiss has also introduced a
simplified pricing structure for the
Compact Prime lenses: each lens may
be purchased individually, in a four-lens
custom set or in a full seven-lens set.
Additionally, Zeiss will sell the Compact
Primes through a network of profes-
sional cine dealers; representing the
lenses in the United States are Band
Pro, Abel Cine Tech, Duclos Lenses, ZGC
and Technological Cine Video. The
Compact Primes will also be offered as
part of a bundle package with the 35mm
adapters available from Redrock Micro,
Letus Corporation and Cinevate.
For more information, visit
www.zeiss.com.
Lightcraft Technology
Launches Previzion
Lightcraft Technology has intro-
duced the Previzion Portable and
Airtrack systems, which allow users to
preview and manipulate complicated
visual-effects shots on set while record-
65
ing accurate tracking data for post.
The Previzion Portable is an
affordable, integrated visual-effects
pipeline packaged in a suitcase, provid-
ing everything necessary to create
sophisticated blue- and greenscreen
visual-effects shots in real time. The
system includes keying, color-correction,
real-time rendering of video and 3-D
elements, accurate camera and lens
tracking, compositing, and camera-
motion recording. Previzion integrates
seamlessly into existing HD production
pipelines and is based on programmable
hardware for rapid upgrades.
The Airtrack module is a produc-
tion-level precision rotary-tracking
system that accurately measures hand-
held tracking anywhere, on set or on
location. Airtrack steadily tracks rotary
motion in real time without any external
reference point, and can be combined
with the Intersense IS1200 for a
complete, portable, high-precision 6DOF
tracking solution.
Together, the Previzion Portable
and Airtrack provide an integrated,
easy-to-operate camera-tracking and
visual-effects preview system, giving
creative camera control to directors and
cinematographers while recording
complete time code-synchronized
camera- and lens-motion data for post.
Previzion has been used in a
wide range of productions, including
Knight Rider, General Hospital, All My
Children and live events. For more infor-
mation, visit www.lightcrafttech.com.
Mo-Sys Brings Visualization
with 3DI
Mo-Sys has introduced the 3D
Inserter, or 3DI, a system designed to
align a computer-generated environ-
ment with live-action photography on
set and in real time, as the cameras roll.
The Mo-Sys 3DI system grants
filmmakers working with green- and
bluescreen effects full creative control
while filming. The CG environments to
be used in a shot are loaded prior to
filming, and via monitors on set, the cast
and crew can see the virtual set as
performances are recorded. Once each
shot is successfully completed, the
time-coded pre-comp is sent for editing
and motion metadata is sent for post-
production.
With 3DI, directors and cine-
matographers can tailor the physical
elements of a green- or bluescreen
shoot to perfectly align with the virtual
environment, and the pre-comped data
eliminates the time-consuming process
of manually tracking the virtual camera
data by the visual-effects crew. Round-
ing out the 3DI system, Mo-Sys offers
lens encoders and encoded heads,
which can be used in conjunction with
dolly, pedestal and crane supports. For
lower budgets, Mo-Sys also offers
Motion Logger, which captures lens,
camera and pedestal data without the
previsualization element.
3D Inserter has been used on a
number of projects, including the series
Sanctuary. For more information, visit
www.mo-sys.com.
Rogue Element Films Moves
into Elstree Studios
Rogue Element Films, a data-
workflow pioneer and independent
European rental house, has announced
a joint venture with Londons Elstree
Studios to unveil the UKs first dedicated
greenscreen studio, complete with
comprehensive digital production and
post pipelines.
Rogue Elements digital cine-
matography services include rental
equipment (such as the Sony F35, Sili-
con Imaging SI-2K, Grass Valley Viper
and Arri D-21 cameras, as well as S.two
uncompressed recording products),
content delivery, full editorial and full
color-dailies suites. Together with
Elstree, the company will offer the
motion-picture production community a
fully digital, uncompressed data-acqui-
sition workflow pipeline, enabling
productions to capture high-quality
images on the greenscreen stage and
66 August 2009
immediately access the content in the
studios real-time grading and preview
facilities which boast 4K playback
and 7.1 Dolby Digital sound by way
of a permanent 4:4:4 dual-link optical-
fibre infrastructure.
Our brand-new, state-of-the-art
digital-film facility operation at Elstree
works with productions to create pack-
ages with both logistic and financial
benefits, says Dan Mulligan, Rogue
Element Films managing director.
They can expect quality service and
cost savings.
For more information,
visit www.rogueelementfilms.com or
www.elstreestudios.co.uk.
