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Wicked World
Above:
The filmmakers
prep some
day-for-night
work at Hanna
and Eriks
cottage, built on
location in
Bavaria. Right:
When the CIA
learns of Eriks
location, its
agents launch a
night raid the
first bit of
artificial light
shown in
the film.
www.theasc.com April 2011 29
was so dark I didnt even bother to take
a light reading, but I felt optimistic that
something beautiful would come of it
because of the Noctilux. Vicki was
standing at a frozen lake, and we lit her
with an LED ring light that we
dimmed down during the shot. She just
fades into the background like a distant
memory.
Some of the opening shots in
Finland were captured with the custom
Zeiss. The focus falls off dramatically
toward the edges of the frame, which is
meant to evoke the mystical quality of a
fairytale land, explains Kchler.
Hanna opens in the frozen
North, where Hanna and Erik have
been living an isolated, frontier-like
existence, hiding out from the CIA.
Determined to keep his daughter safe
from Marissa (Cate Blanchett), the
career CIA agent who murdered the
girls mother, Erik has trained Hanna to
be the perfect soldier. Increasingly rest-
less to see the world, the teen decides its
time to set out on her own. Its only a
matter of time before Marissa and the
CIA give chase.
The scenes in Finland are meant
to represent something like paradise
life is simple and nature rules, says
Kchler. All the colors are natural, and
Top: Following her capture, Hanna is closely monitored at an undisclosed CIA location. Middle:
Director Joe Wright (seated) plans a shot in the set with Steadicam operator Jrg Widmer (left)
and 1st AD Guy Heeley. Bottom: Kchler (foreground) works out a shot of Cate Blanchett that
will be cut into Hannas interrogation scene.
We loved the
idea of this
fairytale cottage
in the forest
suddenly
overwhelmed by
noise and
searchlights.
30 April 2011 American Cinematographer
films, especially when the locations are
so beautiful, raw and dramatic, says
Kchler. In our location, the ice bends
the tops of the trees over so they look
like lollipops or a Tim Burton-style
landscape.
The temperatures made it a chal-
lenge to achieve some of the fluid,
mobile camerawork Wright and
Kchler had in mind. My key grip,
Adrian McCarthy, had a very difficult
job, says the cinematographer. It was
so cold that when the camera was on
tracks, the rubber wheels would freeze
to the tracks within 20 seconds, so
Adrian had to keep the dolly constantly
moving.
For one particular shot, we put
Vicki [Kreips] in a stand of trees and
circled around her, he continues.
Adrian put in a circular track, but the
snow was about 4 feet deep, and he had
to push the dolly around and around. I
got carried away looking through the
lens, and I kept saying, Faster! Faster!
After a little while, he was going slower
and slower, and I said, Whats wrong?
I looked back and saw this panting
figure. It was the first time he ever
cursed at me! That shot ultimately
ended up on the cutting-room floor. If
I really like the shot, its going to end up
on the cutting-room floor thats the
rule, Kchler notes wryly.
The production used a locally
sourced grip package and some excel-
lent local grips in Finland, says
McCarthy. The cranes included a GF-8
and a 30' Technocrane adapted for use
in extremely cold temperatures, right
down to a base equipped with skis.
all the light sources are natural or quite
simple, like homemade candles and
kerosene lamps. The windows of Hanna
and Eriks cottage are covered with fur,
not glass. The palette is soft, natural
tones, with browns, blues and grays.
Principal photography began
with these scenes, which were filmed
over two weeks in Kuusamo, Finland,
where temperatures could reach -35C
(-31F). I like physically challenging
Wicked World
Right: This
frame grab
shows
surveillance-
camera views of
Hannas surprise
attack on
her captors.
Below: In another
frame grab, Hanna
finds her way
to a tunnel that
runs beneath the
CIA complex.
Wicked World
In this frame
grab, Hanna
emerges from
the tunnel and
finds herself in
the Moroccan
desert, where
she falls into
step with two
young English
tourists.
We wanted things
to change as
Hannas view of
the world shifts
from naive to
nuanced.
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34 April 2011 American Cinematographer
interrogated by her captors in a room
equipped with video cameras. The live
feed is monitored by agents in the
control room and by Marissa, who is
observing from CIA headquarters in
Langley, Va. In the walls of the interro-
gation room, the filmmakers positioned
seven Sony PMW-350s to capture
different perspectives of Hanna and her
questioners. The whole scene feels like
an alien abduction, says Kchler, and,
in fact, the room we used for the shots
of Marissa looks a bit like a spaceship.
This is the polar opposite of what
Hanna has experienced in the first 15
years of her life. Shes trapped in a tiny
space and studied like a medical experi-
ment. All the lighting is artificial, the
cameras are static, and we introduce a
grainy, digital look.
To underscore Hannas feelings of
alienation, Kchler had his crew mount
four practicals 24-watt Osram U-
tube Dulux 840s on the wall at about
head height so we always had a light
flaring into the lens, he says. All of
these were on a dimmer. For keylight, a
24K Dino gelled with CTB and
Plus Green and going through
3
4 Grid
filmmakers used a functional wind
tunnel for these scenes, and because
they were forbidden from drilling holes
in the concrete walls, they created an
emergency-light effect by placing 30-40
Martin Atomic 3Ks in housings
designed by the art department and
controlling the fixtures through a
dimmer board. For a particular shot in
this sequence, Ronan ran on a treadmill
in the tunnel while the Arri Lite on a
dolly with a rollover rig captured the
action.
Hanna emerges from the tunnel
to find herself in the Moroccan desert,
where she falls into step with a young
English tourist, Sophie ( Jessica
Barden), and her family. Upon arriving
in the nearest town, Hanna is bedazzled
by the modern world, embodied by the
small hotel where she secures a room.
She is fascinated by the electric lights
and appliances, and frightened by the
small television set. For this scene,
which was shot on location, Kchler
introduced a green spike in the films
palette to suggest the modern industri-
alized world. We wanted to sharply
contrast the artificial light with the light
was rigged overhead, and a 7'-wide ring
was hung below it. We used pulleys to
move the ring up and down to separate
the walls and eventually keep them
darker, says Nickel.
I liked the idea of the keylight
coming from an unnatural angle and
creating deep shadows around the
actors eyes, adds Kchler.
In a surprise move, Hanna over-
takes her captors and escapes, eventually
finding her way to a long tunnel that
runs beneath the CIA complex. The
Wicked World
What helped keep
me going were all
the interesting
challenges Joe
threw my way.
Left: Kchler eyeballs a location in Morocco. Above: Enchanted by her mysterious new chum,
Sophie (Jessica Barden) offers Hanna a friendship bracelet.
Hanna knows, and we used an Osram
840 as a practical in the room, he says.
We gelled some of the fluorescent
sources around it, [Lowel] Rifa lights
and a Barger Baglite, with Lee 247
Minus Green, 212 LCT Yellow and
653 Lo Sodium, and timed some of the
green out.
Hanna and her English
companions are followed by three of
Marissas henchmen, led by Isaacs
(Tom Hollander), and at one point,
Hanna engages the villains in a chase
through a parking lot full of massive
shipping containers. The Hamburg
container park where the scene was
shot was approximately the length of
two American football fields, and the
piles of containers reached up to 50'
high. Wright wanted to film most of
the action in a single Steadicam shot.
(A 50' SuperTechno and stabilized
Scorpio head captured additional
shots.)
The camera was sometimes just
2 or 3 feet from the actor, and we had to
keep the actors in backlight at all times
in order to prevent the camera from
throwing a shadow over them, Kchler
says. Peter Robertson handled this
shot, and we had to carefully work out
the blocking with our stunt coordinator,
Jeff Imada [The Bourne Ultimatum].
There are people crossing in and out of
frame as we run through all these
alleys.
Garrett handled the pre-light of
the location while Kchler and Nickel
were working nearby in the Hamburg
Harbor. Two nights before we were to
shoot in the container park, Joe Wright,
Jeff Imada and I shot a rehearsal on film
using a 27mm lens, and then we gave
that tape to Reuben so hed know
exactly where the actors would be in
relation to the camera, recalls Kchler.
We tried to create areas of light
and dark to add depth to an all-in-one
Steadicam shot that turns around on
itself, explains Garrett. It was a chal-
lenge to keep the hard backlight from
becoming frontal keylight, but we
managed to accomplish that except for
one occasion, when we wanted to use
the frontal light for dramatic effect
Sophie has followed Hanna into the
park and is shocked to witness her
fighting ability. The frontal light
completely reveals Sophies innocence
as she sees something dark and aggres-
sive.
Six Condors, two holding six 12-
light Maxi-Brutes lamped with CP61
(for the hard backlight) and four hold-
ing two Arri T12 Max Movers, were
strategically placed around the actors
path. In our pre-light, we observed the
different colors caused by the light
reflecting off the containers, giving a
gloomy half-light, says Garrett. To
give contrast to the hard-backlit areas,
we played this bounce light and
augmented it by bouncing 5Ks gelled
with CTB and CTO the colors of
the containers are predominantly blue,
orange and light red. For the long shots,
36 April 2011 American Cinematographer
we built a sequence of light levels with
the dimmer board and simply cued
them as the shot progressed. Also help-
ing were some silver reflector boards,
which we used to bounce in ambient
light and give minimal exposure on skin
tones, just to pick them out.
We were shooting at f2 all the
time because I have a great focus puller,
Ollie Tellett, who would fall asleep at
night if the job werent challenging
enough, Kchler adds wryly.
Careful planning and rehearsal
were also essential for another
Steadicam shot, also captured by
Robertson, that follows Erik out of a
bus station, down an escalator and into
a subway station, where he turns to
confront the agent who is following
him. Three more agents join in the
hand-to-hand combat. The team
rehearsed for half a day and then filmed
five complete takes. The whole
sequence was very difficult, and we
needed a world-class Steadicam opera-
tor as well as a world-class focus puller,
Kchler says. I had to run out after
every take to check the light levels
because they were constantly changing.
Every take Id have to tell my second
AC, Won-Suk Park, the stop; we were
opening from f5.6 to f2 in the tunnel.
It was very difficult to hide any
lights because the Steadicam was
revealing so much, Kchler continues.
His crew augmented the existing fluo-
rescents in the underground space with
ungelled Osram 840s, and then hid 2'
2-bank and 4-bank Kino Flos (holding
840s) where they could. Additionally,
they were able to utilize existing holes
in the ceiling to position two Arri
LoCaster LEDs. 4Ks were bounced off
the orange-tile walls to create nice
reflections in the tunnel, says Nickel.
At the entrance to the underground,
18Ks through 8'x8' Full Grid were set
up to provide soft daylight.
Though Hanna features a lot of
intense action, there are memorable
quiet moments as well. In one of them,
Hanna and Sophie exchange confi-
dences while hiding under a blanket in
their tent. Kchler and Wright decided
Wicked World
Top (from left):
A-camera grip
Tom Witt, key
grip Adrian
McCarthy, Heeley,
Steadicam
operator Peter
Robertson and A-
camera 1st AC
Oliver Tellett
prep a long
Steadicam move
that will track
Erik (Eric Bana) as
he steps off a bus
in Berlin and
walks down into
a subway station,
where he
confronts several
assailants. Middle
and bottom: The
team executes
the shot.
