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M E M B E R P O R T R A I T
Don McCuaig, ASC, CSC
W W W . T H E A S C . C O M
TO SUBSCRIBE BY PHONE:
Call (800) 448-0145 (U.S. only)
(323) 969-4333 or visit the ASC Web site
y earliest memories of film
are of sensory experiences
involving popcorn and soda
pop, plus a wide-eyed enchantment
with the larger-than-life images on
the screen. Fate stepped in when I
became a student lens maker in the
military, and I was soon thereafter
handed a camera and told to shoot
the sunset.
American Cinematographer
was incredibly helpful at the
inception of my cinematography
career, and it remains as valuable to
me as my light meter. For decades,
AC has provided me with the
opportunity to experience my
colleagues work through up-close
and personal looks at sets, the
sharing of technical information,
and anecdotes about managing
stage and location dilemmas.
I remain a perpetual student
of my craft, and AC continues to
provide an informed resource for
information about both film and
digital media.
Don McCuaig, ASC, CSC
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Director and Cinematographer Randall Einhorn
is a two-time Emmy nominee for his work on
the series Survivor. He has shot and/or directed
over 113 episodes of The Office and directed
episodes of series including Modern Family,
Its Always Sunny in Philadelphia and Parks and
Recreation, as well as numerous commercials
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The International Journal of Motion Imaging
32 Bad Moon Rising
Shelly Johnson, ASC pens a firsthand account of his
work on The Wolfman
46 Artistry and Conscience
Chris Menges, ASC, BSC receives the Societys
International Award
56 Working With the Red
AC technical editor Christopher Probst offers a hands-on
assessment of the Red One camera
68 Terror in Technicolor
Luciano Tovoli, ASC, AIC recalls his visual strategies
for the 1977 horror classic Suspiria
DEPARTMENTS
FEATURES
VISIT WWW.THEASC.COM TO ENJOY THESE WEB EXCLUSIVES
Q&A: John Cassaday on directing Dollhouse
Podcasts: Werner Herzog and Peter Zeitlinger on Bad Lieutenant: Port of Call New Orleans
Barry Markowitz, ASC on Crazy Heart Richard Crudo, ASC interviews Victor J. Kemper, ASC about
The Friends of Eddie Coyle
On Our Cover: The full moon transforms Lawrence Talbot (Benicio Del Toro) into a
snarling werewolf in The Wolfman, shot by Shelly Johnson, ASC. (Photo by Frank Ockenfels,
courtesy of Universal Pictures.)
8 Editors Note
10 Presidents Desk
12 Short Takes: Whats in the Box?
18 Production Slate: Fish Tank Dollhouse
78 Post Focus: Offhollywood Digital
82 New Products & Services
88 International Marketplace
90 Classified Ads
90 Ad Index
92 In Memoriam: Marc E. Reshovsky, ASC
94 Clubhouse News
96 ASC Close-Up: Paul Cameron
F E B R U A R Y 2 0 1 0 V O L . 9 1 N O . 2
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46
F e b r u a r y 2 0 1 0 V o l . 9 1 , N o . 2
T h e I n t e r n a t i o n a l J o u r n a l o f M o t i o n I m a g i n g
Visit us online at
www.theasc.com
PUBLISHER Martha Winterhalter
EDITORIAL
EXECUTIVE EDITOR Stephen Pizzello
SENIOR EDITOR Rachael K. Bosley
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TECHNICAL EDITOR Christopher Probst
CONTRIBUTING WRITERS
Stephanie Argy, Benjamin B, Douglas Bankston, Robert S. Birchard,
Bob Fisher, Simon Gray, Jim Hemphill, David Heuring,
Jay Holben, Mark Hope-Jones, Noah Kadner, Jean Oppenheimer,
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American Cinematographer (ISSN 0002-7928), established 1920 and in its 90th year of publication, is published
monthly in Hollywood by ASC Holding Corp., 1782 N. Orange Dr., Hollywood, CA 90028, U.S.A.,
(800) 448-0145, (323) 969-4333, Fax (323) 876-4973, direct line for subscription inquiries (323) 969-4344.
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POSTMASTER: Send address change to American Cinematographer, P.O. Box 2230, Hollywood, CA 90078.
4
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Michael Goi
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Richard Crudo
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Owen Roizman
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Victor J. Kemper
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Matthew Leonetti
Treasurer
Rodney Taylor
Secretary
John C. Flinn III
Sergeant At Arms
MEMBERS OF THE
BOARD
Curtis Clark
Richard Crudo
George Spiro Dibie
Richard Edlund
John C. Flinn III
John Hora
Victor J. Kemper
Matthew Leonetti
Stephen Lighthill
Isidore Mankofsky
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The ASC is not a labor union or a guild, but
an educational, cultural and pro fes sion al
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This months cover story on The Wolfman (Bad Moon
Rising, page 32) comes straight from the source: cinematogra-
pher Shelly Johnson, ASC, who offers a first-person account of
his strategies for the show. The article is filled with insights that
provide valuable context for the filmmakers creative choices. A
key decision production made early on was to shoot a large
portion of the film on location, a different stylistic approach than
the one taken on the stagebound Universal classic, Johnson
writes. The idea was to ground the story in reality and integrate
our storytelling elements into that setting. I liked this idea, partic-
ularly for our night scenes, which we wanted to shoot at a much
larger scale than is possible onstage.
In discussing his work, Johnson contends that the best images are those that support
good stories, soulfully told: When I think back on the cinematography Ive admired over the
years, its usually not the prettiest film or the film with the most dazzling action footage that
impresses me. Although I respect those types of movies, the films that get inside me with their
emotional treatment of a story are the ones that hit home.