GenArts Partners
with Lucasfilm
GenArts Inc., a provider of
specialized digital visual-effects plug-in
software for the film and television
industries, has announced an agree-
ment that broadens its long-standing
relationship with film, entertainment
and visual-effects company Lucasfilm.
This relationship aims to advance the
state of the art of technology for visual
effects and compositing across a wide
range of media.
The agreement comprises three
elements. First, GenArts software will
be deployed across compositing host
systems at Lucasfilm companies,
including Industrial Light & Magic,
Lucasfilm Animation and Lucasfilm
Animation Singapore, making the soft-
ware a standard component of the facil-
ities compositing pipelines. Second,
GenArts and Lucasfilm will explore
further opportunities to expand the use
of GenArts software across film, televi-
sion, animation, games and other
media. Third, GenArts and Lucasfilm
will exchange ideas to advance the
state of the art of specialized visual-
effects technology across all Lucasfilm
divisions.
GenArts software delivers
incredible consistency for the artists
experience across a wide range of
compositing systems, says Richard
Kerris, CTO of Lucasfilm. This makes it
the ideal choice to help Lucasfilm
achieve our goal to deliver visual conti-
nuity across feature films, television,
games and future entertainment medi-
ums.
Since its founding in 1996,
GenArts software has contributed to the
production of dozens of Lucasfilm
projects, including the Star Wars
prequel trilogy, Pirates of the Caribbean
and Iron Man. Over the last 12 years,
GenArts has earned our reputation as
an innovative technology provider as
well as an industry thought leader,
says Katherine Hays, CEO of GenArts.
Were pleased that Lucasfilm has
affirmed that distinction by selecting
GenArts software to be a standard
component of their compositing vocabu-
lary. Were extremely excited about the
opportunity to collaborate with some of
the worlds leading compositing artists
to better understand their needs as we
continue to drive innovative tools into
broader entertainment markets.
For more information, visit
www.genarts.com/lucasfilm.
31 0/301-81 87
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68 August 2009
The Foundry Announces
Nuke 5.2, Management
Buyout
Visual-effects software devel-
oper The Foundry has announced the
release of Nuke 5.2. This latest version
of the companys compositing applica-
tion features new pre-comp tools,
Python user-interface improvements,
metadata support, and the ability to
register multiple Viewer Process Gizmos
for user-defined LUT processing, includ-
ing new support for 3-D LUTs and
OpenGL GLSL shaders.
Nuke 5.2 also enables video-
monitor output through Blackmagic,
AJA Kona and Xena, and a RedCode
format reader that brings the full range
of R3D picture information into a full
32-bit floating-point processing environ-
ment. Additionally, viewer playback
performance has been significantly
improved, with flexible disk caching and
numerous bug fixes.
We are continually working
with and listening to our customers to
ensure we understand their needs,
wants and priorities, says Richard
Shackleton, Nuke product manager at
The Foundry. Nuke 5.2 and our future
development program will deliver
productivity and workflow gains as well
as expand the production and creative
tasks that can be tackled within the
platform.
Additionally, The Foundry has
announced a management buyout led
by Advent Venture Partners. Advent has
backed The Foundrys management
team in a transaction that sees the sale
of the shareholdings of the previous
investor, Wyndcrest Holdings. Bill
Collis, CEO of The Foundry, notes, The
Foundry is renowned for responding to
user needs and developing useful tools
that boost productivity. With the back-
ing of our previous investors, we
enjoyed substantial growth and are
now in a strong position to take the
business forward with our new part-
ners. We are ready to realize our further
ambitions for Nuke and the rest of our
product portfolio, ensuring the company
goes from strength to strength whilst
maintaining strong customer focus.
For more information, visit
www.thefoundry.co.uk or www.advent
ventures.com.
Kodak, da Vinci Collaborate
on Quality
Kodak has announced a collabo-
ration with da Vinci Systems, LLC, to
bring image quality enhancement
algorithms, used to modulate the
texture and sharpness of images in
postproduction, to the marketplace. Da
Vinci will integrate Kodaks proprietary
Motion Compensated Grain Manage-
ment into its Resolve R-series Color
Corrector, which allows grain levels to
be manipulated in scanned film. Kodaks
Adaptive Sharpening Technology, which
preserves the detail of the image
throughout processing, will also be
incorporated into the Resolve R-series
Color Corrector.
Da Vincis Resolve R-series
Color Corrector provides an ideal plat-
form in which to implement Kodaks
high-tech software algorithms, says
C.J. Johnson, product manager for
Kodaks Entertainment Imaging Division.
Weve enhanced our algorithms to take
advantage of the latest in GPU [graphic
processing unit] processing capability.