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38 April 2011 American Cinematographer
Wicked World
on the coverage, a mix of close-ups and
extreme close-ups, after the director
and actresses rehearsed the scene. We
used the Arricam ST, which is a very
quiet camera, and it was literally over
the girls shoulders, under the blanket
with them, the cinematographer
recalls. Joe operated this shot himself
so he could whisper instructions to the
actors. To give us maximum flexibility
in that very small space, we suspended
the camera from a dolly with bungee
cords and put a blanket over it. Sarah
Greenwood put Velcro sections in the
tent so we could remove some sections
to push the tongue of the dolly
through. Bungee cords are a very
useful tool when you dont want a shot
to be too static or wobbly. We shot the
close-ups with a 50mm and 75mm
and used a 100mm for the macro
shots.
It was lit very simply one
Surefire flashlight hung outside the
blanket, he adds. We wanted the
scene to feel very intimate.
At the end of the film, Marissa
closes in on Hanna in an abandoned
amusement park, which includes a
Brothers Grimm cottage and a
narrow-gauge railroad. The filmmak-
ers chose the long-abandoned
Spreepark in Berlin as their location.
Greenwoods team built the cottage,
and the filmmakers made the most of
the railroad track, which originally
served as part of a rollercoaster ride.
With best boy grip Klaus Witt and A-
camera company grip Tom Witt,
McCarthy constructed a dolly to fit
the track, and it worked so well that
Wright and Kchler increased the
Top: Hannas
plan to
rendezvous
with her father
takes her to a
Brothers
Grimm-style
cottage
inhabited by
Knepfler
(Martin
Wuttke).
Bottom right:
Hanna explores
the surreal site.
Bottom left:
Kchler checks
his light in
the set.
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number of shots along it, incorporat-
ing a GF-Jib and a stabilized Scorpio
head. Some handheld shots were also
made from the jib, notes McCarthy.
When Hanna first enters the
Grimm cottage, it is to rendezvous
with her fathers friend, Knepfler
(Martin Wuttke). Later, she returns to
the cottage to hide from Marissa.
When Hanna goes into the cottage
for the first time, it had to be magical
and filled with sun, says Kchler.
Unfortunately, it wasnt sunny at all
on the day we shot that scene, so we
had to create our own sun. Two 18K
HMIs on 50' Condors and several
smaller HMIs were placed outside the
windows; for some shots, these were
used directly, and for others they were
fronted by 4'x4', 8'x8' or 12'x12'
frames of varying levels of Grid Cloth,
according to Nickel.
For interior lighting, Kchler
knew he would have to use sources in-
frame because the ceiling was only 7'-
Wicked World
McCarthy (at jib arm), Tellett (kneeling next to him) and a team of grips capture a shot of
Ronan on a narrow-gauge rail track for the films final chase.
40
8' high. To create clusters of colored
light, Nickels team wrapped a variety
of gels 002 Rose Pink, 024 Scarlet,
048 Rose Purple, 075 Evening Blue,
090 Dark Yellow Green and 153 Pale
Salmon around 25-watt, 40-watt
and 60-watt bulbs and screwed them
into small chandeliers created by the
art department. To bolster that light, a
100-watt or 150-watt frosted bulb
wrapped in the same colored gel was
hidden behind every practical.
Additionally, the crew replaced two
sections of the back wall with
unbleached muslin and bounced 4Ks
gelled with 111 Dark Pink through it
from outside, creating a soft, colored
fill. Kino Flos, Rifa lights and Barger
Baglites were used for close-up work.
Alwin and Joe wanted the Grimm
cottage to feel like a fairytale but with
something evil lurking in the back-
ground, and it does, says Nickel. You
can feel daylight entering but not
reaching the corners of the room, and
with a bit of haze, the overall feel is a
little frightening.
Surveying his work on Hanna
two months before its release, Kchler
observes, I would have to say that this
was physically one of the hardest
shoots Ive done. One of the unsung
heroes of the film was our first AD,
Guy Heeley, whose scheduling was
always very well thought through.
And [2nd-unit director/cinematogra-
pher] Martin Kenzie did a lot of big,
beautiful shots that always matched
our work perfectly.
I think everybody had to give a
special something to get this movie
made. What helped keep me going
were all the interesting challenges Joe
threw my way.
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TECHNICAL SPECS
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Digital Capture
Arricam Studio, Lite; Arri 235;
Sony PMW-350, HXR-MC1P
Cooke, Angenieux, Leica and
Zeiss
Kodak Vision3 500T 5219,
200T 5217; Vision2 50D 5201
Digital Intermediate
42 April 2011 American Cinematographer
T
he first time cinematographer Ed Lachman, ASC,
worked with director Todd Haynes was on Far From
Heaven (AC Dec. 02), which paid homage to the classic
melodramas of Douglas Sirk. Although the film was shot
on location, Lachmans task was to make it look as if it had
been shot on a studio backlot. The duos latest collaboration,
HBOs five-part miniseries Mildred Pierce, required Lachman
to do the exact opposite: shoot on a soundstage but create the
feel of a real location.
Most people are familiar with Mildred Pierce not from
James M. Cains 1941 novel, but from the 1945 film adapta-
tion starring Joan Crawford as a hard-working, middle-class
mother whose blind devotion to her selfish daughter leads to
tragedy. The Hollywood version departed from the book in
two key respects: it unfolded in flashback and it added a
murder.
For the HBO project, which stars Kate Winslet as the
titular character, we didnt try to remake the 1945 film,
stresses Lachman. Our source material was the book. There
is no murder, and the story is told chronologically. In our
version, Mildred is a middle-class single mother during the
Depression struggling to find her own independence person-
ally and financially, which seems to mirror our own times. She
becomes a sexually liberated woman who does not feel
constrained by societys rules, but faces her own tragic love
story with her daughter.
Mildred Pierce charts not only the protagonists struggle
and eventual success as a self-made businesswoman, but also
her futile attempts to win the approval of her emotionally
distant daughter, Veda (played as a child by Morgan Turner
and as an adult by Evan Rachel Wood). Some critics have
interpreted Cains novel as a satirical commentary on middle-
Ed Lachman, ASC
reteams with director
Todd Haynes on the
HBO miniseries
Mildred Pierce.
By Jean Oppenheimer
|
A
Woman
on the
Verge
www.theasc.com April 2011 43
class values. Though issues of status and
class motivate the characters in the HBO
version, our production is also a psycho-
logical character study, a tragic story of
unrequited love in which the object of
Mildreds obsession isnt a man but her
haughty, ungrateful daughter, says
Lachman.
The two primary visual references
were the revisionist genre films of the
1970s, especially the period dramas
Chinatown and The Godfather, and the
work of American photographer Saul
Leiter. Todd didnt want the artifice of
film noir, says Lachman, referring to the
moody style that director Michael Curtiz
and cinematographer Ernest Haller,
ASC, brought to the 1945 movie. He
wanted a more naturalistic look: longer
lenses, motivated light and [restrained
camera movement].
The films of the 70s had a
sophistication about them that I think
had a lot to do with their visual restraint,
says Haynes. They pulled back a bit
from the action and just observed it. P
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Opposite: In Mildred Pierce, cinematographer Ed Lachman, ASC frequently photographs the main
character (Kate Winslet) through objects in this case, a revolving door to convey her emotional
states. This page, top: Production designer Mark Friedberg and his crew transformed a hair salon into a
diner. Bottom: Lachman adjusts his angle on a period car.
Broad spectrum
Consistent colour
Cool running
Interchangeable optics
says the cinematographer. Sam was
great. Todd doesnt like to manipulate
the image too much in the final color
correction; hed rather have it built into
the negative when we shoot. So the
main things Sam and I did were to
maintain the color palette and preserve
the richness of the shadow detail.
51
TECHNICAL SPECS
1.78:1
Super 16mm
Arri 416
Cooke S4, Varotal Prime Zoom,
Arri Master Zoom
Kodak Vision3 500T 7219,
250D 7207; Vision2 50D 7201
Digital Intermediate
52 April 2011 American Cinematographer
I
devoted 35 years to creating optical filters for every kind of
effect: bluer skies, smoother skin tones, highlight flares,
contrast and color control. Today, I am intrigued by the new
roles I see for filters in stereo 3-D imaging.
The need for filters and for understanding how they
work has never seemed more important than with the
dramatic growth in 3-D filmmaking. Its ironic that flat opti-
cal components literally add the extra dimension to 3-D.
Many of these new applications are quite innovative. My goal
with this article isnt to provide an all-inclusive list of applica-
tions or companies figuring prominently in this field; there are
far too many. Instead, Ive selected examples that highlight
many fascinating ways in which filters are indispensable to
3-D production.
It helps to understand what 3-D is. Its the next step up
from traditional two-dimensional (2-D) imaging, emulating
the volume and depth perception of the real world. It is differ-
ent from volumetric imaging like holography. In a hologram,
you can look around something to see what is behind it.
Though parallax the change in the apparent position of an
object as it changes position relative to the observer makes
an important contribution to 3-D, its scale is more limited.
With 3-D we persuade our eyes to converge on visible objects
as if they had physical mass and position in space, when they
really only exist as light emanating from the two-dimensional
surface of a television or theater screen.
We have learned to recognize that as our eyes angle
more toward each other (converge) when looking at an object,
we are getting closer to it. This principle is behind the sense of
depth 3-D imparts. When we look at something far away, our
An expert explains how
optical filtration can
enhance stereoscopic
imaging.
By Ira Tiffen
|
Optical
Filtration
and
3-D
www.theasc.com April 2011 53
eyes are aligned in parallel; when some-
thing is close enough, we can go practi-
cally cross-eyed. Our brain has the
ability to sense that an object viewed at
a certain convergence angle is a certain
distance away. 3-D is about creating this
illusion of depth in ways that add
enjoyment to the motion-imaging
experience.
With 2-D images, like paintings,
we discern what would be the relative
depths of objects in them if they existed
in the real world. Visual cues such as one
object blocking portions of another, and
one object appearing larger than
another of similar design, suggest that
the larger, unobstructed object is nearer.
We use these and other cues regularly in
photos and movies, satisfying ourselves
that what we see in 2-D can adequately
represent the scene in the real world, but
minus the third dimension.
Anyone who has donned paper-
framed 3-D glasses is familiar with the
basic concept behind how filters sepa-
rate left-eye and right-eye views. The
anaglyph process typically uses
complementary color filter pairs, mean-
ing colors on opposite sides of the tradi-
tional color wheel for example, red
and cyan, which form gray or black
when combined. Light transmitted
through one filter wont pass through
the other. The darker the result, the less
cross-talk there will be. Called ghost-
ing, this is when one eye sees a vestige
of what the other eye sees, diminishing
some of the illusion of depth. The left-
eye view is presented through one such
filter; the right-eye through its comple-
ment. Superimposing each view over
the other without the aid of eyeglasses,
the image looks fuzzy, with color fring-
ing. Seen through glasses, each eye sees
only what it should; the image clarifies,
taking on the illusion of depth.
The color pairs mentioned above
work best for black-and-white imaging,
where there is no concern for subtleties
of color in the combined image. With
some tweaking, they also find use in
full-color imaging.
Gene Dolgoff, CEO of 3-D
Vision in Westbury, N.Y., and an inven-
tor with a long history of pioneering
work in 3-D techniques (including
holography), uses what he calls the
FullColor 3-D color pair of green and
purple. His view is that these colors
have a more even balance of light trans-
mission, producing brighter, more vivid
color than red/cyan. He maintains that
they also reduce ghosting from the
red/green/blue primary colors of televi-
sion.