Chris Menges, ASC, BSC certainly grasps the value of impactful narratives, which is
just one of the reasons he will receive the ASC International Award later this month (Artistry
and Conscience, page 46). No less an authority than Roger Deakins, ASC, BSC pronounces
Menges probably the greatest cinematographer working today. Meanwhile, the self-effac-
ing Menges maintains that what inspires him are good writing and a good story, and hope-
fully something with political energy.
Over the course of his illustrious career, Menges has seen camera technology
advance by leaps and bounds. With the advance of digital-imaging chips, todays cinematog-
raphers confront more choices than ever while deciding which format to use on a given project,
but the Red One camera has generated so much interest and debate that we felt
compelled to examine its facets in depth, particularly after our most recent reader survey
revealed significant interest in the topic. AC technical editor Christopher Probst has put the Red
through its paces on dozens of shoots, and he assesses the camera in a thorough piece (Work-
ing With the Red, page 56).
Readers have also requested more historical articles, so weve obliged with a look
back at one of the most visually spectacular horror films ever made, Dario Argentos occult
chiller Suspiria, shot by Luciano Tovoli, ASC, AIC (Terror in Technicolor, page 68). In helping
director Argento mount his masterpiece of operatic mayhem, Tovoli imbued the film with vivid
primary colors that give it the feel of an inescapable acid trip a daring strategy that caused
the cinematographers loyal crewmembers some concern: I was always telling the production
designer and scenic painter, More red! More blue! Tovoli remembers. I made the same
recommendation to my very patient gaffer, Alberto, and, like a good friend, he asked me, Are
you sure? Its becoming quite disturbing! And to my inalterably happy face he asked, Are you
searching to be fired?
Tovoli persevered, and his instincts lent the nightmarish images great power: Suspiria
is now considered a classic of the genre, proving yet again that risk is often rewarding.
Stephen Pizzello
Executive Editor
Editors Note
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Which is probably why people are coming back to film. Film
has incredible exposure latitude, which makes it so easy to
light and work with on set. And it gives me an image thats
loaded with color information to start with which saves time
in post. The unmatched resolution makes everything from HD
transfers to spots on the web look amazing. Considering all
the surprises a production throws at you, why add an unproven
workflow into the mix? Film, man. Its just beautiful.
Stefan Sonnenfeld refuses to compromise. His award-winning work on commercials
and features such as Star Trek and Transformers 2: Revenge of the Fallen is a
testament to that. Hear his stories and others at kodak.com/go/motion
Stefan Sonnenfeld
Colorist. Entrepreneur. Fanatic.
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Does anyone set out to make a bad movie? I dont mean in a tongue-in-cheek way, where you
purposely put in dialogue and situations that are blatantly ridiculous to elicit a laugh. I mean in a really
earnest, I-hope-this-is-the-worst-movie-ever way?
I dont think so. In fact, I think the bad movies we think of as guilty pleasures are the ones whose
makers were convinced they had Citizen Kane II on their hands.
I was thinking about this as I leafed through one of my favorite books. Its a collection of the
blandest postcards you could ever hope to find, the kind that look like they came off a dusty metal
rack that had been in a truck stop somewhere off the interstate for decades. The book is called, appro-
priately, Boring Postcards (compiled by Martin Parr and published by Phaidon). Even though the book
is filled with images like obscure turnpikes that no one would ever care about, and a factory that makes
a ball bearing in only one size, as you go through the book, you instinctively start to wonder about the
thought process involved in the images. Someone set up the camera there, where the building would
look as flat as architecturally possible, and someone else thought that picture was worth making into
10,000 postcards. It becomes an almost hypnotic journey of discovery as you study each postcard and wonder why the photographer chose
to do an aerial shot of a factory that looks like nothing from the sky.
It certainly takes a great deal more effort to make an entire feature film than to take a photo, so aspiring to mediocrity would not
seem to be high on a filmmakers list of goals. In my personal collection, I have more than 10,000 movies on DVD and Laserdisc. When I
recently inventoried them to weed out duplicates, I discovered I had a large number of films that others would call trash. Sure, I have Fellinis
8
1
2 and several different versions of D. W. Griffiths silent films, along with milestone movies from every era in the history of cinema. But next
to those, just as neatly shelved and categorized by genre, are titles that would not be given a moments thought by any serious student of
cinema: The Pom-Pom Girls, The Bloodthirsty Butchers, Battle of the Amazons and The Naughty Stewardesses. And I had seen each of them
more than once.
There are a lot of one-shot wonders in my collection, filmmakers who came out of nowhere and were never seen again after their
one bad opus. But the ones that are especially impressive actually carved out entire careers making films that the average Godard fan
wouldnt think twice about. Take Al Adamson. The first time I saw The Naughty Stewardesses at a drive-in, I was blown away by the Ronettes-
style title music and the graphics. Al worked in every exploitation genre, from biker chicks to horror flicks, and you could tell the man loved
making movies when you watched one of his five-day epics. Hikmet Avedis was the king of the tawdry sexploitation film, with credits such
as The Stepmother, Dr. Minx and Scorchy. His film The Teacher, though marketed as a sexy coming-of-age comedy, actually went into dark
territory by killing off the main character at the end (and it was Jay Dennis The Menace North!). And what can I possibly say about Andy
Milligan that The Rats Are Coming! The Werewolves Are Here! hasnt already said?
