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On Our Cover: Jordan Belfort (Leonardo DiCaprio) pursues a path of excess and unethical
practices in The Wolf of Wall Street, shot by Rodrigo Prieto, ASC, AMC. (Photo by Mary
Cybulski, courtesy of Paramount Pictures.)
FEATURES
38
54
68
84
A Soul Suppressed
54
Grand Battles
Kramer Morgenthau, ASC pits gods against villains
on Thor: The Dark World
68
DEPARTMENTS
10
12
14
20
96
98
104
105
106
107
112
114
116
Editors Note
Presidents Desk
Short Takes: Drone
Production Slate: Homefront Black Nativity
Post Focus: Chainsaw Expands
New Products & Services
International Marketplace
Classified Ads
Ad Index
2013 AC Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Michael Slovis
VISIT WWW.THEASC.COM
84
In an exclusive podcast, cinematographer Phedon Papamichael, ASC discusses the atmospheric black-and-white cinematography he contributed to Alexander Paynes Nebraska. Bruce Dern stars as a cranky, aging alcoholic who, convinced he has won
a million-dollar sweepstakes, travels from Montana to Nebraska with his skeptical son (Will Forte) to collect his prize.
Frederick Schroeder: The Night of the Young-mi Lee: The Big Combo, [which cer- Emma Hornor: Double Indemnity, Sunset
Hunter, Raging Bull, Winter Light, The Long tainly shows] what painting with light is all Blvd., Manhattan.
Voyage Home.
about.
Darrell Sheldon: Touch of Evil, The Cranes
Mitchell Bergeron: Persona, The Seventh Samuel Thomas Claeys: The Elephant Man. Are Flying, Young Frankenstein.
Seal, Wild Strawberries, Through a Glass Darkly.
Chryssy Tintner: Double Indemnity, The Iain Trimble: The use of black-and-white in
Wind, Captain Blood, Brief Encounter.
The Wizard of Oz is my favorite because its
used to help develop the story and characters.
Terry King: The Man Who Wasnt There.
Sean Wright: Woody Allens Manhattan [shot
Declan Keeney: For me its Soy Cuba (I Am by Gordon Willis, ASC]. Choosing to shoot in Tobias Dodt: The Servant, brilliantly shot by
Cuba), shot by Sergei Urusevsky. Absolutely black-and-white in order to greater romanticize Douglas Slocombe, BSC, and The Third Man,
stunning use of infrared stock and extraordinar- the city in a melancholic way was a great style photographed by Robert Krasker, BSC.
ily long camera moves.
decision.
Tony Davison: Anything by the master and
Aaron Caughran: 1. Citizen Kane. 2. Raging Dave Clayton: There are so many great b&w possibly the greatest cinematographer ever,
Bull. 3. Paths of Glory. 4. Sunset Blvd. 5. Dr. movies. The other day I re-watched The Loved Gregg Toland, ASC.
Strangelove.
One, photographed by Haskell Wexler, ASC.
What a superb example of b&w cinematogra- Michael Truong: Throne of Blood. Talk about
Alifeleti Tuapasi Toki: Sunrise; LAtalante; phy, with some of the best location footage of the gray scale.
Letter from an Unknown Woman; Night of the L.A. Ive ever seen in a movie. The work of a
Hunter; Ivan the Terrible, Part 1; Ugetsu; genius of the lens!
Conor Masterson: Tabu. The whole film was
Alphaville; Andrei Rublev; The Hypothesis of the
extraordinary so beautiful I didnt notice the
Stolen Painting; LEnfant Secret.
Merlin M. Mannelly: The Third Man and lack of dialogue in Africa.
Rumble Fish are probably the two most striking
Joe Del Balzo: Hitchcocks Rebecca has some examples that stick out to me. Even though Olaf Bessenbacher: Fellinis 8.
of the most beautiful, well-crafted shots ever there were so many amazing black-and-white
whether b&w or color. On the Waterfront and cinematographers for half of films life, these are J.T. Moreland: Such an awesome question, as
Whos Afraid of Virginia Woolf? are two other the two that bookend why black-and-white will I have always loved black-and-white cinematogmust-sees for anyone studying b&w cinematog- always be relevant no matter how far our tech- raphy! I loved the cinematography of Schindlers
raphy.
nology goes.
List, and I also think Michael Chapman, ASCs
work on Raging Bull was outstanding.
To read more replies, visit our Facebook page: www.facebook.com/AmericanCinematographer
Photo by Merie Wallace, SMPSP. Photo and frame grab courtesy of Paramount Pictures.
THIS MONTHS ONLINE QUESTION: What are your favorite examples of black-and-white cinematography?
D e c e m b e r
2 0 1 3
V o l .
9 4 ,
N o .
1 2
Visit us online at
www.theasc.com
EDITORIAL
EXECUTIVE EDITOR Stephen Pizzello
SENIOR EDITOR Rachael K. Bosley
ASSOCIATE EDITOR Jon D. Witmer
TECHNICAL EDITOR Christopher Probst
PHOTO EDITOR Julie Sickel
CONTRIBUTING WRITERS
Benjamin B, Douglas Bankston, Robert S. Birchard,
John Calhoun, Michael Goldman, Simon Gray,
David Heuring, Jay Holben, Noah Kadner,
Jean Oppenheimer, Iain Stasukevich,
Patricia Thomson
ART DEPARTMENT
CREATIVE DIRECTOR Marion Kramer
ADVERTISING
ADVERTISING SALES DIRECTOR Angie Gollmann
323-936-3769 FAX 323-936-9188
e-mail: gollmann@pacbell.net
ADVERTISING SALES DIRECTOR Sanja Pearce
323-952-2114 FAX 323-876-4973
e-mail: sanja@ascmag.com
CLASSIFIEDS/ADVERTISING COORDINATOR Diella Peru
323-952-2124 FAX 323-876-4973
e-mail: diella@ascmag.com
American Cinematographer (ISSN 0002-7928), established 1920 and in its 93rd 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.
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POSTMASTER: Send address change to American Cinematographer, P.O. Box 2230, Hollywood, CA 90078.
OFFICERS - 2012/2013
Richard Crudo
President
Owen Roizman
Vice President
Lowell Peterson
Vice President
Victor J. Kemper
Treasurer
Frederic Goodich
Secretary
Isidore Mankofsky
Sergeant At Arms
MEMBERS OF THE
BOARD
Curtis Clark
Richard Crudo
Dean Cundey
George Spiro Dibie
Richard Edlund
Fred Elmes
Victor J. Kemper
Francis Kenny
Matthew Leonetti
Stephen Lighthill
Michael OShea
Lowell Peterson
Owen Roizman
Rodney Taylor
Haskell Wexler
ALTERNATES
Isidore Mankofsky
Kenneth Zunder
Steven Fierberg
Karl Walter Lindenlaub
Sol Negrin
MUSEUM CURATOR
Steve Gainer
Editors Note
Stephen Pizzello
Executive Editor
10
The first trailer for The Wolf of Wall Street grabbed everyones attention when it hit the Internet this past summer.
Set to the bacchanalian drumbeats and yelps of Kanye
Wests Black Skinhead, the teaser surprised everyone
with its coke-rush cavalcade of brokers behaving badly.
Perhaps everyone was expecting director Martin Scorsese
to take a more business-oriented approach to the story of
stockbroker Jordan Belfort (embodied with antic gusto by
Leonardo DiCaprio), but the backdrop of big-money excess
called for bold visual strategies that would emphasize
Belforts bull-in-a-china-shop lifestyle. Working with Scorsese for the first time, cinematographer Rodrigo Prieto, ASC,
AMC was up for the adventure, mixing a variety of optics,
lighting styles and color schemes to take viewers on a wild ride of steep rises, sharp turns
and dizzying drops. Calling Wolf a movie of extremes, Prieto details all the techniques he
used to capture the energy Scorsese wanted in Michael Goldmans coverage (Boom and
Bust, page 38), which also offers the directors insights.