Liquid-crystal-display shutter
glasses are able to alternately transmit
and then block vision through the two
eyeglass lenses, in electronic synchro-
nization with the appropriate displayed
view for each eye. Because the sync must
be actively maintained between the I
m
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Opposite: An
Element Technica
Quasar rig with
side-by-side
cameras is used
to shoot the
World Cup.
This page, top:
Red One cameras
mounted on
a 21st Century
3D BX-3
beamsplitter rig.
Below: This
diagram of a
beamsplitter
rig reveals the
paths of direct
and reflected
image-forming
light and the
key areas of
difficulty in
matching both
eye views.
54 April 2011 American Cinematographer
nominees that brought their stories to life with the unmistakable look of lm. KODAK Film.
Kodak, 2011. Kodak is a trademark of Kodak.
Oscar is a registered trademark of the Academy of Motion Picture Arts and Sciences.
kodak.com/go/motion
thought it best to take a closer look at
what goes into making these mirrored
beauties. I was able to learn more about
beamsplitter construction from Rafik
Alam, Ph.D., an optical physicist at
ZC&R Coatings for Optics.
Making mirrors is like making
magic: everyone has his own special
sauce. The precise formulations for the
coatings are proprietary, so I wont be
divulging secrets here, but I can provide
some important details. Mirror coat-
ings, typically on optical glass substrates,
can be dielectric, metal or, as I learned
elsewhere, organic. Alam was specific
about the requirements: there is the
need to minimize polarization effects
and light absorption. Whereas metal
mirrors are typically better at the former
feature, dielectrics excel at the latter. But
Alam does have proprietary methods
for controlling polarization effects with
dielectrics. Metal coatings are more
affordably replaced, which is impor-
tant because they are considered an
expendable (especially in certain
dynamic situations), and because
dielectrics can cost several thousand
dollars apiece.
Metal and dielectric mirrors are
generally produced through vacuum
deposition. Organic mirror coatings are
produced by dipping glass into a series
of alcohol solutions that adhere to its
surface in layers of alternating low and
high refractive index. A drawback of
these coatings is their susceptibility to
corrosion from salt water, an issue when
filming at sea.
No article about the uses of
filters with 3-D would be complete
without touching on traditional effect
filters. Cinematographer Geoff Boyle,
the forthright founder of the
Cinematographers Mailing List, shares
his thoughts: Filters and 3-D, oh, dear,
what a topic! I struggle constantly to be
able to use filters as I do in 2-D. My
normal day shooting cars involves
Neutral Blended Ratio Attenuators and
Polas. Okay, the NBRAs can sort of be
dealt with [by employing] gaffer tape
and good visual guesswork! Tape the
filters to the front of the lenses [and]
Ive gone back to 1-stop Polas on both
lenses and adjusting by eye for the best
match.
Peter Anderson says that when
using film, the Tiffen LL-D is one of
the greatest discoveries in filterdom .
[It has] saved my butt many times. This
filter performs the color correction of an
85 filter without the
2
3-stop light loss.
Because half or more of the light is lost
through the beamsplitter, sometimes
there isnt enough light to compensate
for the 85. Anderson adds that if he has
hard edges in the scene (a problem for
3-D), he drops in a Low Con and a
Black Pro-Mist.
Using effect filters can be tricky
with beamsplitter rigs. You can thread
them onto each lens, but this requires
pulling the cameras away from the
mirror box for every change or adjust-
El Segundo
California 90245
Tel: 310/301-8187
Fax: 310/821-9886
s
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which Uday and Yahia appear in the
same frame. Kontrol Freax in London
provided a KFX motion-control rig,
which allowed for speedy setups on
location. Its a fully hydraulic system,
but it runs on standard tracks, says
McCurdy. We could literally lay down
a track that the A camera was going to
use, then pop it off and put the KFX
straight on it. What might have taken
two to three hours to set up with a
different mo-co rig took less than an
hour.
The production could afford just
three weeks with the KFX, so McCurdy
devised a poor-mans motion-control rig
to fill in at other times. We had an
ArriMotion system, which is basically a
remote head whose moves are
completely recordable, he says. To
create a twinning shot, hed break the
camera move into two parts; the first
would have the A camera on track and
dolly, operated normally, and the second
would begin when Coopers other char-
acter entered the frame. Wed lock the
camera off at the end of the track and let
the head do the panning, tilting and all
the rest, because it was fully recordable,
says McCurdy. That meant we could
shoot Dominic as Uday on the motion
head, then take the B camera and shoot
other angles and leave the A camera
where it was. When Dominic came
back from makeup dressed as Yahia,
wed put him straight back in where the
A camera was locked off, and it would
repeat its move while he played the
other character. The switch from trav-
eling camera to moving head was seam-
less and never felt like a lockoff. All it
meant was that we lost a camera for a
half hour, maybe an hour, depending on
how long makeup was.
For McCurdy, the most impor-
tant part of making motion-control
work is the eyeline. Its not about
matching the background perfectly. If
we had the two of them in the same
frame, youd have to believe theyre
looking at each other. Thats one of the
beauties of shooting digitally: We could
download straight away to our DIT
Station, where we had Final Cut Pro. It
was very rough and ready, but it would
give us a very quick composite to check
eyeline, background registration and
performance.
To establish eyelines, the produc-
tion avoided the ball-on-a-stick routine.
You may recall the stories of Bob
Hoskins going mad on Who Framed
Roger Rabbit? because he was playing to
an orange ball, says McCurdy. We just
didnt want to do that to Dominic.
Instead, Cooper would play to no one,
or he would play to an actor hired to be
his physical double and provide the
eyeline. During these shots, Cooper was
using an earpiece to hear his perfor-
mance as the other character.
For any one shot, McCurdy
would do three or four passes: a clean
one, which gave the scene its look and
set the template for grading; one pass
each for Uday and Yahia, and occasion-
ally one with Cooper and his double.
You can imagine Dominic going off on
a full Uday rant, with the double just
standing there, trying to keep still and
not quiver, McCurdy says with a laugh.
It was a very different experience for all
of us, and we all felt for Dominic when
he had to do the big scenes. We hope it
comes off seamlessly.
When I watched the first full cut
for the first time, I completely forgot
that Dominic was playing both parts,
he adds. If I can do that, we must have
done something right!
Patricia Thomson
Meeks Cutoff
Director: Kelly Reichardt
Cinematographer:
Christopher Blauvelt
Set on an infamous branch of the
Oregon Trail in 1845, Kelly Reichardts
Meeks Cutoff provided a wealth of
opportunities and challenges for first-
time director of photography
Christopher Blauvelt, a longtime assis-
tant and operator for Harris Savides,
ASC.
The unusual nature of the film is
evident in the very first frame: Reichardt
chose the long-dormant aspect ratio of
1.33:1 instead of standard 1.85:1 or
widescreen 2.40:1. Kelly decided early
on that she wanted Meeks Cutoff to
reflect the look of an older film, and a
1.33 frame enhances the landscape just
as much as Scope, says Blauvelt. We
were working with these huge, beautiful
locations, and because the frame is
square, we were able to include a lot of
foreground as well as lots of sky in the
Sundance 2011: Spirited Images
M
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.
Pioneers on the Oregon Trail are the focus of Meeks Cutoff, which played in the
festivals Spotlight program.
74
same frame.
The filmmakers were careful not
to emphasize the splendor of the
Oregon locations, however. Visual influ-
ences included Terrence Malicks Days of
Heaven as well as Peter Weirs starker
Picnic at Hanging Rock. The story is
about the hardships these characters are
facing on their journey, so Kelly didnt
want to make the images all about
beauty, says Blauvelt. We never
wanted the audience to notice the
camera, and thats a goal I really admire.
There had to be a purpose for every
[shot].
In the film, three lost families bear
a heavy emotional and physical burden
as they traverse the same high-desert
trail where the real-life trapper and
guide Stephen Meek (played by Bruce
Greenwood) led his followers to an
uncertain fate.
During the day, Blauvelt shot
with mostly natural light, occasionally
employing bounce cards or one of the
two 12'x12' UltraBounces that were on
hand. Overall, it was very natural, he
says. If the actor was supposed to be in
shade, wed try to put Half Grid or
Quarter Grid overhead when wed come
into close-ups.
Blauvelts biggest challenge was
making the most of whatever sources
were available to light night scenes, most
often firelight and candlelight. To
augment that, he had just two 2K
Blondes, two 1K Redheads, and a
1,000-watt Chinese lantern. For wide
shots of the camp at night, wed have all
the fires going and use those two 2Ks,
he recalls. Our production designer,
David Doernberg, placed the wagons
and fires close to each other to help
make it seem like there werent multiple
sources, and to hide the lights falloff as
much as possible.
Blauvelt had no choice but to
underexpose the image during these
night scenes, which he shot on Kodak
Vision2 Expression 500T 5229. But
even when shooting in the bright light
of day, on Kodak Vision2 250D 5205,
he still chose to shoot 1-2 stops under.
We were living on the ragged edge of
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disaster in some of the night scenes, he
recalls, laughing, but working with
Harris, I learned a lot about how far you
can push things. I fell back on my
instincts, and Im happy that Kelly was
willing to go for it. I love living in that
zone; when you can pull it off, its beau-
tiful.
In one noteworthy scene, two
characters (played by Michelle Williams
and Will Patton) have a hushed conver-
sation in a tent, a cover set constructed in
an airplane hangar. The scene was lit
with a single double-wick candle. The
practical was inside the tent, and we
enhanced it with a flicker box and a
Redhead gelled with Full CTO outside,
says Blauvelt. We aimed the light
toward the candle, and that would illu-
minate more of the tent and enable us to
direct the light a bit more.
To slightly desaturate colors,
Blauvelt had the negative pull-processed
by 1 stop at Deluxe Laboratories in
Hollywood. With day exteriors, Id read
for the highlights and not compensate
for the pull, and at night I was just going
for the most natural darkness, he says.
When the time came for the digital
grade, which was handled by Next
Element in Burbank, the image was so
underexposed at times that we couldnt
do much, he adds. Im proud that we
Sundance 2011: Spirited Images
653
The unwrapping
of foil signals an
inconspicuous
celebration.
Tink LEE
www.leelters.com
Meeks Cutoff
cinematographer
Christopher
Blauvelt takes a
break on
location. The
drama marks his
first credit as a
director of
photography.
76
were able to get so much of the look in-
camera.
Meeks Cutoff was not Blauvelts
first all-exterior shoot in a harsh envi-
ronment his credits include assisting
Savides on Gerry (AC April 02) but
he describes the conditions as pretty
extreme. In the first week of produc-
tion, a crewmember was hospitalized for
heat exhaustion, and during the third
week, actor Rod Rondeaux was hospi-
talized for hypothermia. We were
hiking all the time, going as far as we
could off the trails, and where there
werent any trails wed drive for hours
into nowhere land, says Blauvelt.
In this terrain, the covered
wagons navigate wide fields filled with
divots, rocks and uneven ground. Even
with a Steadicam, following the action
was a challenge. For long shots where
the camera tracks with the wagons,
Steadicam operator Greg Schmidt rode
on a customized golf cart, following a
path cleared earlier that morning by
grips and production assistants.