When I was an instructor at Columbia College in Chicago, I made my class go see a movie called Ms. 45, directed by Abel Ferrara. Its
an exploitation film about a mute girl who is assaulted and gets revenge on all the men in New York. I had seen it at a grindhouse and was
impressed by the intensity of the performances, the edgy look of the low-budget lighting, and the filmmakers attempt to do something
more than what was expected from such a movie. It was still an exploitation film, but it was an experience that remained in your mind long
after you left the dank smell and sticky floors of the theater. It entertained and excited your imagination.
So, by all means, celebrate Kurosawa, Kubrick and Coppola, because great cinema is an uplifting experience. But keep your other eye
open for those movies that live on the ragged edge of acceptability. You just might be surprised at how good bad cinema can be.
Michael Goi, ASC
President
Presidents Desk
10 February 2010 American Cinematographer
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12 February 2010 American Cinematographer
Crafting Whats in the Box?
By Iain Stasukevich
The science-fiction short film Whats in the Box? hit the
Web shrouded in mystery. Viewers didnt know whether it was a
mobile-phone commercial or the trailer for an adaptation of the
video game Half-Life. In fact, Tim Smit who co-wrote,
directed, shot, acted in and designed visual effects for the short
intended the project to be a submission for a directors work-
shop, not the viral sensation it became.
Told from a first-person perspective, Whats in the Box?
follows an unnamed scientist as he attempts to escape the terri-
fying effects of an experiment gone horribly wrong. Smit is cagey
about answering the films titular question, but the 24-year-old
Dutchman does reveal something about his own influences. He
grew up on video games and Hollywood action movies, but
because the Netherlands doesnt have much in the way of an
entertainment industry, he chose to pursue a career in science
and make short films in his spare time. Film is something Ive
always been interested in, and even though my career choices
took precedence, the interest never went away, he says.
Indeed, while studying nanoscience at Radboud University in
Nijmegen, Smit produced and directed videos for the school, and
in 2007, he participated in a fake trailer contest for the film
Grindhouse.
For his entry in the Grindhouse competition, Rise of the
Dirtnappers, he won a Sony HDR-SR5 Handycam. The light-
weight hi-def camera records to an internal hard-disk drive and
uses a
1
3", 2.1-megapixel CMOS sensor to capture 1920x1080
HD images. It proved perfect for shooting Whats in the Box? I
was interested in first-person shooters [video games], particularly
Half-Life, because they let you look through the eyes of the main
character, says Smit. I wanted to do something like that with
film, but I didnt have access to actors or professional gear. He
and co-writer Thibaut Niels devised a treatment in which the
viewer would be the main character, and Id only need a few
people to assist me.
That main character is a scientist who wakes up on the
Short Takes
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The woodshed at
right was one of
the 3-D elements
created for the
short film Whats
in the Box?
Director, co-
writer,
cinematographer
and visual-effects
artist Tim Smit
used Autodesk
3ds Max to
construct the real
woodsheds
crumbling
counterpart, and
he executed the
final composite in
Adobe After
Effects.
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14 February 2010 American Cinematographer
floor of a laboratory, disoriented and
sporting a bloody nose. Rushing to a
window, he sees ominous clouds
converging on a pair of nearby towers.
He retrieves a small, black box with a
pulsing red ring and aims it toward the
towers, and it emits a surge of energy
that causes the towers to explode.
Retreating from the window, he dons his
Computer Brain Interface (a headband
that provides an informative heads-up
display, as in a first-person-shooter video
game), grabs a few accoutrements and,
still carrying the box, exits the building.
In addition to the SR5, which Smit
mounted to a skate helmet, the film-
maker captured some shots with a hand-
held Sony HDR-HC1. He kept both
cameras at their widest zoom setting for
maximum depth-of-field, and set the
shutters to
1
250 for outdoor scenes and
1
50 for indoor scenes. In the opening
sequence in the lab, Smit operated the
HC1 while Niels provided the main char-
acters hands. I needed to have total
control over the camera, says Smit. We
tried using the helmet camera at first, but
I wasnt fully able to see what the camera
was seeing, so I ended up [handholding]
the camera over Thibauts shoulder. He
used only the locations existing fixtures
to light the scene.
Outside, cars, bicycles and
personal effects litter the street, their
owners strangely absent. A futuristic
cityscape looms in the distance. The earth
trembles, and fiery debris rains down
from the sky. No sooner does the scientist
take refuge in an abandoned bus than
armed soldiers in protective white suits
flank the vehicle, their electronically
filtered voices cutting the silence. For this
sequence, Smit wore the SR5 helmet rig,
freeing his hands to work with props; he
was able to work completely on his own
until the soldiers appear.
Smit designed and animated all of
the visual effects in Adobe After Effects
(which he also used to color correct the
short) and Autodesk 3ds Max. My main
interests are environmental effects and
explosions, but Im not a professional
digital artist, so the most difficult stuff
like the towers exploding, and the sky
and clouds required a lot of trial and
error, he says. He did, however, capture
the empty streets entirely in camera,
which was quite tricky to do, he
recalls. We shot most of our stuff very
early on, between 7 a.m. and 9 a.m.,
when the majority of pedestrians were
still at home. For the scene inside the
bus, we looked for a street that wasnt a
major road and had a dead end. We
found an industrial area of Nijmegen and
asked the businesses nearby if it would
be okay to film there, and then we
dressed it up with cars and the bus,
which we got for free for an hour if we
promised to show the logo of the bus
company.
When two of the soldiers enter
the bus, the scientist straps a strange-
looking gadget to his hand and points it
at the nearest soldier. A thrumming
Right: An early
CG effect
reveals
ominous clouds
converging
around a pair
of towers.