Elegant cinematography counterbalances stark scenes of oppression in Steve
McQueens period drama 12 Years a Slave, which dramatizes the life of another real-life
figure: Solomon Northup (Chiwetel Ejiofor), a professional violinist living as a free man in
New York State who was abducted in 1841 and sold into slavery. In John Calhouns article
(A Soul Suppressed, page 54), Sean Bobbitt, BSC reflects upon his ongoing partnership
with McQueen, noting, Steve is always looking for a truth, a reality, and although it is never
the reason for making a film, its always the undercurrent.
A tale of warring titans offered Kramer Morgenthau, ASC an expansive canvas on
Thor: The Dark World, a sequel to Thor and The Avengers shot with anamorphic lenses and
Arri Alexa Plus 4:3 cameras. We were one of the first films to shoot anamorphic on the 4:3
sensor, and its really hard to get those lenses now because everyones doing it, Morgenthau tells European correspondent Benjamin B (Grand Battles, page 68), who paid a visit
to the productions London set. Adds director Alan Taylor, Mythology depends on a grand
scale, and in going for an epic vista, anamorphic is a natural choice. It gives you sweeping
scale.
Eric Steelberg, ASC would have enjoyed a bit more elbowroom while working on the
drama Labor Day with his longtime collaborator Jason Reitman. The pair found themselves
shooting most of the movie on location at a house in Massachusetts where the main floor
measured less than 1,000 square feet. Its a hundred-year-old house with no walls that we
could move, low ceilings, creaky floors and smaller-than-standard doorways, Steelberg tells
Mark Dillon (Love on the Lam, page 84). The logistics of putting the crew, actors,
cameras and dollies together in the same physical space made it the most challenging movie
Ive ever done.
Presidents Desk
Merry Christmas, Happy Chanukah, and the best of all the rest to every one of our faithful
readers!
Over the course of a busy 12 months, the holiday season represents a welcome break
from daily pressures as we kick back and (hopefully) overindulge in every manner of food,
drink and what-have-you. What makes this time special is not the shopping, gift giving or
parties and family gatherings, but the specific context within which they take place. We dont
engage in these activities every day, so they stand out in comparison to the rest of the year.
This begs a question: Has the way we think about and appreciate cinematography lost
its context?
Until the mid-1990s, cinematographys supreme standard was universal and unassailable: originating on 35mm negative and projecting optically on a big screen. Its staggering to
see how quickly and radically things have changed. Outstanding work can now be viewed
around the clock on any of a hundred channels, each delivered to your large flat-screen television with the quality of a first-run movie house. At the same time, we are overwhelmed with
an endless wave of other images delivered across a variety of transportable and easily accessible platforms; that so many of them are technically superb and aesthetically pleasing is
equally amazing and just as unsettling.
This has created a glut of notable imagery that has watered down the field to such an
extent that an overabundance of competence actually seems to have lowered standards. In a world where so much is
polished and impressive, how do we determine what really counts? Worse than that, if virtually anyone can press a button
and achieve results that some consider professional, where does that leave us? The context has shifted in such a way that
the honor once reserved for the result of study, experience, dedication and proper execution excellence, in other words
is on shaky ground. It has become an era of anything goes, and believe me, too often it does.
I think a comparison can be drawn to the blogosphere and the ubiquity of laptops and mobile devices. The massive
expansion of the blogosphere surely hasnt brought us any more Hemingways than we had before, but what does that
matter if most people reading online dont know or care to know the difference?
So, we in the ASC will probably never again experience that feeling of certitude about what we do that we are
the gatekeepers, the final arbiters of what is valued. That notion was ingrained in the Society from the beginning, and its a
hard thing to let go. Nonetheless, we can influence the new standards that are evolving before our eyes. Technological
progress has forced us to accept a new context for what we do, but its an imperfect and unfinished one, and therein lies
our chance for continuing relevance.
I recall having good-natured arguments with older relatives when I was a teenager. Who was musically superior, Benny
Goodman or Jimmy Page? Theres no real answer to that, though you can imagine which side was mine. Today I am much
more conciliatory. Both men were enormously gifted, and, regardless of where you stand, you have to recognize that both
knew their way around their instruments.
Those of us who know our way around our instruments understand that the fundamental issue is not about technology or experience. Its about taste and choices. And no matter how many images bombard us every day, the appreciation
of whats good about them will never be legislated or reduced to a code.
Richard P. Crudo
ASC President
12
December 2013
American Cinematographer
universalpicturesawards.com
Short Takes
Bland Assassin
By Iain Blair
When director Daniel Jewel came up with the idea for the
13-minute short film Drone, a dialogue-free movie that presents
an unsettling look at the daily life of a military drone operator
(played by Ewen Bremner), he wanted to pay tribute to the silent
films he has long admired. He reports that such classics as Chaplins City Lights, D.W Griffiths Intolerance and Abel Gances
Napoleon had a big impact on him while he was growing up in
England.
He teamed with cinematographer James Watson, a
frequent collaborator, to make the short. Over the last few years,
James and I have worked together on a variety of commercial
projects as well as a documentary short [The Gardening Club], so
weve built up a great working relationship and shorthand, says
Jewel. James has a great ability to discern the essence of a
project and find the best way to tell that story visually. Hes also
very meticulous in his preparation and working methods, whereas
I can be quite run-and-gun; I think the creative tension that comes
from these different ways of working translates well to the
screen.
Drone was shot in three days, and the primary location was
an office complex just outside London. This served as the drone
operators anonymous-looking workplace. Surrounded by trees,
the location offered a great balance in that it feels like a modern
office park, while all around it is nature, says Jewel. Also, the
site had a real feeling of isolation, as if it could be a secret government building.
14
December 2013
American Cinematographer
A military
drone operator
(Ewen
Bremner)
heads to his
office in this
frame from the
short film
Drone.
F O R
B E S T
Y O U R
C O N S I D E R A T I O N
C I N E M A T O G R A P H Y
R O G E R A . D E A K I N S,
ASC, BSC
W W W . WA R N E R B R O S 2 0 1 3 . C O M
December 2013
American Cinematographer
Top: Octocopter
operator Adam Hall
(far left) and
Octocopter pilot Leo
Bund, both from
Digital Cinema Films,
prepare to shoot the
drone footage in a
sand quarry while
Watson (in red
jacket) confers with
director Daniel
Jewel. Middle: The
Octocopter in action.
Bottom: A closer
look at the
Octocopter.
18
December 2013
American Cinematographer
T H E M OV I E I S
A L I V E W IT H I M AG E S . . .
T H E N E A R - F U T U R E , FA N C I F U L
L . A .- C E N T R I C F I L M ,
S T U N N I N G LY
P H OTO G R A P H E D
BY T H E I M M E N S E LY G I F T E D
H OY T E VA N H OY T E M A .
STEPHEN REBELLO,
W W W . WA R N E R B R O S 2 0 1 3 . C O M
After returning
to his
hometown, DEA
agent Phil
Broker (Jason
Statham) takes
his daughter,
Maddy (Izabela
Vidovic),
horseback riding
in the feature
Homefront.
A Violent Homecoming
By David Heuring
December 2013
the movie to have scope, and I wanted to light the many night
scenes big. Also, I knew Gary wanted to shoot with two or three
cameras simultaneously using zoom lenses, and the few existing fast
anamorphic zooms were unavailable. As a consequence, we had to
give up on shooting anamorphic.
Eventually, the filmmakers settled on shooting with standard
Arri Alexa cameras, extracting a 2.40:1 frame from the native 16:9
aspect ratio, and Angenieux Optimo (24-290mm T2.8, 17-80mm
T2.2 and 15-40mm T2.6) zooms and Cooke S4 primes. The package was provided by Fletcher Camera in New Orleans. The support
of a good rental house is crucial when shooting on a 43-day schedule in a tax-incentive state, notes Van de Sande.