Keeping the cameras (an Arricam
Lite and an Arri BL-3) and lenses
(Cooke S4 primes) protected from the
elements was almost a full-time job for
1st AC Stephen MacDougall and 2nd
AC Eliza Plumlee. They would all but
hermetically seal our camera truck, says
Blauvelt. The dust in a lot of those
locations was so fine that it got into
everything. After the first week of
shooting, we had giant, plastic sheets
covering the door to the camera cube
and then a metal door, and then wed
cover over all the seams with Velcro and
tape. But Stephen and Eliza always kept
us functional and free of scratches.
Having safely and successfully
navigated his first trek as a cinematogra-
pher, Blauvelt speaks with equal passion
about his fellow travelers: David
Doernberg and [costume designer]
Victoria Farrell really took my work to
the next level they were with Kelly
early on, taking photos on location and
sampling their surroundings for color.
On set, everybody helped out with
every single thing, from the producers
on down. If we had to lay a hundred feet
of dolly track, everybody would get
involved. It changes the whole experi-
ence when everyone is onboard with the
goal of making something great.
Iain Stasukevich
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78 April 2011 American Cinematographer
Warner Bros. MPI Facilitates Fast Finish for
Red Riding Hood
By Michael Goldman
Color is not only in the title but also at the core of Catherine
Hardwickes Red Riding Hood, and the director worked with the
films cinematographer, Mandy Walker, ACS, and colorist, Maxine
Gervais of Warner Bros. Motion Picture Imaging, to achieve what she
had in mind. Hardwicke suggests the trios close collaboration was
particularly crucial in light of the pictures short schedule: 43 days of
principal photography and 10 weeks less post time than originally
planned.
We were supposed to have 31 weeks [for post], but that
was shortened to 21 after Warner Bros. secured a great release date
in March, says Hardwicke. It was handy to do the color timing on
the lot, where everyone else was. I had never worked with Maxine
before, and shes a real artist. You barely give her an idea, and shes
quickly making a cool little matte and tracking it. Shes a real rock star
on that console, and thats what Mandy and I needed to get what
we wanted on our schedule.
When they spoke to AC (in separate interviews), the team
was still putting the finishing touches on the picture. All three
emphasized their intent to create a magical world in which the titu-
lar heroine (played by Amanda Seyfried) encounters dark forces and
enjoys a passionate love affair in a mysterious forest.
Its definitely not a horror film, says Walker. Its a thriller
and romance [wrapped] in a fairytale. Our forest scenes are magical,
with lots of shafts of light, lots of color and lots of atmosphere.
Hardwicke, a former production designer, based the look on
reams of designs, pictures and drawings from medieval times to the
present, and had long talks with Walker about the colors she had in
mind. Walker, who shot on Kodak Vision3 500T 5219 and 250D
5207, jokes that the two of them turned to Gervais to sprinkle fairy
dust on top of some of our images. Maxine was really able to
compliment what we did in-camera and also push a bit further
things we couldnt achieve fully in-camera, such as giving the skies
stronger contrast and color, and doing some beauty touch-ups.
Gervais was involved earlier than usual on the production,
working on various tests and timing several preview screenings
herself. That helped because we could really put the filmmakers
vision into the previews, notes Gervais. Many previews come
straight out of the Avid, but in this case, we did intricate, full-on digi-
tal grades. Wed take an HD DNx 115 output [from Avid] to HDCam-
SR tape, ingest that tape into [the Filmlight Baselight 4.2 color-
correction system], scene-detect it to break it into cuts, and time it in
Rec 709. We timed the previews as if they were the final DI, except
for the fact that it was compressed HD.
Because of that, by the time we finally scanned the negative
to start final color correction, I already had a strong direction from
the filmmakers and could go through the first pass before Mandy
and Catherine came in to do final tweaks, she continues. Then we
could spend the rest of the time refining it. This enabled us to bring
it all home in crunch time with our tight schedule.
Color is very important in this film, especially with the art
Post Focus
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Left: Red Riding Hoods magical world was finessed in the digital
intermediate at Warner Bros. Motion Picture Imaging. Above:
Cinematographer Mandy Walker, ACS (right) checks the light on set.
I
direction, costumes and lighting, notes
Walker. During both the shooting and the
timing, we were mindful of the contrast of
colors, and in particular of how that red
cloak would show up in the frame. We
were doing tests with Maxine on the cloak
and other colors very early on, soon after
we started post.
Reds iconic cloak is a central visual
device in the story. In fact, its the only red
in the movie! notes Hardwicke. A variety
of fabrics and shades of red were tested
early on, and Hardwicke and costume
designer Cindy Evans eventually chose a
specially embroidered silk fabric from India.
Mandy shot a test to show how we could
enhance the color, Hardwicke recalls. You
can see how it really pops from the back-
ground, especially against the white snow.
Mandy was very careful in her balancing
and lighting, and we then enhanced when
necessary in the DI.
The philosophy of highlighting
particular colors was carried over to other
aspects of the visuals. The priest (played by
Gary Oldman) wears rich purple robes that
were likewise designed to stand out.
Warner Bros. actually mandated vibrant
colors, says Hardwicke. They didnt want
muted grays, blacks or whites, or too much
desaturation. So we were constantly think-
ing about how to make specific colors
pop.
Gervais credits the Baselight system
with allowing her to solve certain kinds of
visual-effects challenges in the DI suite. Red
Riding Hood has 300 visual-effects shots,
supervised by Jeffrey Okun, and the artists
creating them were laboring on many of
those shots up to the last possible minute.
But, says Hardwicke, there are certain
things that Maxine could do very rapidly in
the DI, and I dont just mean cosmetic
fixes.
In particular, Gervais helped Hard-
wicke achieve the colorful sky the director
originally planned when she captured heli-
copter footage for the movies opening
titles one day early in the shoot. The day
that footage was captured was not
perfect, and we had been working on this
idea that the sky could be better than real-
ity, says Hardwicke. So Jeff Okuns team
put in some clouds, a CG mountain range
and things like that, and then Maxine gave
it a hint more color and dimension.
Basically, I was creating something
in the sky that was not there when it was
photographed, says Gervais. In Baselight,
I pulled a matte of the sky and created a
shape that would simulate sun rays glow-
ing out of the clouds and sky. With keys,
shapes, transforms, softening and glows, I
was able to achieve a visual-effects-like
effect. It was done to match later [shots]
that had natural sunrays piercing the sky.
This sequence is also where the main titles
are, so I asked the title house [PIC Agency]
to deliver titles with a matte channel, so I
could build them in Baselight on top of the
color-corrected images. There are a lot of
things like that in this movie that go beyond
During both the shooting and the timing, we were mindful of the contrast of colors, and in
particular of how that red cloak would show up in the frame, says Walker.
also give clients access to Prime Focus
View-D proprietary 3-D conversion process.
Connected by Prime Focus Global
Digital Pipeline, the New York office will
work closely with its sister offices in London
on advertising and broadcast projects, capi-
talizing on the opportunity to offer clients
on both sides of the Atlantic extended
reach and services, and with the Prime
Focus Los Angeles and Vancouver offices
on visual effects and View-D projects.
This expansion of our services,
infrastructure and capacity is a natural
step, says joint managing director Mary
Martin. We pride ourselves on the
personal service, comfort and convenience
we offer our clients here in New York, and
this new facility will allow us to continue to
offer this with the addition of a brand new
infrastructure and an expanded range of
services. Martin and joint managing direc-
tor Anthony Matt will be overseeing the
move into the new facility and the recruit-
ment of new talent.
Weve been planning an expansion
of our services in New York for a while, and
the usual DI work, but by doing it in the DI
suite, we gave Mandy and Catherine more
control, and we helped the visual-effects
team when they were [up against dead-
line].
Hardwicke notes that Gervais also
assisted with the films central visual effect:
the monstrous wolf that prowls the dark
woods. The creature was created by
Rhythm & Hues, whose artists built mattes
for the wolfs body, fur and eyes as separate
elements, permitting Gervais to isolate
different parts of the creature and adjust
them to fit specific cut and scene require-
ments.
That way Catherine was able to
bring up details wherever she felt it needed
it, says Gervais. For example, we could
bring up the eyes to add drama.
Red Riding Hood was also
conformed at MPI entirely in Baselight by DI
editor/assistant colorist Katie Largay. Gervais
notes that this was another advantage on a
project that was on such a fast track. Noth-
ing had to leave the DI room and then come
back, she says. Everything happened in
front of me, Catherine and Mandy. Every-
thing moved super fast, but with great
quality control.
For more on Hardwicke and Walkers
collaboration, see the authors blog, Art of
the Craft, at www.theasc.com.
Facility News
Prime Focus Opens N.Y. Facility
Global visual-entertainment-services
company Prime Focus has announced plans
to create a cutting-edge visual-effects and
post facility in New York Citys West Village.
The opening of the 13,300-square-foot
studio at 345 Hudson St., slated for early
summer, marks a major expansion of Prime
Focus presence on the East Coast and
allows the company to double its workforce
in New York.
In addition to a 3-D-enabled digital-
intermediate theater, the studio will offer a
5.1 mixing theater, a full complement of
offline and online editing suites, and 2-D
and 3-D visual-effects suites. The facility will
80
the timing is now right, says Simon Briggs,
managing director, U.K. We have the right
building, a fantastic team, and the drive and
ambition to make this office a very signifi-
cant part of our global network.
For additional information, visit
www.primefocusworld.com.
Tunnel Post Incorporates
Codex Digital Lab
Tunnel Post, a full-service digital post
house in Santa Monica, Calif., has
purchased Codex Digitals Digital Lab
system and is making it the hub of a digital-
lab service for commercials, television
shows and feature films.
Tunnel Post will use the Codex Digi-
tal Lab to process digitally acquired media,
prepare files for editorial, facilitate color
grading and create archival media files.
Used in tandem with Codex recorders and
data packs, the system provides a standard-
ized, end-to-end workflow for digitally
acquired media and is compatible with
most professional-grade digital cameras,
including the Arri Alexa. The Digital Lab can
process camera media at speeds several
times faster than real time and output files
in formats required by most editorial
systems, including Apple ProRes and Avid
DNxHD.
Our new dailies workflow with
Codex Digital Lab streamlines the digital
production process by eliminating the prob-
lem of managing codecs and formats, says
Tunnel Post CEO Kyle Jackson. We will be
able to provide production companies with
fast turnaround for their dailies and greater
security for their digital assets. It will also
benefit editorial companies by freeing them
from the complex task of processing digital-
media files.
Tunnel Post plans to offer three
grades of processing service, with one-light,
best-light and DI-graded color treatments
applied; same-day or next-day service is
available, depending on the level of grading
applied. With our Codex workflow, direc-
tors, cinematographers and editors can see
their dailies in hours, not days, says Jeff
Brue, Tunnel Posts chief technology officer.
Additionally, this system makes it possible
to preserve camera data and similar infor-
mation throughout the postproduction
process, maintaining important lines of
creative communication between the [cine-
matographer] and the colorist, between the
editor and the sound mixer, and between
the dailies colorist and the final colorist.
We can make sure everything looks
great in the edit bay, Brue continues.
Later, when [the filmmakers] want to do a
final touch up, they can do so with much
less time and cost, because a lot of the
work will already be done.
For additional information, visit
www.codexdigital.com and http://tunnel
post.com.