Below: Smit
enhanced
abandoned
streets
which were
captured in
camera by
shooting early
in the morning
with CG
rubble.
proved to be one of the most challenging
effects elements. The majority of the
effects are 2-D, because Im not so skilled
in character animation or making 3-D
models, although I knew specific effects
would call for that, says Smit. He
learned to use the software by taking
advantage of Internet tutorials and
instructional books; in the latter category,
Deconstructing the Elements With 3ds
Max, by Pete Draper, was especially help-
ful. I researched the artists that inspired
me and just kept practicing, says Smit.
The only other element of Whats
in the Box? that utilized a 3-D model is a
woodshed that the scientist uses for shel-
ter before its blown open by the soldiers.
Smit took digital stills of a real woodshed
and built its crumbling counterpart in 3ds
Max. Using the SR5, he shot the smoke
and dust elements against a greenscreen
set up in his back yard. Visual-effects
composites and editing were then
performed in After Effects. For post work,
Smit downscaled the 1920x1080 footage
to 960x450 to put less strain on my
computer.
After it was uploaded to YouTube,
Whats in the Box? soon topped 1 million
views, and Smit has since received offers
to expand the project into a feature. In
the meantime, though, hes busy keeping
up with viewers demands for more,
creating puzzles to unlock new content
on the films Web site, www.whatsinthe
box.nl. As for the masters degree in
nanoscience, he says, The things I want
to do in the future are not related to
physics at all. The knowledge Ive gained
at university helps me think about things
and understand them better, and that
definitely helps me as a director.
16 February 2010 American Cinematographer
sound fills the air, and the soldiers double
over in pain. The scientist escapes out the
vehicles back door and runs down the
street; suddenly, two rocket-propelled
missiles tear through the sky and obliter-
ate a house at the end of the block. A
gunship descends, spewing hot lead into
the street. The scientist ducks into an
empty house, but not before a soldier
tags him with a bullet. For the running
scenes, we had the HC1 mounted to a
stabilizer, says Smit. It was a simple
system, a combination of metal rods and
weights, that we built in a couple of
hours. It looks like a T; I just mounted
the camera to the top of the horizontal
bar, and Id hold [the stabilizer] out in
front of me. That restricted me to one
arm [to use in frame], but it gave the
running shots a bit more steadiness.
The gunship, created in 3ds Max,
Clockwise from
top left: Smit
demonstrates the
helmet-cam rig
he used to
capture a
first-person
perspective;
created in 3ds
Max, this
gunship proved
to be one of
Smits biggest
visual-effects
challenges; the
director's concept
art for a soldier;
two soldiers as
they appear in
the short.
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The Film Camera for the Digital Age
Celebrity
Apprentice
DP: Scott Duncan
I put her in as many real situations as possible
while gathering imagery. There are so many great
details to the camera; I felt at home almost
instantlyamazing this Penelope.
Scott Duncan
Limited in number and available in North America for only the past
six months, Penelope has worked hard and, in short order, become
a modern day muse to some of the industrys most
accomplished cinematographers.
The Conspirator
Dir: Robert Redford
DP: Newton Thomas Sigel
There really is no other film camera like this
in the world. Silent running, great handheld,
amazing battery life, 2- or 3-perf. I'll take two.
Newton Thomas Sigel, ASC
2-PERF
2-PERF
2-PERF
3-PERF
Mothers Day
Dir: Darren Lynn Bousman
DP: Joseph White
Penelope was just incredible when shooting handheld,
Steadicam, or even just putting it on a sandbag with
a long lens to get another angle fast it just gave us
so many shooting options.
Joseph White
The Fighter
Dir: David O. Russell
DP: Hoyt van Hoytema
The camera is thoughtfully
designed, quiet and light. It has
a human touch. Having the camera
do 2- and 3-perf shows a very
smart assessment of the real
production world.
Hoyt van Hoytema, fsf, NSC
2-Perf / 3-Perf Switchable
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processing and telecine costs. The 3-perf format equates to full HDTV (1.78:1) aspect
ratio with the same negative area as 4-perf.
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18 February 2010 American Cinematographer
Hard Lessons
By Patricia Thomson
From the beginning of their professional collaboration, direc-
tor Andrea Arnold put Robbie Ryan, BSC through his paces. The
first shot I ever asked Robbie to do was the opening in Wasp,
Arnold says, referring to her 26-minute drama about a single mother
who is unable to feed her children and makes some unwise choices.
I asked if he could be on [actress] Natalie Press face as she ran
down a flight of stairs with four kids. He ran down backwards!
Wasp (2005) went on to win the Academy Award for Best Live-
Action Short, and since then, Arnold and Ryan have continued their
collaboration with Red Road, which won Cannes Prix du Jury in
2006 (AC April 07), and Fish Tank, which made a splash at last years
Cannes and AFI film festivals.
For Fish Tank, which retains the raw naturalism of Arnolds
prior films, Ryan was once again running down stairs and through
cramped quarters. The film focuses on 15-year-old Mia (Katie Jarvis),
a high-school dropout who lives with her party-girl mother (Kierston
Wareing) and prepubescent sister (Rebecca Griffiths). Mias solace is
hip-hop dancing, which she practices alone in an empty flat. One
day, her mother brings home a new boyfriend, Connor (Michael
Fassbender), who soon moves in. Easygoing and attentive to both
daughters, Connor conquers Mias wariness with a mix of paternal
care and charm, and the inexperienced girl is soon grappling with
feelings for him that are not familial.
One of Arnolds chief concerns was to foster viewer empathy
for her troubled protagonist. I knew Mia might be hard to like, but
I believe if you can see the world from her perspective, you can find
some empathy for her, so I wanted the camera to stick close to her
and experience the world the way she does, she says. I hope Fish
Tank will help people fear teens like Mia less.