In prep, he shot extensive exposure tests at ISO 800, 1,600
and 3,200, often with 2nd-unit director of photography Duane
Manwiller, who was tasked with filming a number of car chases on
unlit country roads. I discovered that if I shot at 800 ASA and
pushed it a little bit in the DI, the image quality was better than
going to 1,600 ASA, Van de Sande reports. At 1,600 I would get
more noise, which I didnt want. I did go to 1,600 for a few 50-fps
and 100-fps shots, but we helped those in post.
As production drew closer, Van de Sande and Fleder decided
they wanted to go for a gritty look, especially for the opening scenes
and the climactic shootout. I suggested to Gary that we push the
images in terms of contrast and bold, edgy colors, says the cine-
American Cinematographer
Homefront photos by Justin Lubin, SMPSP, courtesy of Open Road Films. Dailies frame grabs courtesy of Theo van de Sande.
Production Slate
Top: Brokers
Louisiana home.
Middle: The crew
prepares multiple
cameras for a
night scene with
Vidovic outside
the house.
Bottom: ArriMax
18Ks gelled with
Steel Blue were
positioned above
tall oak trees to
mimic moonlight
for a night scene
in the bayou.
22
December 2013
American Cinematographer
BEST C INEMATOGRAPHY
ANDREW LESNIE, ACS, ASC
W W W . WA R N E R B R O S 2 0 1 3 . C O M
A T
December 2013
American Cinematographer
December 2013
TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa, Canon EOS 5D Mark II
Angenieux Optimo, Cooke S4,
Canon L Series
December 2013
Black Nativity photos by Phil Bray, SMPSP, courtesy of Fox Searchlight Pictures.
Langston (Jacob Latimore, center) gets into the Christmas spirit in the musical Black Nativity, shot by
Anastas Michos, ASC.
GO WHEREVER THE
STORY TAKES YOU.
2013 Canon U.S.A., Inc. All rights reserved. Canon and EOS are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries.
Top: Langstons mother, Naima (Jennifer Hudson), sends him to spend the holidays with his
grandparents in New York. Middle: Langston surveys his grandparents home in Harlem under
the watchful eye of his grandfather, Rev. Cobbs (Forest Whitaker). Bottom: Langston and Loot
(Tyrese Gibson) sit in the Queens County jail.
30
December 2013
American Cinematographer
Top: Acamera/Steadicam
operator Gerard
Sava films
Whitaker in the
church. Middle:
Langston, Aretha
(Angela Bassett),
Naima and Rev.
Cobbs join the
church choir.
Bottom: A Louma
2 crane
maneuvers the
camera to capture
the celebration.
32
December 2013
American Cinematographer
RENT
CAMERAS
ARRI ALEXA
RED EPIC & SCARLET s SONY F55 / F5 / F3 / FS700 / PMW200 & PMW100 / EX3 & EX1R s CANON C500 / C300 / C100 / 1DC / XF105
A RRI ULTR A PRIME S
1DX / 5D MK III / 6D / 7D s NIKON D 4 / D 8 0 0 / D 6 0 0 s PH A SE ONE iQ 18 0 / iQ 16 0 / iQ 14 0 LENSE S
ARRI FUJINON ALURAS s ANGENIEUX OPTIMOS s CANON CINE PRIMES & ZOOMS s COOKE S4 & MINI S4 s ZEISS CP2 / LWZ2 / ZE / ZF.2
LEICA M s NIKON PRIMES & ZOOMS CAMER A ACCESSORIES
T V L O G I C , S M A L L H D, S O N Y a n d PA N A S O N I C M O N I T O R S
RONFORD-BAKER, OCONNOR, SACHTLER, GITZO and MANFROTTO TRIPODS & HEADS s CINEVATE ATLAS SLIDERS s JIBS & DOLLIES
A R R I , O C O N N O R , R E D R O C K M I C R O, E A S Y R I G a n d G E N U S M AT T E B OX E S , H A N D H E L D R I G S a n d F O L L O W F O C U S
CONVERGENT DESIGN, CODEX, AJA, SOUND DEVICES and ATOMOS VIDEO RECORDERS LIGHTING
ARRI / DEDOLIGHT
MAT THE WS,
LEKO / JOK ERS / K INO FLO / LITEPANELS / LOWEL / MOLE RICHARDSON / PROFOTO STROBES GRIP
MAC TOWERS & LAPTOPS / EIZO and APPLE MONITORS / LOCATION CARTS
AVENGER and MANFROTTO COMPUTERS
Top: Langston
places a call for
help in Times
Square. Middle:
Sava and focus
puller Craig
Pressgrove
capture the shot.
Bottom: Michos
frames up inside
the church.
TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa
Panavision Primo
34
December 2013
American Cinematographer
WORLD-CLASS DI COLORISTS
JASON FABBRO
MICHAEL HATZER
MARK KUEPER
MIKE SOWA
NICO ILIES
PAUL ENSBY
PETER DOYLE
SKIP KIMBALL
STEVEN J. SCOTT
TONY DUSTIN
www.technicolor.com
Boom
and
Bust R
Rodrigo Prieto, ASC, AMC
and Martin Scorsese discuss their
approach to The Wolf of Wall Street,
the true story of a stockbroker
run amok.
By Michael Goldman
|
38
December 2013
American Cinematographer
Opposite: Wall Street broker Jordan Belfort (Leonardo DiCaprio) flaunts a life of excess in The Wolf
of Wall Street. This page, top: Belfort rallies his employees in the refurbished auto shop that first
houses his company, Stratton Oakmont. Middle: Belfort dines with his mentor, Mark Hanna
(Matthew McConaughey). Bottom: Cinematographer Rodrigo Prieto, ASC, AMC lines up a shot
with 1st AC Zoran Veselic.
www.theasc.com
December 2013
39
December 2013
American Cinematographer
December 2013
41
December 2013
Top: Belfort belts out a tune during a pool party at his beach house. Bottom: The crew positions an
18K HMI Fresnel on a Condor to maintain lighting continuity beneath the oncoming cloud cover.
43
Scorsese directs
Robbie and
DiCaprio for a
scene in a
nursery.
December 2013
December 2013
T1.4
T2.8
NEW
T2.0
CookeOpticsLimited
T2.3
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Right: Belfort
raises a glass
atop his yacht.
Below: Belfort
speaks with FBI
Agent Patrick
Denham (Kyle
Chandler).
December 2013
TM
!!v;>Z5>ZQ>5;
855-441-5500 | Cinelease.com
>;;!v
50
December 2013
American Cinematographer
Scorsese discusses a shot with Prieto and 1st AD Adam Somner (center).
52
TECHNICAL SPECS
2.40:1
4-perf Super 35mm and
Digital Capture
Arricam Lite; Arri Alexa Studio, Plus
Arri Master Prime;
Vantage Film Hawk V, V-Plus, V-Lite;
Innovision Optics Probe II Plus
Kodak Vision3 250D 5207,
500T 5219
Digital Intermediate
53
A
Soul
Suppressed
A free African-American man is
abducted and sold into slavery in the
searing drama 12 Years a Slave, shot
by Sean Bobbitt, BSC.
By John Calhoun
|
54
December 2013
American Cinematographer
Photos by Franois Duhamel and Jaap Buitendijk, SMPSP, courtesy of Fox Searchlight Pictures.
Opposite: Solomon Northup (Chiwetel Ejiofor) considers his plight after being kidnapped and sold into
slavery. This page, top: Northup is threatened by plantation owner Edwin Epps (Michael Fassbender).
Bottom: Cinematographer Sean Bobbitt, BSC (left) and director Steve McQueen line up a shot.
www.theasc.com
December 2013
55
A Soul Suppressed
example: the first act has no scripted
dialogue, the second is entirely
composed of a scripted exchange
between hunger striker Bobby Sands
and a priest, and the third returns to the
unscripted method.