Digital Vision is grateful to its customers who continually
raise the bar of excellence and propel them to push the
boundaries in nonlinear grading.
www.digitalvision.tv
Recipient of the HPA 2010 Engineering Excellence Award for its High Dynamic Range Pipeline.
The work that we do at Hydraulx is inventive
and demanding. Our tools and methodology have to keep up.
When we dug into the sophisticated grading tools of
Nucoda Film Master and its OpenEXR architecture,
we saw that it would serve both our lms and the visual
effects clients of Hydraulx in an extremely powerful way.
Greg Strause | Skyline Director
Owner of Santa Monica based Hydraulx.
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81
82 April 2011 American Cinematographer
Alan Caso, ASC Unfetters a Digital Shoot
By Michael Goldman
When Alan Caso, ASC teamed with
digital-imaging technician Ethan Phillips on
NBCs series Trauma in 2009, they sought to
meld high-definition-video cameras with film-
style philosophies and logistics. They pursued
a way to shoot HD like film not tethered,
not anchored, with the ergonomics of film,
and without being locked into a tent, Caso
explains.
The way they untethered their
cameras was by replacing the DIT tent with a
portable, lightweight, 12-volt engineering
cart and recording to onboard SRW-1 HD
tape recorders. It was a primitive but instru-
mental first step in simplifying the digital-
capture process to match the way I work,
says Caso.
Now he and Phillips are collaborating
on the CBS series The Defenders, and they
have improved the approach. Thanks to
advances in wireless technology, they transmit images wirelessly to
the cart in order to remotely adjust color values on their recorded
images. We shoot all aspects of the show without camera cables,
and weve rejected LUTs, instead choosing a simpler path, says
Caso.
The production utilizes the engineering cart
to control and manipulate images captured
using various combinations of Sony F35, Sony
PMW-EX3 and Canon EOS 7D cameras, all
recording in full linear ITU-709 space to tape via
the onboard recorders. The signal, however,
also travels to Phillips mobile cart through an
IDX Wevi transmitter and a TTR 4x1 12-volt
switcher. There, Phillips adjusts the color-value
settings remotely to Casos specifications using
Sonys RMB 750 camera-control system, an
Astro Waveform Vectorscope, and a 17" Pana-
sonic LCD monitor that is calibrated to closely
mimic colorist Steve Porters 42" monitor at
MTI Film, where the final color correction
happens.
Phillips and Caso prefer this method to
recording raw Log data because the latter
would give too much control of the image to
the producers, says Caso. They rejected the
LUT path because of the necessary cables and excess equipment,
he adds. He acknowledges that this preference is controversial in the
Tricks of the Trade
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Alan Caso,
ASC (left)
examines a
monitor
image with
digital-
imaging
technician
Ethan Phillips
on the set of
the CBS
television
series The
Defenders.
We shoot all
aspects of the show
without camera
cables, and weve
rejected LUTs, instead
choosing a simpler
path.
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a common misconception, explaining,
Its actually not true. Its the other way
around. Log cannot be fully fleshed out
because its so squished in the center. Any
colorist will tell you that the LOG file
compresses things. Im leaving the stuff
wide open. We hit that sweet spot on the
tape where color values remain legal, and
we dont blow out whites or crush blacks.
Caso says an added bonus is that he
lights [by eye], just like I always have when
shooting film. Nothing misleads the eye
more than letting electronics change the
way you paint. Instead, Im using the tools
and the incredible ability of these cameras to
capture light and imagery to my advantage,
to enhance how Ive always lit things. And I
can manipulate things on set, taking advan-
tage of the best of what digital capture has
to offer instant viewing of imagery
without getting seduced by the technol-
ogy.
Both men emphasize that this is a
customized solution that works best for
their particular situation. But they also
suggest the real innovation is not their tools,
but, rather, how they approached the prob-
lem to begin with. Most people are in the
DIT tent because theyre trying to get the
best image possible, basically color timing
sense that it leaves the impression that
cinematographers are stuck with adjust-
ments they place on the master tape while
shooting. However, Phillips calls that notion
The Defenders cast and crew reset between takes on a set free of camera cables.
84
on set, says Caso. But no matter how
much you do at that stage, youre going to
time the show again in post, so it seems
ridiculous to spend production time doing
that. My goal is to control the look of the
show by leaving enough of an imprint that
producers and the post team will clearly
know what I had in mind, but still give
myself flexibility to go wherever I want in the
final timing.
Caso believes this technique is more
exact than other, older methods of commu-
nicating the cinematographers vision, such
as coloring still photos as references. All
those other ways can be misinterpreted, he
says. To leave a blank page open for inter-
pretation is the cinematographers enemy. In
the past, there was no way to fully calibrate
the image in the field with the image in
post. Even now, you never know what kind
of monitor the person on the other end is
using. The big problem with working digi-
tally is that there is no standard. This was
solved by LUTs, but the trouble with LUTs is
the amount of equipment needed on set,
and the time one inevitably [spends] fooling
around with looks during production.
What weve done is create a stan-
dard by matching my monitor with the
colorists monitor, he continues. There is
nothing more exact than that. Its finite.
Caso emphasizes that his strategy on The Defenders is a customized solution that works
best for the shows particular needs.
86 April 2011 American Cinematographer
The Importance of the
Image Interchange Framework
By Stephanie Argy
In last months issue, we outlined the use of the Image
Interchange Framework on the television series Justified (Produc-
tion Slate, page 16). The IIF is a new, forward-thinking workflow
architecture devised by a group of color scientists and industry
experts working together under the auspices of the Academy of
Motion Picture Arts and Sciences to address the problems created
by the industrys adoption of digital tools for image capture. It
defines the image characteristics of cameras, color-correction
systems, output devices and other elements
of the production pipeline so that maximum
dynamic range and color information can be
maintained through the entire production
and post workflow.
Justified is the first real-world use of
the IIF. In this conversation, Ray Feeney, co-
chair of the Academys Science and Technol-
ogy Council, and Curtis Clark, ASC, chair-
man of the ASC Technology Committee,
delve deeper and explain the IIFs impor-
tance to the industry.
Ray Feeney: If youre reading this
magazine, you have an interest in images, so
right now you need to be paying attention
to the IIF. A lot of people think its only for
the future. They say, That IIF stuff is inter-
esting, but it doesnt relate to me right now.
Why should I care? Why should I change?
My experience is that colorists make the
picture as good as they possibly can within current color-manage-
ment workflow parameters. Then, from there, if they turn the
dials left, right, up or down, it only gets worse, and they say,
Anything else I do to it makes it less good. Im already making the
picture as good as it can be. So why do I have a problem? What
they dont understand is that because of the system they have, as
good as it can be isnt really as good as it can be.
Curtis Clark, ASC: Youre using a color-management
workflow that wont let you achieve optimal results, and youre
throwing away vital pieces of your image data, including highlight
and shadow detail, along with color bit depth. Its like looking at
a VistaVision image in an Academy format. The difference
between a Rec 709 rendered implementation and an IIF-ACES
implementation is so powerful that you cannot come away from
the comparison of the two with any other conclusion than, This
is how I must work.
Feeney: When we deal with people one-on-one, we tell
them, Take something youve done thats gone on the air, some-
thing thats as good as you can get within your time and budget,
and then take the source material behind that and bring it into IIF
and spend just a couple minutes tweaking it. If you dont like the
IIF system better, well be very surprised.
Clark: You can shorten the amount of time it takes to do
certain things because youre starting off from a better place. It
boils down to a simple question: How much time do you want to
spend making creative decisions vs. doing fixes?
Feeney: The problem is that we cant do that one-on-one
demonstration for everybody. When we make presentations to
cinematographers, they go back to their
trusted colorist and say, I hear theres this
thing called IIF , and the post facilities say,
Yeah, we know about it. When its ready,
well talk about it, but dont worry your
pretty little head about that.
Clark: Weve heard those comments
even in the ASC Technology Committee: Its
a science project.
Feeney: Clients are often told, You
dont need that.
Clark: With Justified, we didnt have
any doubts about what the IIF-ACES would
be able to achieve because of all the work
wed already put into it. A year and a half
ago, the work in the Academys IIF groups
had arrived at a level of maturity that created
the consensus that the system was ready to
be implemented in real-world trials. People
needed to be confident that its ready for
primetime.
Feeney: We have said, Weve done all we can as a
research group. We need facilities that are willing to try this and
give us feedback.
Clark: We set up several test beds, initially at Laser Pacific
with Ron Burdett and Lou Levinson. We had a very enthusiastic
reception using a Baselight color corrector and got valuable feed-
back that we brought back into the IIF working groups. Then,
with Justified, we had the advantage of having already done
successful test beds, so we knew how to rapidly deploy the
system at Encore Hollywood. In addition to Pankaj Bajpai, Jennifer
Tellefsen, Ada Anderson, Jay Bodnar and their excellent Encore
team, we had tremendous support from Doug Walker at
Autodesk for the Lustre, because thats a key component, too
the actual implementation of the IIF architecture. Doug had been
part of the initial committee from the very beginning; hes a color
Filmmakers Forum
You can shorten
the amount of
time it takes to
do certain things
because you're
starting off from a
better place.
I
scientist with a clear understanding of the
IIFs potential.
Feeney: If youre a post house and
you have a Lustre or a Baselight, youre
being foolish if you dont set up a test bed
to try this internally. The Academy is avail-
able to help. In 10 days or so, you should
be able to go from a standing start to
being able to fully evaluate the system in
your own facility, in the viewing environ-
ment youre used to, on your screens and
with your projectors. Were happy to help
with that process. And the IIF is a whole
system; we also need people to step up
and try it with on-set preview or in
conjunction with restoration tools.
Clark: The facilities need to be
onboard with the solution because the
heart of the architectures implementation
is at the post facilities. If youre already
going to Encore, its a done deal. If youre
going somewhere else
Feeney: well help. And no
matter what camera youre using, you
should be doing this.
Clark: Any camera can have an IDT.
[Ed. Note: An IDT is an Input Device Trans-
form, which takes into account a particu-
lar cameras characteristics and then trans-
lates the cameras image into ACES, the
IIFs working color space.]
Feeney: IDTs already exist for the
leading professional cameras, [including]
the Sony models, the Red and the Arri
Alexa. Most likely, the camera youre
considering is in the process of being vali-
dated in the IDT. But we wont call any of
this done because its all being refined
and adjusted. Its like when Kodak issues a
new film stock: they tune it up a little for
the next few months based on cine-
matographer feedback. The IDT is just like
an emulsion. The next step of the IIF work-
flow is the Reference Rendering Trans-
form, which encodes the image with an
unlimited color gamut and a dynamic
range exceeding that of any current or
anticipated output device. The RRT is
already implemented in numerous high-
end color correctors. If your facility uses a
Baselight, a Lustre or, to a certain extent, a
Nucoda, youre fine those workflows
have all been tested within the commit-
tee. The Baselight and Lustre workflows
have also been tested by people who are
using them in production. If you must
have your color-correction system up and
running in a rush, we can set you up
immediately. Getting set up on the color
correctors is quick.
Clark: Remarkably quick.
No matter what
camera you're
using, you should
be doing this.
88
Feeney: However, calibrating film
recorders is extremely complex. It requires
running everything through the lab and
turnarounds and measurements, so its
not a quick process. We tell most people
setting up their first IIF project to do all
their color correction internally, but
subcontract the film recording to a place
thats already set up to do that, like EFilm.