Scenes were shot in chronological order. I did that mainly
for Katie because shed never acted before, explains Arnold. I
wanted her to feel she knew where she was day by day. We shot
the last scene on the last day, and I feel Katie had really changed and
grown it showed in her face. Sequential shooting was facilitated
by the proximity of key locations, most of which were in adjacent
apartment towers in Essex, England. Three side-by-side flats served
as Mias apartment, the productions equipment room and the
green room.
Unfortunately, chronological shooting also meant most
Production Slate
F
i
s
h
T
a
n
k
p
h
o
t
o
s
b
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.
In a scene
from Fish Tank,
shot by Robbie
Ryan, BSC,
Connor
(Michael
Fassbender)
tries to forge a
bond with his
girlfriends
daughter, Mia
(Katie Jarvis),
during a
family outing.
I
20 February 2010 American Cinematographer
major scenes were saved for the end of the
shoot. With a normal schedule, the
bigger or more technical scenes tend to be
jumbled around, but shooting sequentially,
you end up with a heavy section at the end
because of the dramatic arc, notes Ryan.
That dawned on me halfway through
prep! It was fine, but we were a bit
wrecked.
Ryan shot Fish Tank in 35mm using
three Fuji film stocks, mainly Eterna Vivid
160 8543. Working with Hugh Whittaker
at Panavisions U.K. office, the cinematogra-
pher chose a Panaflex Millennium XL as his
main camera because of its top-mounted
mag, and because he and Arnold wanted
to use Primo Close Focus lenses. We used
the whole range, wide and tight, he notes.
There was a lot of ND filtering going on.
The films unusual 1.33:1 aspect ratio
had several inspirations. Arnold recalls that
when she supervised a 4x3 transfer of Red
Road for television, she grew to like the inti-
macy of the frame. Also, she was smitten by
Polaroid photos shed seen in a recent exhi-
bition at the Tate Modern (Street and
Studio: An Urban History of Photography),
and by Polaroids in Andrei Tarkovskys auto-
biographical collection and Barbara Hitch-
cocks The Polaroid Book. When she and
Ryan tested 35mm, 16mm and high-defini-
tion video for Fish Tank, Ryan shot the
35mm full-aperture, and when they viewed
the tests at Soho Film Lab, it looked lovely,
very home-movie, says Ryan. Arnold
immediately decided 1.33:1 was
absolutely right for Fish Tank: It suited
the small rooms; it was intimate and put
Mia very much in the center of the frame;
and it made things feel a little more claus-
trophobic, which underscored Mias frustra-
tions.
To achieve the 1.33:1 frame, the
filmmakers had to forego the photochemi-
cal finish they originally intended and create
the smaller frame digitally within the 1.85:1
frame. With colorist Rob Pizzey at Ascent
142 Features, Ryan strove to use the digital-
intermediate process to create images that
were as close to the photochemical
process as possible, warts and all, he says.
Our first few weeks of rushes were heavier
and more contrasty than what Rob was
doing in his initial grade, so they became his
reference. Ultimately, Ryan was satisfied
with what he was able to achieve in the DI.
I think the visuals are nice and honest, true
to what we shot.
The cinematographers team on Fish
Tank was documentary-size: three camera
assistants, a gaffer and an electrician. He
recalls, The sparks and gaffer werent used
that much; they were good, but they were
always waiting for some mission to go on!
There was no grip. Andrea bans tripods
from her set, Ryan continues. On a shoot
thats completely handheld, you sort of
need a grip even more, because you need
someone to pass the camera to when you
finish the shot the Millennium is quite
heavy! But they say if you dont need a
tripod, you dont need a grip. Poor John
Watters, my focus puller, often had to hold
the camera for me. Ryan eventually
recruited a friend to be a grip trainee. He
Mias escape
from family
pressure is
hip-hop
dancing,
which she
practices in an
empty
apartment in
her housing
project.
22 February 2010 American Cinematographer
beautifully, and Ryan appreciated the extra
headroom. It didnt make the handheld so
nauseous! he notes. The challenge was
framing multiple actors. We just pulled
back and made a wide two-shot, which is
unusual for Andrea she tends to be over-
the-shoulder, says Ryan. Luckily, it didnt
occur too often.
A subtle shift in framing could tease
out nuances in the main character, who is
poised between vulnerable child and sullen
teen. When Mia looks out the window and
watches Connor leave for the first time,
we had a low angle, and it just didnt feel
right, recalls Arnold. I wanted to feel her
interest and need, so I moved the camera
higher, above her, and the change was
incredible. She seemed younger, smaller,
more fragile and very needy. Ryan adds,
Katie had an innocent look from that
angle, and when we discovered that, we
tried to play on it throughout the film.
The handheld camerawork under-
scores the energy in high-adrenaline scenes,
as when a panicked Mia runs after Connor
when he leaves for good. The scene is a
long, continuous shot that moves from
apartment to parking lot, down two sepa-
rate staircases and through two doors, all at
top speed. This was a really important
scene, and there was no way it would have
had the same effect if wed done a static
wide, says Ryan.
The unfettered camera enabled
quieter moments as well. In one erotically
charged scene, Connor finds a drunken
Mia passed out in her mothers bed. He
carries her to her bedroom, removes her
shoes and pants and tucks her in while the
half-conscious teen watches stealthily. Ryan
positioned the camera behind Jarvis on the
bed, peering through the crook of her arm.