Though 12 Years a Slave has a
more familiar narrative structure, it was
not shot in a conventional manner. For
instance, the word coverage does not
exist in Steves vocabulary, says Bobbitt.
We shoot what is needed to tell the
story as opposed to shooting what we
might need to tell the story.
The film is based on the memoir
by Solomon Northup (played by
Chiwetel Ejiofor), a professional violinist living as a free man in New York
State who was kidnapped in 1841 and
We shoot what is
needed to tell the
story as opposed to
shooting what we
might need to tell
the story.
December 2013
American Cinematographer
A Soul Suppressed
way, he adds. When its not right, I
know that immediately, and I can
change it. I also get a lot of pleasure out
of operating and I dont want to give
that up.
He and McQueen used camera
moves very judiciously for 12 Years a
Slave. Tapping Steadicam operators
Andy Shuttleworth, Larry McConkey
and Grayson Austin, they employed a
Steadicam for four key scenes: an early
shot of Solomon playing violin at a
dance as a free man; the slave auction
where he is first sold; a scene showing
him playing violin for wealthy plantation owners as a slave; and a scene in
which he attempts to escape through
the woods. We chose Steadicam for
[those first three scenes] because we
wanted them to be slick, says Bobbitt.
58
December 2013
American Cinematographer
ARRIRAW UNLEASHED
www.arri.com/qr/ac/alexa-xt
A Soul Suppressed
viewers off the hook; theyre drawn into
the violence to the point where it
becomes uncomfortable and leaves a
lasting impression.
McQueen and Bobbitt have
steadfastly chosen film over digital
capture. Shooting on film simply takes
a will and desire to do so, and Steve
always wants to shoot film, says
Bobbitt, whose credits include one digital feature, Neil Jordans Byzantium. I
think film still results in a more interesting image and offers greater flexibility. I
like grain and texture; sharpness and
detail are not so important to me.
He recognizes, however that this
is partly a generational preference. I
grew up watching films, so for me the
film image is the highest quality. A lot of
Top: Plantation
owner William
Ford (Benedict
Cumberbatch)
leads a sermon.
Middle: Ford
offers Northup a
violin in
appreciation of
his work.
Bottom: Northup
lands a paying
gig at a masked
ball for
plantation
owners.
December 2013
American Cinematographer
TM
FILTERS
2013 The Tiffen Company. All trademarks or registered trademarks are property of their respective owners.
These images are from 42 Legendary Pictures Productions LLC. & Warner Bros Entertainment Inc.
A Soul Suppressed
Top: Fords
overseer, Tibeats
(Paul Dano),
gives Northups
work a poor
evaluation.
Bottom: 1st AD
Doug Torres (far
right) offers
guidance to
Ejiofor as
Bobbitt and his
crew prep an
overhead angle
of Northup
being dragged
off for
punishment.
Standing at the
dolly are (from
left) key grip
Nick Leon (face
obscured), dolly
grip Joe Cassano
and grip Richard
Ramee.
dark, and once you go into that darkness, darker faces disappear, so we had
to find a balance.
Bobbitt paired double-wick
candles at maximum output with lowwattage China balls on dimmers to
62
December 2013
A Soul Suppressed
a 2K bounced off an 8'x4' white floppy
angled to the window.
Bobbitt approaches lighting a
scene with the whole set in mind. I
light for 360 degrees on the set, not one
half and then the other, he explains. I
dont want to take the time to relight, so
I avoid a lot of stands on the floor. That
simplifies my life dramatically.
The cinematographer got his
start in documentaries, and that has
informed his lighting style. On one
particular documentary, he recalls, we
were in the Middle East for three
months, and within the first three days
I had blown up every single light. I had
one left, and for the next 2 months I
did everything with one light. I learned
more about lighting during that time
December 2013
American Cinematographer
65
A Soul Suppressed
Northup reveals his identity to Bass (Brad Pitt), a Canadian builder Epps has contracted for a job.
66
TECHNICAL SPECS
2.40:1
4-perf Super 35mm
Arricam Studio, Lite
Cooke S4, Angenieux
Optimo
Kodak Vision3 50D 5203,
250D 5207, 500T 5219
Digital Intermediate
67
Grand
Battles
December 2013
American Cinematographer
Opposite: The mighty Thor (Chris Hemsworth) battles to save the universe in Thor: The Dark World. This
page, top: The nefarious Malekith (Christopher Eccleston) plots dark deeds. Middle: Thor and his
adopted brother, Loki (Tom Hiddleston), must stand united to combat Malekiths army of Dark Elves.
Bottom: Cinematographer Kramer Morgenthau, ASC.
www.theasc.com
December 2013
69
Grand Battles
Top: Odin (Anthony Hopkins) reigns over Asgard, where theres a shade of gold everywhere in
the art direction, says Morgenthau. Middle and bottom: Loki, imprisoned in Asgard for his
previous misdeeds, is given a second chance.
70
December 2013
American Cinematographer
Mythology depends
on a grand scale, and
when going for an epic
vista anamorphic is a
natural choice.
December 2013
71
Grand Battles
Top: Malekith
takes a darker
form on Earth in
this frame grab.
Middle: Director
Alan Taylor runs
through the
scene with
Eccleston.
Bottom: On
location in
Iceland, the crew
films part of a
battle sequence
set in
Svartalfheim, the
realm of the Dark
Elves.
72
December 2013
American Cinematographer
73
Grand Battles
December 2013
American Cinematographer
www.theasc.com
December 2013
75
Grand Battles
This sequence of frame grabs illustrates part of Thors confrontation with a Kronan, a
stony-bodied extraterrestrial.
76
December 2013
American Cinematographer
www.technicolor.com/hollywood
Grand Battles
Top: A Dark Elf Ark ship touches down on Earth. Middle: Malekith walks from an Ark on Svartalfheim.
Bottom: Jane, Thor and Loki enter Svartalfheim aboard an Asgardian skiff.
78
December 2013
American Cinematographer
Smoke brings a
real texture to and
takes some of the
electronic edge off
the digital image.
INSPIRE
YOUR
IMAGINATION
THE NEW MANFROTTO 500 FLUID VIDEO HEAD
COMPLETES THE BRIDGING TECHNOLOGYTM FAMILY
Manfrottos 4 Bridging Technology Pro Video Heads are designed for use with the latest HDSLRs,
interchangeable lens video cameras, standard video cameras and for use on sliders and jibs.
The professional uid cartridges and inner ball-bearings ensure that all Bridging Technology heads provide the smooth
and precise movement required for todays pro video cameras. The longer sliding plate and wider platform make each
head more adaptable to different balance requirements and different camera congurations. The 4 Bridging Technology
Pro Video Heads each have a different maximum payload and are also available in combination with Manfrotto aluminum
and carbon ber tripods and bags.
Available in at-based
or half-ball versions.
Rebates up to
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THUMYV[[V\Z
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Grand Battles
December 2013
American Cinematographer
Grand Battles
Elba stands on Heimdalls platform, ready to open the rainbow bridge that connects the realms,
in the Asgard Observatory set at Shepperton Studios.
82
2K in a theater at Shepperton.
For the final timing, at
Technicolor Hollywood, colorist Steven
J. Scott graded 10-bit DPX LogCv3
files with Autodesks Flame Premium
on a Lustre 2013, according to
Technicolor Senior Producer Mike
Dillon. Camera capture was framed
with 10-percent padding, so the final
deliverables were cropped 10 percent to
2048x1716, says Dillon. The 2K deliverables for 2-D and 3-D were 16-bit
TIFF/CapXYZ DCDMs (2048x858).
For 3-D Imax, 4K 16-bit TIFFs were
horizontally expanded from 2048x1716
to a 4096x1716 flat image. A 2K
filmout was done on a Cinevator to
Kodak 2254. Deluxe Laboratories in
Hollywood made the domestic answer
and release prints on Fujifilm EternaCP 3514DI.