Well still help them get their in-house film
recording calibrated, and most likely
theyll have that ready by the time they do
their second project. But it might take as
much as eight weeks.
Clark: Companies need to get their
creative people onboard. If the project is a
TV show, the primary person is the cine-
matographer, working in conjunction with
the producer; if its a feature, the creative
politics will determine whether the direc-
tor is also involved with the cinematogra-
pher, as well as the producer.
Feeney: The director, producer and
cinematographer should get together and
say, We want to try this.
Clark: Cinematographers need to
say, This is an essential part of our ability
to control the look. We need this. Dont
take no for an answer, especially now that
theres concrete evidence of the work-
flows success.
Feeney: In May, the ASC is plan-
ning a summit of all the international soci-
eties of cinematographers. One of the
major motivations for that gathering is a
shared feeling that the cinematographers
role is eroding. The issues are so important
that the Society is convening this unprece-
dented summit, and the IIF system is
aimed right at the heart of those issues.
The IIF is a positive, constructive way to
help reinforce the role of the cinematog-
rapher. The ASC is not taking this lightly,
and no one else should, either. The
bottom line is, the IIF works, and if you
contact either the ASC or the Academy
for help, you will be pointed in the right
direction.
This is an
essential part of
our ability to
control the look.
89
90 April 2011 American Cinematographer
HydroFlex Borg Assimilates
Element Technica Neutron Rig
Element Technica has announced that its
Technica 3D Neutron rig, mounted with Silicon
Imaging SI-2K cameras, can now be enclosed in
the purpose-built Neutron Borg 3-D underwater
housing system from HydroFlex. The underwater
3-D camera system incorporates a Cinedeck
recorder inside the housing.
The Neutron 3-D rigs small form factor is
particularly attractive for underwater use, since it
makes a compact underwater housing possible.
The combination of the Neutron rig and SI-2K cameras allowed
HydroFlex to design an anodized aluminum, cuboid-shaped housing
that measures 15" wide, 17" long and 16" tall. The Neutron Borg
housing weighs 114 pounds out of the water and 3 pounds under-
water.
Pete Romano, ASC, recently used the first production model.
It is easy to move in the water and follow the action, he says. It
is balanced well for handheld use and I couldnt be happier.
The Neutron Borg system utilizes Element Technicas inte-
grated lens control. By fitting the SI-2K cameras with Zeiss 16mm
cine lenses, the system can take advantage of those lenses f1.3 aper-
tures and close-focusing capabilities. The system also accepts Schnei-
der 4.8mm, 8mm and 12mm lenses, and Linos 12mm, 16mm and
15mm C-mount lenses.
Because of its size, camera quality and lens compatibility, the
Neutron 3-D rig and SI-2K camera combination made an excellent
choice for a small housing, says Matt Brown, HydroFlexs operations
manager. The Neutron Borg system can be configured as a free-
swimming, untethered housing, with operator viewing on the
Cinedeck and full lens and stereographic control underwater. Alter-
natively, video and full remote control of the rigs focus, iris and
stereoscopic properties can be cabled to the surface and operated
from there.
The HydroFlex Neutron Borg housing is designed to remain
watertight to a depth of 60' and incorporates watertight connec-
tions for lens focus and iris, interaxial and convergence. When utiliz-
ing the Cinedeck for internal recording, SD video can be run to the
surface with an underwater coaxial cable. Alternatively, the Cinedeck
can be bypassed to run full HD from both cameras to the surface via
underwater Ethernet cables.
The Neutron Borg system is available for rental from
HydroFlex. For more information, visit www.hydroflex.com and
www.technica3d.com.
Fujifilm Expands Eterna Vivid Line
Fujifilm Corporation has announced the introduction of
Eterna Vivid 250D, a daylight-type motion-picture color-negative
film formulated to offer high color saturation and high contrast.
Incorporating Fujifilms proprietary Super Nano-Structured Grain
Technology, Super-Efficient
Coupler Technology and
Super-Efficient DIR-Coupler
Technology, the Eterna
family of motion-picture
color-negative films offers
exceptionally high-quality
images.
Eterna Vivid 250D
shares the same gradation and color saturation characteristics as the
tungsten-type Eterna Vivid 500 and Eterna Vivid 160. Not just an
excellent film for shooting in exterior locations, Eterna Vivid 250D
can also be used under mixed-lighting conditions.
All films in the Eterna family are characterized by their ability
to reproduce natural skin tones and grays in under- to overexposed
conditions. Additionally, Eterna Vivid 250D provides rich and distinc-
tive colors as well as deep blacks with the optimized gradation
balance, enabling a wide range of expressive dramatic effects.
Optimization of orange-mask density and sharpness balance
contributes to enhanced image quality for film scanning or direct
telecine transfer of images from negative film to videotape, making
this newest addition to the Eterna lineup well suited for commercials
and other motion-picture production utilizing the latest advanced
digital technologies.
For additional information, visit www.fujifilm.com.
Pixel Farm Shares Free Airgrade
The Pixel Farm, a manufacturer and
marketer of image-processing and visual-
effects software technologies, has intro-
duced Airgrade, a free color-grading
engine that is remote-controlled from an
iPhone.
Airgrade emulates professional film
and television grading tools and combines
a powerful Mac-based grading engine
with an easy-to-use wireless remote
control on the iPhone. Users roll a 3-D trackball and rotate a radial
wheel on their iPhone to adjust precise tonal ranges using Lift,
Gamma and Gain controls, as well as a Saturation control for over-
all color intensity. The result appears interactively on the users Mac,
and on any other connected monitoring device, such as a digital
New Products & Services
SUBMISSION INFORMATION
Please e-mail New Products/Services releases to:
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.
projector. A shake of the iPhone resets the
parameters, allowing a fresh grade to be
made.
When the desired color grade has
been achieved, Airgrades color engine
saves the grading data in the ASC CDL
format, which allows color decisions to be
transferred between color-grading and
finishing solutions. The graded image is
saved simultaneously to the iPhones photo
album, delivering a fast visual reference.
Users can download the free, Mac-
based color engine at www.airgrade.co.uk;
the iPhone remote controller is available
through the iTunes store. For more informa-
tion, visit www.thepixelfarm.co.uk.
Quantel Offers Software-Only
Pablo PA
Quantel has released Pablo PA, the
companys first standalone software prod-
uct. Pablo PA is designed to help Quantel
customers get the maximum value out of
their high-end eQ, iQ or Pablo suites by
handling conforms, preparation and work-
flow, allowing the main suite to concentrate
purely on client-focused work. As a stand-
alone system, Pablo PA also offers facilities
that dont currently own Quantel systems a
low-cost way to benefit from Quantels
high-quality post tools.
Pable PA has all the Pablo V5 color,
multi-layer timeline, import, export, archive,
conform and Stereo3D tools. It also
supports Red and DPX soft mount of third-
party storage for instant access to media,
and will handle conform verification, Red
shot selection and live de-bayering as well
as file i/o. When work is complete, only the
recipe of whats been done on Pablo PA
needs to be transferred to the eQ, iQ or
Pablo, saving valuable time that would
otherwise be spent moving media.
The release of Pablo PA follows a
91
successful Beta testing phase with a number
of Quantel customers. Pablo PA is being
offered on a 30-day try before you buy
scheme.
For additional information, visit
www.quantel.com.
Panavision Introduces Digital
Transfer Station
Panavision has introduced the Digital
Transfer Station, providing a unique solution
to enable greater flexibility in the production
process. The DTS complements Panavisions
Solid State Recorder,
increasing the SSRs
capability while provid-
ing consistency through-
out the production
workflow. The DTS takes
uncompressed content
from the SSR and
outputs DPX or Quick-
Time files while offering
a production the option
to simultaneously generate a backup tape.
This solution provides value to vari-
ous departments in the production process.
For the cinematographer, it is an invaluable
addition that allows the application of look-
up tables so that material can be generated
for editorial needs as well as dailies. Cine-
matographer David Tattersall employed the
system on Gullivers Travels and The Hungry
Rabbit Jumps. It was an invisible part of
our camera equipment, he says. I was
almost unaware it was there.
The DTS provides for near-set quality
control of the master image, enabling near-
instant feedback on set before the files are
sent to postproduction. The system also
helps to accelerate the delivery of off-line
files for the editorial process. Panavisions
Digital Transfer Station eliminates the trans-
fer-from-tape portion of the deliverables
distribution, and eliminates the compression
associated with tape, says digital-imaging
technician Doug DeGrassio. I liked the
compact size and reliability. Its simply very
clean and it makes our work very clean.
The DTS solution can also enhance
the entire production workflow, including
visual effects and postproduction. For visual
effects, this means every frame is available
as a DPX file directly from set. Having all
the DPX files in the cutting room is excel-
92
lent, says editor Alan Bell, ACE. It allows
for very fast turnarounds delivering [visual-
effects] elements and gives us options when
it comes to doing the final conform.
Josh Limor, Panavisions technical
marketing manager, says, We wanted to
design a system that is easy to use, invisible
on set, and can satisfy every aspect of the
production teams needs. In addition, every
production will have Panavisions support in
designing and implementing a workflow
that works for them. Other productions
that have already utilized the DTS include
Captain America, Vamps, The Smurfs and
Ironclad.
For additional information, visit
www.panavision.com.
Panasonic Adds Pro Monitor
Panasonic Solutions Company has
introduced the BT-LH910, a 9" LCD monitor
for field and studio applications. Features
include a new, high-brightness, high-
contrast IPS panel; newly developed 3-D
assist functions; and professional interfaces,
including HDMI and 3G-SDI. Equally suitable
for production, broadcast and institutional
applications, the cost-effective BT-LH910 can
be utilized on-camera as an electronic
viewfinder, on location, and in mobile or live
settings.
The BT-LH910 offers production-level
critical viewing with 1280x768 WXGA pixel
resolution, the highest in the 9"-and-under
professional LCD monitor category. The
monitors high brightness, high contrast,
horizontally aligned IPS panel has 176-
degree vertical and horizontal viewing
angles. It delivers exceptional imagery with
superb color accuracy and exhibits minimal
changes in brightness and color due to the
viewing angle.
The BT-LH910 incorporates a 2X SDI
IN overlay and side-by-side display that
provides a 2-D view of various 3-D checks,
Specialty Products
for Film, Video & HD
m e tte s y SSy y l p p u S r e
A X E L
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94 April 2011 American Cinematographer
including composition, convergence, color
and luminance, focus and zoom position,
and parallax. This 3-D assist function is ideal
for production crews that require a 3-D
review in the field. The monitor also offers
two times SDI loop-through to allow it to be
used with existing 3-D rigs while still feeding
video to any downstream equipment. Addi-
tional functionality encompasses a Black
mode for confirming dark scenes, an RGB
waveform monitor, a vectorscope, an RGB
direct white-balance adjustment, a color
audio level meter, new front/rear design,
SDI closed-captioning support, a head-
phone jack and tilt stand.
The 15:9 aspect-ratio monitor is
compatible with multiple HD/SD formats
and features the industrys lowest image-
processing delay, a Diagonal Line compen-
sation function and such advanced focus-
assist functions as Focus-in-Red and Pixel-
to-Pixel matching. Measuring only 3.1"
deep and weighing only 3.7 pounds
(excluding the tilt stand), the space-saving
BT-LH910 also boasts an eco-friendly W-LED
backlight.