Da Vinci has the market reach to allow
our mutual customers to benefit from
the ability to efficiently enhance film
images, including 16mm and archival
footage.
Da Vincis R-series color-grading
systems integrate the supercomputing
power of Nvidia GPUs to process
images in real time, adds Mark Mali-
noski, da Vincis general manager. With
Kodak Motion Compensated Grain
Management harnessing the CUDA
computational processing power of the
da Vinci R-series, colorists will reduce
grain and sharpen images to extract all
the richness and information of film
after being scanned to digital images.
The Kodak algorithms will be
integrated into da Vinci Resolve soft-
ware by the third quarter of 2009.
Newer versions of the Resolve R-series
Color Corrector already in use by da
Vinci customers may be upgraded in
upcoming software version releases.
For more information,
visit www.kodak.com/go/motion or
www.davsys.com.
Time Marches on with HBO
HBO Archives, which launched in
2002, has announced that complete
episodes from The March of Time news-
reel and documentary series are now
available for online viewing.
The March of Time is the award-
winning newsreel and documentary
series produced by Time Inc. from 1935
to 1967. The series contains original
footage shot in the 1930s through
1960s, with historic footage dating back
to 1913. We are thrilled to put portions
of this vast, unique collection online for
instant access to researchers, says
Barbara Thomas, senior vise president
of HBO Sports. Unlike the traditional
news-style featurettes of the Hollywood
newsreels, the long-form documentary
style of The March of Time newsreels
stood out from its competitors. This
series is priceless for all of todays story-
tellers.
Since reintroducing The March of
Time in 2007, HBO Archives has been
busy re-cataloging, restoring and trans-
ferring the original 35mm films to high-
definition video. HBO Archives has also
been developing additional The March
of Time productions. The March of
Time produced a number of feature-
length films, and with the advent of the
television era, produced entertainment
and political programs specifically for
TV, adds Thomas. The March of Time
production teams were also commis-
sioned to produce a wide variety of
government and corporate-sponsored
commercial films. HBO Archives is
reaching beyond the traditional news-
reel series to showcase the depth of
these fascinating documentaries.
The programs currently available
online feature such diverse topics as the
U.S. military, the birth of swing, busi-
ness girls in the big city, Wall Street,
the oil and tobacco industries, consumer
fraud and classical ballet. High-speed
searching, clip preview and download,
and access to tens of thousands of clips
can be found through the stock-footage
portal: www.hboarchives.com/marchof
time. I
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Classifieds
72 August 2009
74 August 2009
videos and commercials. He was
honored by the Association of Indepen-
dent Commercial Producers for his cine-
matography on Audis Wake Up
(2000) and Lincoln Financials Doctor
(2001), both of which are in the archives
of the Museum of Modern Art.
Schliesslers feature-film credits
include Bait (2000), Dreamgirls (AC
Dec. 06), and three films with director
Peter Berg: Friday Night Lights (2004),
The Rundown (2003) and Hancock (AC
July 08). His most recent feature credit
is The Taking of Pelham 1 2 3 (AC July
09).
Petrovich Becomes
Associate Member
New ASC associate member
Kristin Petrovich, president of HD
Expo/Createasphere, has managed a
number of international production and
postproduction companies, including
Spitfire Television, Yeah Studios,
TriCrown Productions and ABC Kane. In
1997, she formed KMP & Associates, a
marketing and management team, and
in 2001, she founded HD Expo. This
year, Petrovich guided the HD Expo
through its transformation into
Createasphere, reflecting a focus on
the overall needs of the creative
community.
Murphy, Wexler Go
Back to School
Fred Murphy, ASC (right)
presented the keynote address at the
35th annual commencement exercises
at Five Towns Colleges in Dix Hills, N.Y.,
in May. During the ceremony, he was
presented with an honorary Doctor of
Fine Arts degree in recognition of his
professional accomplishments and
service to aspiring filmmakers. With
the honor, Murphy follows in the foot-
steps of Sol Negrin, ASC, whom Five
Towns College presented with an
ASC Names New
Officers, Board
Michael Goi, ASC
(left) has been elected
president of the Soci-
ety for the 2009-10
term. Society members
Richard Crudo,
Owen Roizman and
Victor J. Kemper are
vice presidents;
Matthew Leonetti is
treasurer; Rodney Taylor is secretary;
and John C. Flinn III is sergeant at
arms. The other newly elected board
members are Curtis Clark, George
Spiro Dibie, Richard Edlund, John C.