Looking back at his collaboration
with Taylor on The Dark World,
Morgenthau offers, Working with
Alan is a creative high. He is a visually
TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Plus
Panavision C Series, E Series,
G Series, AWZ2, ATZ
Stereoscopic Conversion
83
December 2013
American Cinematographer
Opposite: An escaped convict, Frank (Josh Brolin), invades the lives of Adele (Kate Winslet) and
her son, Henry (Gattlin Griffith), in Labor Day. This page, top: Frank initially holds the pair
hostage in their house. Middle: As the story progresses, Frank and Adele warm to each other.
Bottom: Cinematographer Eric Steelberg, ASC measures the light on Winslet.
www.theasc.com
December 2013
85
Top: In this
flashback scene,
a young Frank
(Tom Lipinski)
clutches his child
and searches for
his wife inside a
crowded bar.
Middle: Frank
pauses in a
moment of selfreflection.
Bottom: Another
flashback shows
Adele and her
husband (Clark
Gregg) in happier
times.
86
December 2013
American Cinematographer
December 2013
Above: 1st AC
Zoran Veselic and
A-camera/
Steadicam
operator P. Scott
Sakamoto frame
Brolin and Griffith
for a scene in
which Frank
teaches Henry to
hit a baseball.
Right: Sakamoto
captures the main
characters in a
moment of
intimacy.
90
December 2013
American Cinematographer
www.clairmont.com
Top: Reitman plans his coverage as crewmembers build a camera platform for a scene on a riverbed.
Bottom: A crane arm facilitates a shot of Frank toiling next to a barn.
December 2013
CHAPMAN/LEONARD
Studio
Studio Equipment,
Equipment, Inc.
Inc.
www.chapman-leonard.com
TELESCOPING CRANES
15, 20, 32 ... Introducing the 73 Hydrascope
Equipment that works in any environment
weather resistant and tough
With Stabilized Remote Camera Systems
Super PeeWee IV
Part of the PeeWee series
DOLLIES...
Pedestals, Mobile Cranes, Arms & Bases
Hustler IV
Some of the shows local electricians man the HMIs and gel frames positioned
outside the prisons windows.
94
TECHNICAL SPECS
2.40:1
Digital Capture
Red Epic
Arri Master Prime,
Bausch & Lomb Baltar,
Cooke, Angenieux
Post Focus
December 2013
American Cinematographer
Chainsaws
feature-film
facility in
Hollywood
boasts a 4K DI
theater
outfitted with
a FilmLight
Baselight
grading
system.
December 2013
SUBMISSION INFORMATION
Please e-mail New Products/Services releases to
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.
Codex. Both Codex and Shotgun Software have firsthand knowledge of managing digital productions and we will continue to
provide cost-effective tools that will facilitate and optimize production in this critical transition period.
For additional information, visit www.codexdigital.com.
Nila Lights up Zaila
Nila, Inc., a provider of environmentally sustainable LED lighting fixtures, has
released the Zaila portable and compact
LED. The Zaila provides a high amount of
light in a very small form factor while offering all of the features found in other Nila
lights, such as on-board, DMX controllable
dimming; holographic lenses; AC/DC input;
barn doors; and a robust design.
Zaila provides the light output of a
200-watt HMI (or a 350 watt with the tungsten replacement option) while only drawing 45
watts of power. It features instant on, a 10-18volt DC or 90-250-volt AC input, and conductive
cooling. It is also DMX controllable.
The Zaila promises reliability with color accuracy from fixture
to fixture, stable color through the entire dimming range, and flickerfree operation at any speed up to 1,500 fps. It uses long-life LEDs,
and features a built-in Chimera mount and a two-year limited
warranty.
The Zaila Deluxe Kit retails for $999 and comes in a 5"x5"x5"
housing that weighs less than 5 pounds.
For additional information, visit www.nila.tv.
Vantage Opens up T1 Primes
Vantage Film, manufacturer of Hawk anamorphic lenses, has
introduced its first line of spherical primes, the Vantage One lenses.
Comprising 17.5mm, 21mm, 25mm, 32mm, 40mm, 50mm,
65mm, 90mm and 120mm lenses, each prime in the Vantage One
line boasts super close-focus optics and a wide-open aperture of T1.
The Vantage One lenses are grounded in an understanding
of the history of lens design, an awareness of the industrys fastchanging technological environment, and informative conversations
with cinematographers. With modern light-sensitive digital sensors
in mind, Vantage One lenses are designed to deliver a flawless look
at T2, T2.8 and T4; at T1, the Vantage One lenses lend the image a
subtle creaminess perfect for skin tones.
Vantage One lenses will be offered in two versions, one with
the regular lens coatings, and the other marked with a distinctive
red ring with certain uncoated optical elements, which results in
additional flaring and lower contrast.
American Cinematographer
The Vantage
One primes feature
all the durable,
dependable mechanics and robust construction that cinematographers have come
to expect from Vantages Hawk anamorphics. All of the lenses in the Vantage One
line weigh between 3.3 and 6.2 pounds and
feature a front diameter between 110mm
and 150mm, and an overall length between
126mm and 174mm. The lenses can be
covered by 4"x5.65" filters.
For additional information, visit
www.vantagefilm.com.
Canon Partners with AbelCine
for Cinema Lens Service
Canon U.S.A., Inc. has announced
that U.S.-based motion-picture equipment
and service provider AbelCine is the first to
join Canons Cinema Lens Service Partner
Program.
As a partner, AbelCine joins Canons
existing factory service facility network in
providing comprehensive service and
support to users of Canons EF- and PLmount Cinema Lenses. AbelCine will be
authorized to provide warranty repair, nonwarranty repair and preventative maintenance on the full line of Canon EF- and PLmount Cinema Lenses. AbelCine technicians
will be qualified to perform detailed function
checks on all Canon Cinema prime and
zoom lenses, including diagnosis of issues,
as well as lens disassembly, maintenance,
adjustment and cleaning.
Canon prides itself on providing
first-class service and customer support for
professional clients, says Yuichi Ishizuka,
executive vice president and general
manager, Imaging Technologies & Communications Group, Canon U.S.A. We understand that our commitment to our loyal
customers only begins at the point of sale.
Our new Cinema Lens Service Partner
program looks to identify and align us with
those organizations that match our own
commitment to service and reliability. We are
happy to welcome AbelCine as our first
partner in this new program.
Telecine &
Color Grading
Jod is a true artist with
a great passion for his craft.
John W. Simmons, ASC
December 2013
Zacuto
Introduces Axis
Zacuto has introduced the
Axis, an adjustable, universal electronicviewfinder mount designed to work with
any camera. The Axis can be swung far
forward for a compact shoulder-mounted
rig, it can be extended rearward and act as a
tripod leveler, or it can be positioned
anywhere in between for high-mode, lowmode, dolly, handheld and tripod shots.
The Axis three pivoting points are
controlled independently by red tension
levers, which allow users to dial in the exact
amount of tension on each segment. The
Axis attaches to the camera via other Zacuto
accessories such as a Z-Rail, Half Cage or
other Z-Rail accessories; it is also compatible
with rails from Nato, Swat, Red, Picatinny
and Wooden Camera. The Axis can be
installed and packed away in seconds.
For additional information, visit
www.zacuto.com.
Campilots Flies Colibri
Campilots, the company co-founded
by cinematographers Volker Tittel, BVK and
Holger Fleig, BVK (pictured), has introduced
Come visit our showroom or call for our latest Magliner product catalog
We
W
e are the largest retailer specializing in Magliner
Magline customized products and accessories for the Film
m and T
Television
elevision
e
Industry in the world
perform to a high level over its entire lifespan and to maintain a consistent output
throughout a shoot, with no change in
color response.