When used as an electronic
viewfinder, the BT-LH910 can be configured
with Panasonics full range of HD shoulder-
mount cameras, using the optional BT-
CS910 viewfinder cable. The 12-volt DC-
powered monitor is equipped with both a
4-pin XLR DC input and an Anton Bauer
battery gold mount, making it ideal for
outdoor use.
The BT-LH910 has a suggested price
of $3,500. For more information, visit
www.panasonic.com/broadcast.
Abel Cine Tech Authorized
by Zeiss
Lens manufacturer Carl Zeiss has
appointed equipment supplier Abel Cine
Tech as a Carl Zeiss Authorized Service Part-
ner. Building on years of cooperation
between the two companies, the aim of the
partnership is to allow Carl Zeiss customers
in the Americas to benefit from optimized
customer service. In particular, the partner-
ship will further reduce the amount of
downtime associated with repairs. In the
future, local services will be carried out
more efficiently and according to the high-
est quality standards.
The appointment of a Carl Zeiss
Authorized Service Partner creates an
important foundation for intensifying our
cooperation with Abel Cine Tech, says
Josef Kohnle, director of operations of the
Carl Zeiss Camera Lens Division in
Oberkochen, Germany. Our clients in
America can now send their lenses directly
to Abel Cine Tech for maintenance and
repairs. The professional and localized
customer service will guarantee quick and
smooth service and increase effectiveness.
Pete Abel, president and CEO of
Abel Cine Tech, adds, Were delighted
with the special trust Carl Zeiss has placed in
us through this official partnership. We will
use our experience and technical know-how
to build awareness among Carl Zeiss
customers in America for its products and to
provide the outstanding performance and
quality for which Carl Zeiss lenses are
renowned the world over.
Abel Cine Tech operates facilities in
New York City, Burbank and Chicago. Qual-
ification as a Carl Zeiss Authorized Service
Partner involves training by Carl Zeiss part-
ners as well as the provision of special tools
that ensure the company can guarantee a
uniform level of service for all its customers.
For additional information, visit
www.abelcine.com and www.zeiss.com.
Vocas Adapts Lens Mount
Vocas has introduced a lens-mount
adapter from Micro
4
3" to PL mount,
designed with the Panasonic AG-AF100
specifically in mind. The adapter, which
enables the use of PL-mount lenses on digi-
tal cameras fitted with a Micro
4
3" sensor,
comes with a 15mm support bracket for
using the mount on a 15mm rails system.
Vocas also offers a 15mm rails system,
which is suitable for adding more acces-
sories.
For additional information, visit
www.vocas.com.
Denz Accessorizes
Panasonic Camera
Denz has introduced an accessory
package for Panasonics AG-AF100 Micro
4
3" digital camera. The package includes a
Universal Holder, PL54-Support, Ultra Light-
weight Handle System and FFM Follow
Focus.
The Universal Holder attaches onto
the cameras handle and can be fixed via
two clamping screws, which allow for
different positions depending on the needs
of the operator. The Universal Holder can
also be used in conjunction with the
Cineroid electronic viewfinder.
The PL54-Support allows users to
mount any PL-mount lens to the camera, no
matter the lens weight. The support system
contains a mount for 15mm support rods as
well as Arri/Denz-standard rosettes for
adjusting handles and accessories.
An optional shoulder rig can also be
mounted to the 15mm rods, and the Ultra
Lightweight Handle System incorporates
two handles, one of which can be equipped
with shutter control.
Finally, Denzs FFM Follow Focus
perfectly fits the system and mounts to the
15mm rods sideways beneath the lens.
For additional information, visit
www.denz-deniz.com.
Redrock Micro Works with
Really Right Stuff
Redrock Micro has introduced the
MicroRRS clamp for adapting the Really Right
Stuff line of quick-release clamps and plates
for use with Redrocks HDSLR camera rigs.
Redrock customers now have a choice
of camera mounts for their Redrock rigs: the
Redrock DSLR baseplate or the MicroRRS
adapter clamp with Really Right Stuff. The
MicroRRS with Really Right Stuff clamps are
an excellent choice for still photographers
who want to continue using their Really Right
Stuff quick-release system, or for cinematog-
raphers who demand the ultimate stability in
a camera-mounting system. The MicroRRS
allows HDSLRs to be used either vertically or
horizontally, and it can be used with either
camera or lens support plates.
Really Right Stuff is extremely well
regarded and hugely popular in the photog-
raphy world today, says James Hurd, chief
revolutionary for Redrock Micro. Our new
MicroRRS clamp really benefits customers by
bringing together the best of both worlds for
video DSLR rigs and accessories.
The MicroRRS clamp is priced at $229.
For more information, visit www.redrockmi
cro.com and www.reallyrightstuff.com.
JBK Cinequipt Focuses on DSLRs
JBK Cinequipt has introduced the FF-
2010 HD, a lightweight follow focus
designed for use with Canons EOS 5D and
7D DSLR camera systems. The FF-2010
attaches directly to one 15mm support rod
and locks into place with a quick-lock clam-
per. Constructed of Black Delrin, the FF-2010
boasts a sealed gear box, weighs only 5
ounces and has an outside diameter of 3".
The FF-2010s interchangeable drive
95
gear is held in place with an Allen screw,
making it easy to swap out for different
drive-gear sizes. The unit also features a
marking disk, and the knob accepts stan-
dard accessories, such as a speed crank or
whip.
For additional information, visit
www.jbkcinequipt.com.
FG Follow Focus
from Ikan
Ikan has introduced
the FG Follow Focus,
offering precision
machined aluminum construc-
tion, lightweight design, beveled dry-
erase marking disk and compatibility with all
Ikan Elements kits and any 15mm rod-
based camera-support system. Driven by a
2"-diameter control wheel, the FG Follow
Focus features low backlash and is compat-
ible with standard film-pitch gearing of .8
MOD supported by a 2.3"-diameter focus
gear. The horizontal adjustment feature
accommodates a wide range of DSLR lens
diameters. The FG Follow Focus also
features a focus mark indicator and lockable
focus control.
The included 17" FG Follow Focus
Whip features vinyl covering and a crank
stability grip for smooth control. Utilizing
Ikans compact square connector, the FG
Whip provides leverage over distance and
smoother focus pulls all around. The 2.3"
FG Follow Focus Crank Knob provides rapid
focus, allowing users to move from one
focus mark to another at high speed. Fitted
with Ikans square connector, the FG Crank
Knob offers fast and accurate control. Also
included is a pair of 2.5" to 4.25"-diameter
adjustable zip lens gears.
For additional information, visit
www.ikancorp.com.
Zacuto Updates Z-Finder Pro
Camera-accessories manufacturer
Zacuto has released the updated Z-Finder
Pro DSLR viewfinder. The optical viewfinder
offers 2.5x or 3x focusable magnification, a
40mm-diameter Zacuto optical designed
lens, an anti-fog coating protective shield,
an eyecup preventing extraneous light leak-
age, a diopter and a field of view perfectly
matched to 3" LCD screens. Also included are
three extender frames, a gorilla plate with
DSLR short body frame, a lens cap, a protec-
tive boot, a lanyard hook and lanyard, and
three extra anti-fog coating protective covers.
The anti-fog protective covers serve
two purposes: to protect the actual lens from
damage and to prevent fogging. Weve
spent over a year and a half to come up with
the Zacuto anti-fog formula, says Steve
Weiss, product designer for Zacuto. The key
to creating an anti-fog lens is to create a
texture on the surface so that moisture cannot
collect. Weiss and fellow product designer
Jens Bogehegn developed inexpensive anti-
fog shields for customers to use as expend-
ables in case of loss, scratch or damage to the
covers. Bogehegn notes, We found that the
texture of the protective cover can rub off.
Whether you have an older Z-Finder or Pro
Series, anti-fog lens or non-anti-fog lens,
96
these shields will protect your existing lens and
make any Z-Finder anti-fog.
For existing Z-Finder owners, the Anti-
Fog Protective Cover Upgrade Kit comes with
a three-pack of anti-fog protective covers, a
lens cap and newly designed eyecup to fit all
covers. For more information, visit
www.zacuto.com.
Acme Illuminates Komet
Pipe Light
Acme Lighting & Grip has intro-
duced the Komet Pipe Light. Light-
weight and self contained, the
6,500K LED fixture is simple to use
and sets up in seconds.
The all-weather Komet Pipe Light
features a nylon body and T6
aluminum head. The fixture weighs 17
pounds and folds into a cylinder that
measures 32" long and 4.5" in diam-
eter, allowing for easy transport.
The Komet Pipe Light features low,
medium and high operating modes;
according to Acmes photometrics, the
Pipe Light produces a maximum of
500 foot candles at a distance 6'. The fixture
runs off of a battery, which recharges in
approximately 8 hours and offers 2.5 to 9
hours of operation, depending on the oper-
ating mode. The power supply and charger
are included. Other accessories include a
four-way barndoor, a wide lens, four gel
frames and a car power adapter.
For additional information, visit
www.kometled.com.
MSE Supports Fluorescents
with K-Stackers
Matthews Studio Equipment has
introduced K-Stackers, a simple solution for
fluorescent-lighting support.
Based on a concept from gaffer Alex
Amyot, K-Stackers allow for the placement
of large fluorescent fixtures in a tight
pattern for more punch, or for an overhead
source with fluorescent fixtures hung from a
Junior Boom or telescoping hanger. Two or
three large fluorescent fixtures can be tied
together on a rolling stand or Runway Base;
up to six 4' fixtures can be mounted, with
the ballasts hanging off the back of the K-
Stacker. Two K-Stackers on a
stand or base allows for place-
ment of four 4' fluorescent
fixtures vertically around the
stand. Rotate the pin 90
degrees and K-Stackers can be
conformed from a horizontal
to a vertical light-fixture mode.
This compact, powerful light
source can be moved almost
anywhere.
Crews spend a great
deal of time building contrap-
tions out of C-stands to achieve the same
effect that the K-Stacker gives them in
moments, says Kelly Koskella, president of
Hollywood Rentals, one of the first compa-
nies to take delivery of the K-Stackers.
Those time-saving quality products are
what production professionals demand.
Hollywood Rentals is always on the lookout
for tools that improve production for our
clients, and K-Stackers certainly do that.
For additional information, visit
www.msegrip.com.
97
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98 April 2011 American Cinematographer
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Advertisers Index
16x9, Inc. 98
Abel Cine Tech 37
AC 92
Aja Video Systems, Inc. 11
Alan Gordon Enterprises 98
Arri 33, 39
ASC 1
AZGrip 98
Backstage Equipment, Inc.