I love that shot because you totally have
her point of view, he says. On the sound-
track, her breath is heightened, and the
frame rate is slowed to 40 fps. It draws
your attention to the sound, and sound
design is really important for Andrea, says
Ryan.
Slow-motion recurs in a few other
key moments between Mia and Connor.
Theyre intimate, sensual moments, says
Ryan. We tried it at 48 fps and then came
down to 40. Its noticeably slow but has a
subtlety thats really quite good. Arnold
and Ryan coined a word for this slow-
motion effect: slooge.
After three collaborations with
Arnold, we just have a shared language,
says Ryan. They also have great respect for
each other. Arnold observes, You can tell
so much about a photographer by the way
he looks at a person through a lens. Robbie
likes people, and thats there in the way he
frames them. Hes a poet with the
camera.
Im lucky to be in this kind of
working relationship, says Ryan. Some-
times you struggle to get what a director
wants, and sometimes directors dont
knowwhat they want. Andrea knows, and
shes happy we can achieve it. Long may it
last!
TECHNICAL SPECS
1.33:1
(1.85:1 original)
35mm
Panaflex Millennium XL; Arri 2-C
Primo Close Focus lenses
Fuji Eterna Vivid 160 8543,
Reala 500D 8592, Eterna 400T 8583
Digital Intermediate
had no experience, but he could hold a
camera!
Panavision also supplied the produc-
tion with an Arri 2-C, which Ryan used for
landscapes and some atmospheric details.
Its very light, and any time there was a lull
in the shooting, I could run off and shoot
loads of cutaways, he says. That made
my day.
The lighting package comprised
mostly small instruments. To be honest,
the biggest light source [in Mias apartment]
was the tellie! says Ryan. A Nine-light
Maxi-Brute was used to create or augment
sunlight, and the crew augmented practi-
cals with a mix of Kino Flos, Mini-Flos and
Dedolights. The Dedo is my favorite light
because it does everything its the best
spotlight in the world; it can be a very
intense floodlight; you can dim it; and its
got a really long throw. Gaffers hate them
because theyre tiny most gaffers have
very big hands but theyre really versa-
tile. The largest movie light was a half-
panel Wendy Light on a 40' crane; this was
used to light a large, open field Mia crosses
at night.
Framing for Academy Aperture took
some getting used to. Portraiture worked
Ryan finds an angle on Jarvis as 1st AC John Watters stands by.
Terror inTechnicolor
Suzy is
welcomed
by the strict
Miss Tanner
(Alida Valli),
who rules the
academy
through fear
and
intimidation.
Throughout
the film,
Tovolis
widescreen
compositions
highlight the
dramatic
production
design.
www.theasc.com February 2010 71
camera, to add a sense of perspective to
her face. On other films, I had regis-
tered the fact that the lens loves some
faces, but in Jessicas case, the relation-
ship was really phenomenal.
The theatrical, expressionistic
approach Argento and Tovoli sought
for Suspiria was unusual for the time,
especially for a contemporary film. It
was surprising for a great part of our
crew, who had never met a cinematog-
rapher who wanted to put the strongest
possible lights so close to the actors
through colored-velvet screens, says
Tovoli. But it was very new for me as
well. I had never lit a film like this
before. For many years at the beginning
of my career, I prayed only for the most
natural light possible.
Tovoli recalls a pledge that he
and future ASC member Nestor
Almndros made while they were
attending the Centro Sperimentale di
Cinematografia in Rome. We
promised over two glasses of good
Tuscan red wine to never abandon the
marvelous religion of real light, he says.
I respected that oath for maybe a
decade, but then I started to be quite
bored. Almndros, who was much more
serious about this kind of thing than I,
continued in the same direction with
the most enviable success. Meanwhile, I
started to study the work of the black-
and-white cinematographers working
at Cinecitt in Rome, in Hollywood
and elsewhere. I searched to reconstruct
their unbelievable lighting and complex
technique; I watched the films over and
over to learn how they achieved such
great artistic results. Among his
favorites were Italian cinematographers
Anchise Brizzi, Arturo Gallea, Ubaldo
Arata, Carlo Montuori, Massimo
Terzano, Otello Martelli, Aldo Tonti
and, later, Aldo Graziati and Gianni Di
Venanzo. Working in black-and-white
with Antonioni, Di Venanzo brought a
substantial change to the technique,
utilizing many small diffused lights for
interiors instead of bigger Fresnel units,
Tovoli notes.
The cinematographer was ini-
tially reluctant to sign onto Suspiria
because I was conscious of my lack of
experience and, more importantly, my
lack of real passion for that kind of film,
he explains. Ive never accepted a job
just to take a job. Also, even in the most
insignificant film, I always searched to
find some significance. That, of course,
was not at all the case with Suspiria. But
fortunately, Argento insisted I join him,
Top, far left:
Director Dario
Argento (left)
and Tovoli
prepare a shot
of actress Joan
Bennett, who
plays Madame
Blanc, the
stern
headmistress
and leader of
the secret
coven that
plots against
Suzy.
72 February 2010 American Cinematographer
and I still do not know why.
I chose my camera crew very
carefully, he continues. I brought in
Idelmo Simonelli, one of the best
camera operators, a true star. When he
said, This is by far the best take, it was
by far the best take! I also brought the
best first camera assistant, Peppino
Tinelli; the best grip, Mario
Moreschini; and the best gaffer, Alberto
Altibrandi, whose nickname was
Gnaccheretta [Castanet].