The Gulliver LED is designed for use
in small studios and on location. Lightweight and durable, it is ideal for news and
documentary reporters. The Gullivers
aluminum casing incorporates near-invisible
vents throughout, to keep temperature
stable and facilitate heat dispersion. Additionally, the fixtures mirrors are printed on
ultra-pure time-tested aluminum, and a
special diffusing finish provides the right
light balance between softness and high
luminance.
Because of our precise LED arrays
and custom-designed heat sinks, the
dreaded color shift is not an issue, says
Allen-Miles. These factors, plus LED bulb
quality, means that the unit has excellent
heat dissipation. This makes a real difference compared to standard products.
For additional information, visit
www.ianirouk.com.
December 2013
American Cinematographer
www.sgo.es.
www.danadolly.com
International Marketplace
((623)
623) 5561-6490
61-66490
DENECKE, INC.
25209 Avenue Tibbitts
Valencia, CA 91355
Phone (661) 607-0206 Fax (661) 257-2236
www.denecke.com Email: info@denecke.com
104
December 2013
American Cinematographer
Classifieds
EQUIPMENT FOR SALE
MISCELLANEOUS
MISCELLANEOUS
HIRING manager for Red, Epic, Scarlet rental
house, Burbank area
Call: 626-674-7999 e-mail: 37887392@qq.com
SERVICES AVAILABLE
Responsibilities include teaching three Studio classes STEADICAM ARM QUALITY SERVICE OVERa semester and participation in departmental and
HAUL AND UPDATES. QUICK TURNAROUND.
institutional committee work. Candidate must have ROBERT LUNA (323) 938-5659.
demonstrable skills in the classroom and professional credits. Priority given to those with an MFA
degree.
Please submit cover letter, current CV, a link to a
website or reel, and three letters of recommendation by January 31, 2014 to Associate Professor
Robert Gordon,
rgordon@watkins.edu
www.theasc.com
December 2013
105
Advertisers Index
AC 101
Adorama 33, 89
AJA Video Systems, Inc. 53
Alan Gordon 105
Arri 59
Arri CSC 45
Art-4.com 99
ASC 66
AZGrip 104
Denecke 104
Eastman Kodak C4
Schneider Optics 2
Sony Electronics, Inc. 36-37
Sony Pictures Entertainment
17
Super16, Inc. 104
Hertz Corporation 49
Huesca Film Office (HUFO)
8
Camerimage 103
Canon USA Video 29
Carl Zeiss SBE, LLC 51
Cavision Enterprises 104
CBS Films 9
Chapman/Leonard Studio
Equipment Inc. 93
Cinebags Inc. 105
Cinematography
Electronics 8
Cinekinetic 104
Clairmont Film & Digital 91
Cooke Optics 47
106
K5600 63
Kino Flo 83
Lights! Action! Co. 105
Manfrotto 79
M.M. Mukhi & Sons 105
Movie Tech AG 104, 105
NBC Universal Pictures 13
NBC Universal Studio
Operations 87
Next Shot 57
No Subtitles Necessary 82
P+S Technik 105
Panavision C3
Panther Gmbh 95
Paramount Pictures 21, 25
PC&E 67
Pille Filmgeraeteverleih
Gmbh 104
Pro8mm 104
Technicolor 35, 77
Tiffen 61
Visual Products 8
Walt Disney Studios 7
Warner Bros. 11, 15, 19,
23, 27
Willys Widgets 104
www.theasc.com 6, 82,
94, 97, 106
2013 Index
by Cinematographer, Project Title, Format, Subject and Author
Compiled by Christopher Probst
3-D
Gravity, Nov. p. 36
Great Gatsby, The,
June p. 48
Hobbit: An Unexpected
Journey, The,
Jan. p. 50
Metallica Through the
Never, Nov. p. 78
Oz the Great and
Powerful, April p. 36
Pacific Rim, Aug. p. 46
Star Trek Into Darkness,
June p. 34
Thor: The Dark World,
Dec. p. 68
7x6x2, April p. 14
12 Years a Slave,
Dec. p. 54
35MM (SUPER 35MM LISTED
SEPARATELY)
Laurence Anyways,
July p.20
Post Tenebras Lux,
July p. 24
42, May p. 48
65MM
Gravity, Nov. p. 36
Star Trek Into Darkness,
June p. 34
Ackroyd, BSC, Barry,
Nov. p. 64
After Earth, July p. 44
After Tiller, Oct. p. 22
Aint Them Bodies Saints,
Sept. p. 80
All Is Lost, Nov. p. 50
Amour, Jan. p. 18
ANAMORPHIC
Django Unchained,
Jan. p. 32
Elysium, Sept. p. 34
Gangster Squad,
Feb. p. 42
General Electric, Juice
Train, Jan. p. 12
Houston, April p. 80
London Grammar,
Strong, Nov. p. 16
Lone Ranger, The,
Aug. p. 32
Patience Stone, The,
Sept. p. 20
Promised Land,
Jan. p. 24
Star Trek Into Darkness,
June p. 34
107
December 2013
Cuarn, Alfonso,
Nov. p. 36
Del Toro, Guillermo,
Aug. p. 46
Emmerich, Roland,
July p. 32
Fleder, Gary, Dec. p. 20
Fleischer, Ruben,
Feb. p. 42
Gervasi, Sacha,
Jan. p. 82
Gordon-Levitt, Joseph,
Oct. p. 30
Greengrass, Paul,
Nov. p. 64
Helgeland, Brian,
May p. 48
Heskett, Drew,
Oct. p. 14
Hooper, Tom, Jan. p. 66
Howard, Ron, Oct. p. 42
Jewel, Daniel,
Dec. p. 12
Martin, Stephanie,
Aug. p. 14
Mehta, Deepa,
May p. 56
Nguyen, Kim, April p. 20
Perez, Monica,
Sept. p. 14
Pope, Paul, April p. 14
Reddy, Sridhar,
April p. 14
Refn, Nicolas Winding,
Sept. pp. 50, 60
Reitman, Jason,
Dec. p. 84
Schwarz, Shaul,
April p. 100
Scorsese, Martin,
Dec. p. 38
Shane, Martha,
Oct. p. 22
Shyamalan, M. Night,
July p. 44
Strickland, Peter,
Aug. p. 24
Strohmaier, David,
April p. 64
Tarantino, Quentin,
Jan. p. 32
Taviani, Paolo,
Feb. p. 24
Taylor, Alan, Dec. p. 68
Vinterberg, Thomas,
Aug. p. 20
White, Susanna,
Feb. p. 54
Wright, Edgar,
Sept. p. 64
Django Unchained,
Jan. p. 32
DOCUMENTARIES
After Tiller, Oct. p. 22
American Cinematographer
Hitchcock, Jan. p. 78
Hobbit: An Unexpected
Journey, The, Jan. p. 50
Homefront, Dec. p. 20
Hora, ASC, John, April p. 64
House of Cards, Feb. p. 18
Houston, April p. 80
Hubbs, ASC, Gil, July p. 64
Hunt, The, Aug. p. 20
Hunter, Jay, July p. 56
Iceman, The, June p. 60
IMAX
Star Trek Into Darkness,
June p. 34
IN MEMORIA
Austin, ASC, Charles,
March p. 71
Erb, ASC, Geoffrey,
Sept. p. 114
Lamkin, ASC, Ken,
Jan. p. 105
Taylor, ASC, Alfred,
March p. 69
Taylor, BSC, Gilbert,
Nov. p. 111
INSTRUCTIONAL
The ABCs of DMX,
May p. 66
In the Picture, April p. 64
Jensen, ASC, Matthew,
Nov. p. 110
Joffin, ASC, Jon,
March p. 74
Johnson, ASC, Shelly,
June p. 108
Justin Timberlake and
Jay-Z, Suit & Tie,
May p. 14
Khondji, ASC, AFC, Darius,
Jan. p. 18
Kloss, Thomas, Oct. p. 30
Knapp, Douglas, April p. 64
Knowland, BSC, Nic,
Aug. p. 24
Koretz, Eric, June p. 14
Kornai, Mishka, Oct. p. 14
Kotschi, Michael,
April p. 80
Labor Day, Dec. p. 84
Lamkin, ASC, Ken,
Jan. p. 105
Lasky, Alan, Feb. p. 12
Laurence Anyways,
July p. 20
Laxton, James, Sept. p. 14
Les Misrables,
Jan. p. 66
Lesnie, ASC, ACS, Andrew,
Jan. p. 50
Levy, Sam, June p. 20
Libatique, ASC, Matthew,
May p. 14
LIGHTING DIAGRAMS
Chevy Volt, The Volt
Plasma Challenge,
June p. 14
Elysium, Sept. p. 34
Enter the Dragon,