Hora, Stephen Lighthill, Isidore
Mankofsky, Daryn Okada, Nancy
Schreiber, Haskell Wexler and
Vilmos Zsigmond. Serving as alter-
nates are Frederick Elmes, Steven
Fierberg, Ron Garcia, Michael
Negrin and Michael D. OShea.
ASC members are committed to
the ideals of the great cinematographers
who created the classic movies we love,
says Goi. When I became a member of
the ASC, I was surprised by how open
and friendly everyone was. My heroes
became my friends, and they openly
shared their knowledge and feelings
about filmmaking. There is an unbreak-
able camaraderie that I treasure.
Schliessler
Becomes
Active Member
A native of Germany,
Tobias Schliessler,
ASC (left) studied cine-
matography at Simon
Fraser University in British
Columbia. His career
began with documen-
taries, and he segued into
independent features,
television movies, music
honorary doctorate in 2000; Negrin
currently teaches at the school.
In other commencement-related
news, Haskell Wexler, ASC (above)
was presented with the UCLA Medal by
Gene D. Block, the universitys chancel-
lor, in June. The UCLA Medal was
created in 1979 and is awarded to those
who have made truly extraordinary and
distinguished contributions to their
professions and to our society, noted
Block.
Clubhouse News
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Bill Roe, ASC (80); associate members
low net: David Dodson (70); 2nd low
net: Reid Burns (71); 3rd low net: D.
Brian Spruill (72); associate members
low gross: Joseph Ball (75); ladies low
net: Mona Roizman (74); 2nd low net:
Florence Omens (74); 3rd low net: Sandy
Kurotobi (75); ladies low gross: Margit
Elo (92); guests low net: Nathan Crum
Society Hosts Golf Classic
The 26th Annual ASC Golf Clas-
sic took place on June 8 at the Brookside
Golf Course. Coming off the fairway, the
results were as follows: active members
low net: Eric Saarinen, ASC (72); 2nd
low net: James Bagdonas, ASC (76);
3rd low net: Howard A. Anderson III,
ASC (76); active members low gross:
(76); 2nd low net: Chad Parsons (78); 3rd
low net: John Sinayi (78); and guests
low gross: Darrel Dyer (67). The wrap
party, which included trophy presenta-
tions and raffle drawings, was held in
the Academy Pickford Center on June
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1. John Schwartzman, ASC (in blue shirt) and Bill Roe, ASC (right) prepare to tee off with
Sherri Potter and associate member Michael Zacharia; 2. Associate members Milt
Shefter (in blue cap) and Cary Clayton (in black) hit the links with Barrett Taylor (left) and
Roger Franzen; 3. Richard Crudo, ASC (in red) lines up with associate member Michael
Morelli (left) and two guests of FotoKem; 4. Levie Issacks, ASC (second from right) and
Kodaks Candace Chatman are flanked by Rick Davidson (right) and associate member
Bruce Berke; 5. ASC President Michael Goi (center) poses with Owen Roizman, ASC
(right) and Howard A. Anderson III, ASC during the Golf Classics wrap party; 6. ASC
members Bradley B. Six (second from left) and Woody Omens (right) are joined by Lou
Niemeyer and Omens wife, Florence; 7. The Omenses share a laugh with associate
member Albert L. Mayer Sr.; 8. The coveted Presidents Trophy; 9. Isaacks (seated) and
ASC events coordinator Patricia Armacost (behind light) watch as Delphine Figueras,
Anderson and Goi distribute the raffle prizes; 10. The partygoers carry their rooftop
revelry well into the night.
American Cinematographer 75
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76 August 2009
When you were a child, what film made the strongest
impression on you?
When Spock died in Star Trek II (1982), I had a stomachache for a
week. Like most children of the 80s, I was drawn to the world of
fantasy and sci-fi adventure E.T. (1982), Raiders of the Lost Ark
(1981), Back to the Future (1985) and, of course, Star Wars (1977).
Which cinematographers, past or present, do you most admire?
Conrad Hall, ASC had the single biggest influence on my work. I can
recall him really laying into how badly shot my first student film
was. He couldnt tell a lie when it came to his visual taste. Jordan
Cronenweth, ASC was one of a kind. I also bow down to the clas-
sic works of ASC members Gordon Willis, Owen Roizman and
Caleb Deschanel. We contemporaries like to horse around with
bells and whistles, but those guys reinvented the wheel and rolled
it uphill.
What sparked your interest in photography?
I went to the University of Southern California film school with an
eye on visual effects but soon learned Id be sitting at a computer
for the rest of my career. USC, Kodak and Panavision were sponsor-
ing a class at that time that invited ASC cinematographers to
screen one of their films and re-create the lighting from an individ-
ual scene; students took part as electricians and grips. Owen Roiz-
man, Connie Hall, Jordan Cronenweth and many others partici-
pated. I was hooked.