With only a few weeks of prep,
Tovoli began camera and lighting tests
in earnest. After my first conversation
with Argento, I vaguely imagined how
to technically achieve this radical depar-
ture from my previous lighting style, but
also, I needed to know if I had truly
abandoned naturalism, he says. On
The Passenger, I searched to force the
strength of the real light, often overex-
posing, bringing the negative near the
shoulder of the sensitometric curve to
burn up some of the detail. In a way, this
is what I did on Suspiria as well, but at a
much higher level, overexposing
through the intensity of a specific color
in a specific shot, with the negative
[Eastman 5254] carefully exposed at the
center of the curve. I utilized this tech-
nique on every shot in the film. I was
always telling the production designer
and scenic painter, More red! More
blue! I made the same recommendation
to my very patient gaffer, Alberto, and,
like a good friend, he asked me, Are you
sure? There is already a lot of green. Its
becoming quite disturbing! And to my
inalterably happy face he asked, Are you
searching to be fired?
Part of Tovolis approach was to
make extensive use of frames of brightly
colored velour and tissue paper set in
front of Arcs positioned very close to
the performers. I wanted to create light
that would simulate the color coming
from pots of paint thrown very respect-
fully on the actors faces, recalling
Jackson Pollocks fundamental gesture
of splashing pure color on the canvas. In
my imagination, our canvas was our
actors faces. Soon, someone calmly
explained to me that this was not possi-
ble for multiple reasons, and I was
forced to find an alternative method of
lighting the actors faces and, to an
extent, the backgrounds, with the
strongest possible light as close to the
subject as possible. While shooting, our
actors were very often reasonably
worried they might be burned!
Tovoli also employed mirrors to
change the quality of the light. The
stratagem of the mirrors could double
the distance between our light sources
and the scene, he explains, noting that
he was inspired by Leonardo da Vincis
use of mirrors in his work. If I have to
choose one impressive reference, why
not go directly to the best? Its always
better to tap in at the highest level! I
utilized mirrors not to destroy enemy
ships, as Archimedes did in the war
between Siracusa and Rome, but to
destroy with a violent shaft of hyper-
colored light a universally elegant or
refined image. This was driven by my
desire to always go beyond what would
be conventionally accepted. The
aesthetic concept on Suspiria and
Argento will forgive me if I pretend to
speak for him was never to subtract,
but to add.
Terror inTechnicolor
After a
mysterious
infestation is
discovered in
the girls
dorm, the
students are
moved to
makeshift
quarters in a
dance studio,
which takes
on a sinister
look as Suzy
and Sara
(Stefania
Casini) share
their fears. To
heighten such
dramatic
contrasts in
color, Tovoli
(bottom
photo, lighting
the scene)
employed
Technicolor IB
printing to
control his
hues.
Bassans extensive use of wildly
textured backgrounds, geometric shapes
and colored surfaces add greatly to the
pictures crazy-quilt visual quality, and
Tovoli sought to keep such elements in
crisp focus. Sharpness has always been
another of my profound beliefs, in part
as a form of respect for the optics
specialists who work hard every day to
improve the rendering of the lenses, he
says. I do not use, or very scarcely use in
lighter values, diffusers or colored filters.
And I absolutely never used them on
Suspiria. In general, I am not interested
in pictorial images. Watching a film, I
get bored and lose interest when I see
diffused smoke where there is not any
justification for it apart from the desire
to create a nice atmosphere. Im
tempted to call the fire brigade!
When I first started to do
photography, Ansel Adams, Edward
Weston and Henri Cartier-Bresson,
among many others, opened my eyes to
the vast territory of sharpness and
contrast as primordial values in photog-
raphy and cinematography, of
course. On Suspiria, I lived with the illu-
sion that I could make sharp the simple,
flat volume of a monochromatic wall by
using the pure intensity and pulsating
vibrations of the color itself.
Using Mitchell BNC and Arri
2-C cameras, Tovoli shot Suspiria in
2.35:1 Technovision anamorphic, a
format he loves deeply. The glorious
Technovision anamorphic lens! he
exclaims. The incredibly passionate
Enrico Chroscicki believed so strongly
in great panoramic images that he went
to Paris in the early 1950s to search for
the survivors of Henri Chrtien, the
French astronomer who designed the
Hypergonar lens, from which the first
anamorphic lens was later derived.
Chroscicki told me he also met with a
very old collaborator of Chrtiens in
Nice, and found in a dusty drawer not
only the original drawings of two lenses
but also a single optical anamorphic
element to be put in front of a normal
primary lens. Thanks to this almost
archaeological discovery I baptized
him the Winkelmann of lenses
Suzy
encounters a
mysterious
witch who
casts a spell
upon her. The
simple effect
was created
with a piece of
mirror
reflecting back
into the lens;
dust was
added to the
air to help
carry the light.
www.theasc.com February 2010 73
74 February 2010 American Cinematographer
Chroscicki, in his little workshop in
Rome, made just one lens! It was a
50mm, and he rented this single lens for
years before he had the money to build
a full series of anamorphic lenses. How
could I not shoot Suspiria with Enricos
anamorphic Technovision lenses?
Vittorio Storaro [ASC, AIC] has shot
all his films with Technovision lenses!
Eastman 5254, a 100-ASA nega-
tive, had beautiful contrast values and
colors, which I admired, and that was so
important for the Technicolor process
separations we were to make from our
negative, because we planned to force,
violate and deteriorate the images
normal color range, he adds. From the
outset, the filmmakers intended to use
Technicolors legendary dye-transfer
printing process as the final step in
creating the haunted realm of Suspiria.
Technicolor Rome shut down its IB
printing in 1978, making Argentos film
one of its last dye-transfer projects.