July p. 64
Gangster Squad,
Feb. p. 42
Les Misrables,
Jan. p. 66
Metallica Through the
Never, Nov. p. 78
Rush, Oct. p. 38
The ABCs of DMX,
May p. 66
Thor: The Dark World,
Dec. p. 68
White House Down,
July p. 32
Worlds End, The,
Sept. p. 64
London Grammar,
Strong, Nov. p. 16
Lone Ranger, The,
Aug. p. 32
Lore, March p. 20
Lubezki, ASC, AMC,
Emmanuel, Nov. p. 36
Maibaum, ASC, Paul,
May p. 100
Marilyn Manson,
Slo-Mo-Tion,
Feb. p. 12
McDonough, ASC, Michael,
March p. 74
McGarvey, ASC, BSC,
Seamus, Nov. p. 112
Metallica Through the
Never, Nov. p. 78
Metcalfe, Alex, April p. 26
Michos, ASC, Anastas,
Dec. p. 28
Midnights Children,
May p. 56
Mindel, ASC, BSC, Dan,
June p. 34
Miranda, ASC, Claudio,
May p. 34
Morano, ASC, Reed,
June p. 106
Morgenthau, ASC, Kramer,
Dec. p. 68
Morrison, Rachel,
April p. 83
Mother of George,
April p. 80
Much Ado About
Nothing, July p. 56
Mullen, ASC, M. David,
April p. 88
MUSIC VIDEOS
Die Antwoord, I Fink U
Freeky, March p. 14
Exitmusic, White
Noise, Sept. p. 14
Justin Timberlake and
Jay-Z, Suit & Tie,
May p. 14
London Grammar,
Strong, Nov. p. 16
Marilyn Manson,
Slo-Mo-Tion,
Feb. p. 12
Narco Cultura,
April p. 100
Navarro, ASC, Guillermo,
Aug. p. 46
NCIS, Oct. p. 66
NEW ASC ASSOCIATES
Abel, Pete, Oct. p. 98
Abel, Rich, Oct. p. 98
Bogdanowicz, Jill,
Oct. p. 98
Dando, Marc, Oct. p. 98
Harp, Lisa, Sept. p. 118
Jannard, Jim,
Jan. p. 106
Kraus, Franz, Aug. p. 86
Land, Jarred,
Nov. p. 110
Mankofsky, Chris,
June p. 106
Peck, Eliott, Aug. p. 86
Potter, Sherri, July p. 86
Reisner, David,
Feb. p. 86
Schwarz, Alexander,
Dec. p. 114
NEW ASC MEMBERS
Briesewitz, Uta,
April p. 118
Cernjul, Vanja,
Sept. p. 118
Chediak, Enrique,
March p. 74
Chomyn, Christopher,
Feb. p. 86
Fey, Cort, March p. 74
Foerster, Anna J.,
Jan. p. 106
Jensen, Matthew,
Nov. p. 110
Joffin, Jon, March p. 74
Legato, Robert,
Dec. p. 114
McDonough, Michael,
March p. 74
Morano, Reed,
June p. 106
Phillips, Sean MacLeod,
Nov. p. 110
Pusheck, Cynthia,
Sept. p. 118
Sarossy, Paul, May p. 98
Sher, Lawrence,
Jan. p. 106
Tirone, Romeo,
March p. 74
Webb, William,
March p. 75
NEW HONORARY ASC MEMBERS
Zydowicz, Marek,
July p. 86
No, April p. 97
Notarile, ASC, Crescenzo,
Oct. p. 86
Nuttgens, BSC, Giles,
May p. 56
Oblivion, May p. 34
Only God Forgives,
Sept. p. 50
Opaloch, Trent, Sept. p. 34
Oz the Great and
Powerful, April p. 36
Pacific Rim, Aug. p. 46
Pados, HSC, Gyula,
Nov. p. 78
Parades End, Feb. p. 54
Patience Stone, The,
Sept. p. 20
Phil Spector, March p. 28
Phillips, ASC, Sean
MacLeod, Nov. p. 110
Place Beyond the Pines,
The, April p. 52
Polonsky, Jake, Sept. p. 66
Pope, ASC, Bill, Sept. p. 64
Populaire, Oct. p. 78
POSTPRODUCTION
Another Trip Down
Sunset Blvd.,
Jan. p. 90
Chainsaw Launches
Feature-Film Division,
Dec. p. 96
CSI: Crime Scene Investigation, Oct. p. 86
Gravity, Nov. p. 42
Rush, Oct. p. 44
Una Noche, Sept. p. 94
Under the Dome,
Aug. p. 74
Post Tenebras Lux,
July p. 24
PRESERVATION/RESTORATION
Sunset Blvd., Jan. p. 90
Prieto, ASC, AMC, Rodrigo,
Dec. p. 38
Prisoners, Oct. p. 54
Promised Land,
Jan. p. 24
Pusheck, ASC, Cynthia,
Sept. p. 118
Quinn, ASC, Declan,
May p. 28
Reluctant Fundamentalist,
The, May p. 28
Richardson, ASC, Robert,
Jan. p. 32, Aug. p. 14
www.theasc.com
109
110
December 2013
Blair, Iain,
Finding Her Way,
June p. 20
A View of the Future,
Aug. p. 74
View from Cuba,
Sept. p. 94
Investigating CSI s
Workflow, Oct. p. 86
Bland Assassin,
Dec. p. 12
Chainsaw Launches
Feature-Film
Division, Dec. p. 96
Bosley, Rachael K.,
6 Sundance Standouts, April p. 83
Big Guns, Aug. p. 32
Unique Perspectives
on Abortion,
Oct. p. 22
Burcksen, Edgar,
CinematographerEditor Collaboration
More Crucial Than
Ever, June p. 82
Calhoun, John,
A Musical Revolution,
Jan. p. 66
Power Plays,
Feb. p. 18
A Singular Vision,
July p. 24
A Soul Suppressed,
Dec. p. 54
Dillon, Mark,
Child Soldiers in
Africa, April p. 20
The Drama of Sound,
Aug. p. 24
Internet Whistleblowers, Nov. p. 22
Love on the Lam,
Dec. p. 84
Dod Mantle, ASC, BSC,
DFF, Anthony,
Rendering Altered
States for Trance,
May p. 20
Ernest, Alec,
Bullet Train,
Jan. p. 12
Gervasi, Sacha,
Dramatizing the
Master of Suspense,
Jan. p. 82
Giesen, Erhard,
Organizing a 9-Camera
Workflow, Oct. p. 44
Goldman, Michael,
The Worlds Most
Wanted Man,
Feb. p. 32
American Cinematographer
Trials by Fire,
March p. 28
Hell on Wheels,
April p. 52
A Trailblazers Tale,
May p. 48
Boldly Captured,
June p. 34
Prime Target,
July p. 32
Boom and Bust,
Dec. p. 38
Gray, Simon,
An Unlikely Hero,
Jan. p. 50
Living Large,
June p. 48
Rapturous Action,
Aug. p. 56
Heuring, David,
A Conscience
Decision, Jan. p. 24
Tech Savvy,
March p. 50
A Violent Homecoming,
Dec. p. 20
Holben, Jay,
An Auteurs Angst,
Jan. p. 78
Trials by Fire,
March p. 31
Surviving the Future,
May p. 34
Battle Bots, Aug. p. 46
Taking on Water,
Nov. p. 50
Hope-Jones, Mark,
Crumbling Pillars,
Feb. p. 54
Capturing Vikings with
Canons C300,
April p. 26
Full Throttle,
Oct. p. 38
Oppenheimer, Jean,
Vision and Verve,
Feb. p. 62
A Teen View of
Zealotry, March p. 20
6 Sundance Standouts, April p. 97
Torn Loyalties,
May p. 8
An Indie Twist on
Shakespeare,
July p. 56
Shattered Past,
Aug. p. 66
LACMA to Celebrate
Figueroa, Sept. p. 26
Magic Touch,
Oct. p. 78
Pizzello, Stephen,
6 Sundance Standouts, April p. 80
Bangkok Dangerous,
Sept. p. 50
Polonsky, Jake,
A 2nd-Unit Shooting
Gallery, Sept. p. 66
Refn, Nicolas Winding,
Directing for All
Platforms, Sept. p. 60
Schruers, Fred,
A Director Shifts
Gears, Oct. p. 42
Sickel, Julie,
Television Triumphs,
Nov. p. 92
Stasukevich, Iain,
Once Upon a Time in
the South, Jan. p. 32
Die Antwoords Freek
Show, March p. 14
Hello, Yellow Brick
Road, April p. 36
Retro Style,
May p. 14
Girls Gone Wild,
June p. 26
Pounding More Than
Pints, Sept. p. 64
Hard-Rock Apocalypse, Nov. p. 78
A Vibrant Holiday
Musical, Dec. p. 28
Steiner, Valentin,
Organizing a 9-Camera
Workflow, Oct. p. 44
Thomson, Patricia,
The Bard Behind Bars,
Feb. p. 24
Trials by Fire,
March p. 33
6 Sundance Standouts,
April pp. 80, 88, 100
Conjuring Hope,
May p. 56
A Killer with 2 Faces,
June p. 60
Unreliable Charges,
Aug. p. 20
A Ladies Man
Evolves, Oct. p. 30
Seized at Sea,
Nov. p. 64
Tonguette, Peter,
Eyes on the Ball,
July p. 14
Fatherly Fireworks,
Nov. p. 16
Williams, David E.,
Beyond the Law,
Oct. p. 54
Tournament of Death,