Where did you train and/or study?
USC. I also shot my own short films and spec commercials and
learned mostly by doing.
Who were your early teachers or mentors?
Gene Polito, ASC was my first cinematography instructor. Woody
Omens, ASC also watched over me, and I was a fanboy to John
Schwartzman, ASC, who would usually take my calls. Later, Owen
Roizman and Bob Primes, ASC took an interest in my work and
helped welcome me into the mentorship of the Society.
What are some of your key artistic influences?
Id say most of my ideas, whether they are visual or narrative, come
from day-to-day life. Just yesterday, I was playing around with a
tiny spot of hot light that was lasering in on my kitchen sink. Prob-
ably 15 stops over the ambient exposure, it lit up the room when I
put my hand in it. On Facebook recently, somebodys status update
read, Andrew Warzinski woke up before dawn to bury a pig.
Wouldnt that make a great opening sentence for a short story?
How did you get your first break in the business?
There have been many angels and mentors in my career, but I got
my first paying job by peddling my work door-to-door. I once
sneaked into Michael Bays office at Propaganda Films and insisted
he watch my reel. Lesson learned, as he never hired me.
What has been your most
satisfying moment on a
project?
I was operating a camera on a
short film in which a 9-year-
old boy breaks into grief-
stricken tears while riding in
the back of a World War II generals car. The light broke through the
passing trees just in time to catch the first tear that dropped from
his eye. I doubt Ill ever experience anything like it again.
Have you made any memorable blunders?
On a bluescreen job, I convinced the director to use strobe lights to
make it easier to cut mattes (because there would be no motion
blur). Since the bluescreen wasnt moving, I assumed I could light it
with normal tungsten lights. Wrong. It was my very first paid job, and
we had to wait two hours for four more expensive strobes to show
up, but it worked, and the director kept hiring me and using strobes.
What is the best professional advice youve ever received?
When I was starting out, a veteran first assistant told me the 2-Make
Rule, Make your leading ladies look beautiful and make your day.
What recent books, films or artworks have inspired you?
I was walking around the Santa Monica Airport art hangars, and
the artists work was so varied and unique that it made me feel like
I didnt have an original idea in my head. It inspired me to think
about my own creative process.
Do you have any favorite genres, or genres you would like
to try?
I like the two extremes of fantasy and reality heightened style
for fantasy and classicism for drama.
If you werent a cinematographer, what might you be doing
instead?
My high-school aptitude test told me I should become either a
photographer or a flight attendant. Im lucky it worked out, and so
are the passengers.
Which ASC cinematographers recommended you for
membership?
Gene Polito, Robert Primes and John Alonzo.
How has ASC membership impacted your life and career?
It was a sincere honor. Steven Poster, ASC did a lighting seminar for
my USC class after he had just been invited into the Society, and he
shared the news and his enthusiasm with the class. It seemed like
such an impossible dream at the time, but when it happened, it gave
me the confidence and encouragement I needed to keep doing my
best work I felt I owed it to my peers to keep doing the work for
which I had been recognized. I have also made some very dear
friends in both the active and associate membership. I
ASC CLOSE-UP
Aaron Schneider, ASC
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"We ure involved in preproduction plunning
rom the moment thut u script is upproved.
1here ure eurly meetings with the director
und cinemutogrupher to tull ubout their
visions or the lool o the proect, be it u lm
or miniseries. lilmmuling is u colluborutive
process. Our ubility to munipulute imuges in
post production is more robust toduy, but it
still begins with the urtistry o the director und
cinemutogrupher und their creutive teum who
mule the compelling imuges thut tell the story.
believe it more importunt thun ever to creute
lms thut people will tule the time to wutch,
becuuse there ure so muny entertuinment
options vying or their uttention. ulso tule
pride in the uct thut ull H8O movies ure
urchived on lm thut is in pristine condition
or tomorrow's uudiences."

Cynthiu Kunner is Vice President, Post
Production, or H8O lilms und Miniseries.
Ater eurning un M8A degree, she let business
consulting to sturt over us u production
ussistunt on independent lms. She worled on
u runge o smull lms us locution scout, A.D.
und eventuully, line producer und production
executive. She oined H8O in 994 us the heud
o post production or H8O Pictures und hus
subsequently worled on some 0 television
lms und miniseries, including 8e^\cj`e
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1o order Kodul motion picture lm,
cull (800) 2-lm.
www.motion.lodul.com
Eustmun Kodul Compuny, 2009.
Photogruphy. 2009 Douglus Kirllund