91
Barger-Lite 93, 99
Bron Imaging Group - US 77
Burrell Enterprises 99
Camera Essentials 99
Cavision Enterprises 69
Chapman/Leonard Studio
Equipment Inc. 19
Chemical Wedding 87
Chimera 9
Cine Gear Expo 101
Cinematography
Electronics 93
Cinekinetic 98
Clairmont Film & Digital 57
Codex Digital Ltd., 13
Convergent Design 67
Cooke Optics 25
CTT Exp. & Rentals 96
Dell Inc. 21
Deluxe C2
Denecke 98
Digital Vision 81
Duclos 74
Eastman Kodak 59, C4
EFD USA, Inc 23
Film Gear 73
Filmtools 91
Flying-Cam Inc. 80
Fujifilm 16a-d
Gekko 51, 92
Glidecam Industries 47
Grip Factory Munich/GFM 6
Hollywood Rentals 84
Hydroflex Inc. 71
Innovision 99
JEM Studio Lighting 74
J.L. Fisher 40
K5600 65
Kino Flo 89
Kobold 77
Lee Filters 76
Lights! Action! Co. 99
Lite Gear 91
Maine Media Workshops 73
MAT - Berlin 79
Matthews Studio
Equipment/MSE 99
M. M. Mukhi and Sons 99
Movcam Tech, Co., Ltd. 55
Movie Tech AG 99
Nalpak Inc. 99
NBC Universal Media Works
35
New York Film Academy 50
Nila Inc. 4
Oppenheimer Camera Prod.
93, 98
PC&E 85
P+S Technik 83
Panasonic Broadcast
TV Division 15
Panther Gmbh 61
Ped Denz 75, 98
Photon Beard 98
Pille Film Gmbh 99
Pro8mm 98
Production Resource Group
49
Professional Sound Services
6
Rag Place, The 95
Rosco Laboratories Inc. 60
Scheimpflug Digital 24
Schneider Optics 2
Shelton Communications
98
Samys DV & Edit 41
Service Vision 88
Solid Grip 71
Sony Electronics 7
Stanton Video Services 75
Super16 Inc. 99
Surreal Road Limited 6
Thales Angenieux 5
Tiffen C3
T-Pars, Inc 49
Transvideo International 97
VF Gadgets, Inc. 98
Visual Products 95
Welch Integrated 103
Willys Widgets 98
www.theasc.com 92, 98, 99
Zacuto Films 99
Classifieds
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100 April 2011 American Cinematographer
Cine Gear Expo
June 2-5, 2011
Expo & Conference
Premiere & Master Classes, Film Competition
The Studios at Paramount, Hollywood, CA, USA
September 24-25, 2011
Expo & Conference
Metropolitan Pavilion, New York City, NY, USA
phone: 310.472.0809 fax: 310.471.8973 email: info@cinegearexpo.com
www.cinegearexpo.com
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Rom Named Associate
Domenic Rom, head of producers
services for Technicolor New York, has
joined the ASC as an associate member.
After earning a bachelors degree from
South Ridge State University in South
Ridge, S.C., Rom worked as a sales repre-
sentative for Lit Ware, Inc., and Duffy
Vineyards before joining DuArt Film &
Video in New York. In his 16 years at
DuArt, he climbed the ranks from night
colorist to executive vice president. He
went on to serve as the COO of lab oper-
ations at Moving Images/Postworks. He
joined Technicolor last year.
Spirit, BAFTA, Academy Awards
Honor Cinematographers
The 2010 awards season saw
Matthew Libatique, ASC win a Film
Independent Spirit Award for Black Swan
(AC Dec. 10); Roger Deakins, ASC, BSC
win a BAFTA for True Grit (AC Jan. 11);
and Wally Pfister, ASC win an Oscar for
Inception (AC July 10).
The other Spirit Award nominees
were Adam Kimmel, ASC, for Never Let
Me Go; Jody Lee Lipes, for Tiny Furniture
(AC Jan. 11); Michael McDonough, for
Winters Bone (AC June 10); and Harris
Savides, ASC, for Greenberg.
Joining Deakins in the BAFTA
competition were Libatique; Pfister;
Danny Cohen, BSC, for The Kings Speech
(AC Dec. 10), and Anthony Dod Mantle,
BSC, DFF and Enrique Chediak, for 127
Hours (AC Dec. 10).
The other Oscar nominees were
Cohen, Deakins, Libatique and Jeff
Cronenweth, ASC, for The Social
Network (AC Oct. 10).
SOC Hosts Awards Gala
The Society of Camera Operators
recently honored Pete Romano, ASC
with its Lifetime Achievement Award;
Jost Vacano, ASC with its Historical
Award (for Das Boot); and ASC associate
Frank Kay with its Distinguished Service
Award Cammy.
Lifetime-achievement awards were
also presented to camera operator
Michael Ferris, 1st AC/camera technician
Alan Disler and stills photographer David
James, SMPSP. Steadicam operator Colin
Anderson won the Feature Film Operator
of the Year award for The Town, and
David Frederick, SOC won the Television
Camera Operator of the Year award for
Sons of Anarchy.
The SOC Presidents Award went to
the Grip Union, Local 80, and Technical
Achievement Awards were given for the
Arri Alexa and for the Ultimate Arm Gyro-
Stabilized Camera Crane.
Zsigmond Visits Park City
Vilmos Zsigmond, ASC paid a
visit to Park City, Utah, to participate in
events sponsored by Kodak at the
Sundance and Slamdance film festivals.
The cinematographer participated in a
Q&A with producer Jack Robinette follow-
ing a screening of their film Summer Chil-
dren (1965), which was believed lost until
35mm black-and-white elements were
discovered in Canada, France, New York
and Los Angeles. The next day, Kodak
hosted Coffee with Vilmos, during
which Zsigmond discussed his creative
process.
Cundey Talks Jurassic Park
Dean Cundey, ASC recently
visited The Art Institute of California-
Orange County to discuss his work on
Jurassic Park (AC June 93) with student
filmmakers. Instructor Scott Essman inter-
viewed Cundey as the film played, and
after the screening, the cinematographer
answered students questions.
Clubhouse News
Top to bottom: New associate member Domenic
Rom; Oscar winner Wally Pfister, ASC, with
presenter Tom Hanks; Dean Cundey, ASC (wearing
blue-striped shirt) with students at The Art Institute
of California Orange County; (left to right) Scott
Sakamoto; Steve Campanelli, SOC; David Frederick,
SOC; Colin Anderson, SOC; Geoff Haley; and
Peter Rosenfeld, SOC.
102 April 2011 American Cinematographer
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104 April 2011 American Cinematographer
When you were a child, what film made the strongest impres-
sion on you?
When I saw The 7th Voyage of Sinbad (1958), I was knocked out. I saw
it eight times in the first week, which wasnt easy for an 11-year-old
who couldnt drive to the movie theater. Kordas The Thief of Bagdad
(1940) was another huge influence.
Which cinematographers, past or present, do you most admire?
John Hard Way Fulton, ASC was always looking for the better effects
shot, no matter what it took to make it. His ideas were progressive, and
the shots were surprising in a good way. Of the live-action cinematog-
raphers, [I admire] ASC members Charles Lang
and Gregg Toland and all the usual suspects,
some of whom Ive been lucky to work with. I
love the classically perfect shot.
What sparked your interest in photography?
To have a visual reminder of an effects shot Id
seen in a movie, Id use a toy spaceship or plastic
dinosaur and try copying the shot, which gave
me a print that I could study and hold.
Where did you train and/or study?
I was self-taught. There was no real interest in
effects until Star Wars came along no classes,
nothing. So I had to guess how things were done
and shoot my own stills and 8mm and 16mm
effects movies. Occasionally, American Cine-
matographer would have an effects article with
pictures!
Who were your early teachers or mentors?
In the 60s, there were only a dozen of us effects fans in Los Angeles.
One was Jim Danforth, who graciously took time to teach me about
art and film and quality. Phil Kellison gave me my first job using 35mm
gear, shooting effects commercials at Cascade Pictures. Phil was an
amazing cameraman who knew how to light a dime to look like a
dollar. I also found people in the phone book. Bill Abbott, ASC kindly
let me watch some model shoots at the Sersen Tank in Malibu.
What are some of your key artistic influences?
When I was a kid, The Beatles, Ray Harryhausen, John Singer Sargent,
Arthur Penn and the real world. Today, its the real world, George
Lucas, Steven Spielberg, Jim Cameron, Phil Tippett, Steve Jobs and the
Internet.
How did you get your first break in the business?
[Future ASC members] John Dykstra and Richard Edlund hired me at
the start of Star Wars. John felt my camera/stop-motion background
might be valuable in shooting with his new computer-controlled
cameras. I didnt know anyone working there, but rumor had it that
they were trying something new, and I was eager to learn. I even cut
my salary to get hired.
What has been your most satisfying moment on a project?
Whenever an impossible shot is finished and it works. Ive always been
driven by seeing the final image, not by the process.
Have you made any memorable blunders?
Long ago, I was the only cameraman using three old high-speed
Mitchells to shoot a big exploding miniature. When the dailies came
back, one camera was underexposed by five stops. The next time, I
triple-checked everything, and guess what? Same
thing. I traced the problem back to one lens. The
Mitchells vibrated a lot at 128 fps, and that
caused the iris to close down all by itself.
What is the best professional advice youve
ever received?
Jim Danforth taught me the value of critical think-
ing, especially about your own work, and how to
see your work as the audience will see it. And
during The Empire Strikes Back, George Lucas
showed me a helicopter shot and asked if I could
add a creature running on the ground, which at
the time seemed impossible because of the six-
axis camera motion. He said, Give it some
thought, and within 15 minutes I had a solution.
That taught me that a right answer might be one
thought away.
What recent books, films or artworks have inspired you?
The Social Network, the Phantom camera at 1,000 fps, the aerial-plat-
form sequence in Star Trek (2009), the zero-gravity hallway in Incep-
tion, the 3-D stereo design of Fly Me to the Moon (2008), a Blu-ray of
Gone With the Wind on my Sony LCD at a simulated 120 fps, and
everything by Malcolm Gladwell.
Do you have any favorite genres, or genres you would like to
try?
Not really.
Which ASC cinematographers recommended you for member-
ship?
Richard Yuricich, Allen Daviau and Joseph Westheimer.
How has ASC membership impacted your life and career?
Everyone in this business holds the ASC in high regard, which has
given me some clout on a set when Ive most needed it. But really,
what I most appreciate is being part of a distinguished group of great
cinematographers with a long tradition of excellence and mutual
support.
Dennis Muren, ASC Close-up
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DAVI D B OYD, AS C
ONFILM
To order Kodak motion picture lm,
call (800) 621-lm.
Eastman Kodak Company, 2011.
Photography: 2011 Douglas Kirkland
I think a lot about how best to interpret a
screenplay visually. Pushing and shoving
through this creative process, alongside
the director, a lm starts to become its own
thing. I view myself as its protector in its
infancy, and when it really gets rolling I get
out of its way. Risk-taking is central to good
work. Im visually succeeding if Im somewhat
uncomfortable throughout productionit
keeps me sharp. Ill use any tool I can
get my hands on to photograph a story
well, and deny myself all the others. And I
believe the utmost emotion and connection
a cinematographer can create with an
audience comes with shooting on lm. It
represents the rst and most important leap
into a storys visual interpretation. It is the
means by which an image crawls up out of
the mud and becomes symbolic. It is the
very instrument that engages an audience.
Shooting, printing and projecting on lm tells
the story best.
David Boyd, ASCs credits include the
television series The Walking Dead, Men of
a Certain Age, Friday Night Lights, Without a
Trace, and Deadwood, for which he received
an ASC Outstanding Achievement Award
nomination. His feature credits include
12 Rounds, Full Count, Kit Kittredge: An
American Girl, Get Low, and the forthcoming
Joyful Noise.
All these productions were photographed on
Kodak motion picture lm.
For an extended interview with David Boyd, visit
www.kodak.com/go/onlm