July p. 64
STATEMENT OF OWNERSHIP,
MANAGEMENT AND CIRCULATION
Title of publication:
AMERICAN CINEMATOGRAPHER
Publication no. 0002-7928
Date of filing: October 25, 2013
Frequency of issue: Monthly
Annual subscription price: $50
Number of issues published annually: 12
Location of known office of publication:
1782 N. Orange Dr., Los Angeles, CA 90028.
Location of the headquarters or general business offices of the
publishers: Same as above.
Names and address of publisher: ASC Holding Corp., 1782 N. Orange
Dr., Los Angeles, CA 90028; Publisher, Martha Winterhalter, Executive
Editor, Stephen Pizzello, 1782 N. Orange Dr., Hollywood, CA 90028. Owner:
ASC Holding Corp.
Known bondholders, mortgages, and other security holders owning
or holding 1 per cent or more of total amount of bonds, mortgages or
other securities: same as above.
Extent and nature of circulation: Total numbers of copies printed (net
press run): average number of copies each issue during preceding 12
months, 37,447; actual number copies of single issue published nearest to
filing date, 38,676.
Paid and/or requested circulation: Paid/Requested Outside-County Mail
Subscriptions stated on Form 3541: average number of copies each issue
during preceding 12 months, 25,024; actual number of copies of single issue
published nearest to filing date, 25,200.
Paid and/or requested circulation: Sales through dealers and carriers,
street vendors and counter sales, and other non-USPS paid distribution:
average number copies each issue during preceding 12 months, 10,463;
actual number of copies single issue published nearest to filing date,
11,326.
Total paid and/or requested circulation: average number copies each
issue during preceding 12 months, 35,487; actual number copies of single
issue published nearest to filing date, 36,526.
Free distribution by mail (samples, complimentary and other free
copies): average number of copies each issue during preceding 12 months,
1,535; actual number copies of single issue published nearest to filing date,
1,800.
Total free distributions: average number of copies each issue during
preceding 12 months, 1,535; actual number copies of single issue published
nearest to filing date, 1,800.
Total distribution: average number of copies each issue during preceding
12 months, 37,022; actual number of copies of single issue published nearest to filing date, 38,326.
Copies not distributed (office use, left over, unaccounted, spoiled
after printing): average number of copies each issue during preceding 12
months, 425; actual number of copies of single issue published nearest to
filing date, 350.
Total: average number of copies each issue during preceding 12 months,
37,447; actual number of copies of single issue published nearest to filing
date, 38,676.
Percent Paid and/or Requested Circulation: average number of copies
each issue during preceding 12 months, 95.8%; actual number of copies of
single issue published nearest to filing date, 95.3%.
I certify that the statements made by me above are correct and complete.
Martha Winterhalter, Publisher
www.theasc.com
December 2013
111
112
December 2013
ACTIVE MEMBERS
Thomas Ackerman
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American Cinematographer
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2 0 1 3
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ASSOCIATE MEMBERS
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www.theasc.com
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HONORARY MEMBERS
Col. Edwin E. Aldrin Jr.
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Cpt. Bruce McCandless II
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D. Brian Spruill
Marek Zydowicz
December 2013
113
Clubhouse News
Schwarz Named Associate
New associate member Alexander
Schwarz was born in Noerdlingen,
Germany, and holds a masters degree in
computer science and image processing
from the University of Applied Sciences in
Augsburg. In 2003, he joined Vantage Film
to focus on the development of the
companys video-assist system, the PSU. He
soon became involved with Vantages
customer-relations department, and since
2009 he has served as director of digital
systems and key accounts. In that role, he
works closely with cinematographers who
use Vantages Hawk anamorphic lenses.
Top left: Robert Legato, ASC. Top right: Associate member Alexander
Schwarz. Bottom: Attendees of the Imago/FNF Oslo Digital Cinema
Conference gather outside the conference's screening venue.
December 2013
Society Members
Join Imago Conference
Under the auspices of the ASCs
International and Technology committees,
David Stump, ASC and Frederic Goodich, ASC recently attended the fourth
Imago/FNF Oslo Digital Cinema Conference, where they discussed the Image
Control Assessment Series and the Academy Color Encoding System. More than
100 cinematographers were in attendance.
Stump also provided updates on the work
of the ASC Technology Committee, and
Goodich and Vilmos Zsigmond, ASC
screened their short film, Kickstart Theft (AC
Nov. 12), which employed ACES in its post
workflow. Zsigmond and fellow ASC
members Yuri Neyman and Sam Nicholson also presented other topics during the
conference.
Organized by cinematographer Paul
Ren Roestad, FNF, the conference repre-
Top: Frederic Goodich, ASC and his wife, Donna, at the Wine Country
Film Festival. Bottom left: Associate member Steve Tiffen.
Bottom right: Associate member Bill Feightner.
technology officer. His appointment coincides with his receipt of SMPTEs 2013 Technicolor/Herbert T. Kalmus Medal for his
contributions to the art and science of digital motion-picture image science.
Bill is recognized industry wide as
one of the top image-science experts in the
field, says Aron Jaszberenyi, managing
director of Colorfront. We worked closely
with him at EFilm for over a decade, and
have been continually impressed by how his
cutting-edge vision as a champion of filebased workflows has become accepted as
the mainstream. His expertise will be invaluable as Colorfront further expands into
high-end image processing, custom development, consulting and other workflow
services.
December 2013
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116
December 2013
American Cinematographer
Close-up