Tovoli recalls, Technicolor Rome
applied the negative-developing and
positive-printing system with extreme
accuracy, and they agreed, maybe for the
first time in their history, to make a
minor but important modification for
us. They agreed to lose a diffuser that
was typically used to slightly flash the
yellow-cyan-magenta imbibed matrix,
thus preventing any possible bleeding of
the colors outside the physical contours
of each image. The possible bleeding of
colors was exactly what I was searching
for with Argento we wanted more
contrast, more vibrating colors so I
proposed to Carlo Labella, the nicest
man and a very talented color timer, that
we lose this little attenuation of the
color contrast. I am not ready to forget
his friendly smile as he listened to my
apparently absurd proposal! Also, for
the matrix printing of the cyan layer, lab
technicians used a special filter that was
more selective for the color red, which
was particularly complicated to render
in the dye-transfer process but also a key
component of Suspirias palette. The
filter enabled the post team to faithfully
reproduce all the information present on
the original negative.
Terror inTechnicolor
This page and
opposite: Sara
is stalked
through the
academy
grounds in
one of the
films most
expressive and
frightening
sequences.
Seeking
refuge, she is
trapped in a
room filled
with barbed
wire.
Tovoli recently revisited Suspiria
at Technicolor Rome to supervise a new
HD transfer, which will result in a Blu-
ray release this spring. I worked with a
very talented colorist, Fabrizio Conti,
and we tried to stay as close as possible
to the look of the original, he says. I
think we did an extremely good job, but
it is impossible to compare even the best
digital master to a film printed with
Technicolors dye-transfer process,
especially for a film as extreme as
Suspiria!
The cinematographers bold use
of color is showcased in one of Suspirias
most bravura sequences, in which
Suzys friend Sara (Stefania Casini) is
relentlessly pursued by an unseen
assailant. Terrified, she runs through a
labyrinth of colorfully hued corridors in
the boarding school, finally slamming
shut a heavy door behind her. Leaning
against it, she sees a straight razor
slowly slide between the door and the
jam as her attacker tries to flip open the
simple lock. In a panic, Sara spots a tiny
window that offers possible escape.
Climbing through it, she cannot clearly
see the room she is entering. She jumps
to the floor, only to find the chamber
filled with coils of barbed wire. Trapped
and helpless, she struggles in this blue-
tinged nightmare until the killer reaches
her. That is one of my favorite scenes
because Argento left me free to create a
color symphony following only my
emotion and taste, says Tovoli. That is
very rare in the relationship between the
director and the cinematographer.
Looking at that sequence today, I real-
ize I made it in a state of total pleasure,
going on shot after shot with my collab-
orators, almost blindly utilizing the new
alphabet of colors that had become our
instinctive color language. The red, of
course, is the aggression and danger, the
blood that the unknown pursuer will
soon force out of your body with his
knife. The blue is the terrifying death
sentence already pronounced and a
color that accompanies you into the
sinister world of death. The delicate
orange coloration of the little window
high in the wall of the room is the
www.theasc.com February 2010 75
momentary illusion of safety, a painting
done with colored lights. Then there is
the shining metallic blue of the barbed
wire, like a carnivorous plant that will
capture and almost digest you forever.
Such a very rich bouquet of gifts for a
cinematographer! Thanks, Maestro
Argento! The sequence of colors in the
frantic pursuit was not planned at all. I
made it absolutely on the inspiration of
the moment.
Conversely, another key set piece
finds Argento and Tovoli bleeding off
their elaborate color scheme to render an
almost monochromatic milieu of
nocturnal mayhem. In the sequence,
blind pianist Daniel (Flavio Bucci) and
his guide dog enter the vast Konigsplatz
Square at night, the pale gray stone of
the surrounding buildings starkly set
against the darkness. Atop one roof, an
imposing statue of a huge bird of prey
peers down on the frightened man.
Daniel cannot see that the creature
disappears, but hears the flapping of
great wings as something swoops down
over the square at him as his dog barks
incessantly. Then, in one of the great
twists in horror cinema, Daniel is
murdered, with his shockingly red blood
punctuating the moment.
For Tovoli, the Konigsplatz
Square offered a tremendous lighting
challenge. What kept me up at night
was the dimension of the location, the
cinematographer says. Since then, I
have lit bigger spaces, including the
huge Pula Arena in Croatia for Julie
Taymors Titus [1999; AC Feb. 00].
Knowing that Hitler utilized the
Konigsplatz Square for his parades and
speeches did not reassure me at all! We
decided to not use color in the scene to
enhance the loneliness of the empty
space and make the sudden explosion of
bloody red [more dramatic].
The birds [point-of-view shot]
was a very clear idea of Argentos that
we realized quite easily by running a
thin steel cable from the top of one
temple to the ground by a hand-released
hook. When the ground hook was
released, the elastic part of the cable
brought our Arriflex camera off the
solid ground and into the air to soar over
the square. Of course, we got quite
excited about the shot and pushed the
special mechanical effect responsible to
delay the release of the hook at the very
last possible second. The resulting
POV effect adds an ingenious sense of
menace to the already flamboyant scene.
Discussing the film this way
brings back the feeling of total happi-
ness, a fabulous shooting time in which
a young cinematographer not at all
intimidated by the task before him took
the opportunity to collaborate with a
great director and sweet man named
Dario Argento, muses Tovoli, who
would later shoot such Hollywood
suspense films as Reversal of Fortune
(1990) and Single White Female
(1992). I believe it is this human secret,
not a technical one, that is behind the
lasting long life of Suspiria.
The author thanks DArienzo
Antonio, Robert Hoffman, Bruce Heller
and Rob Hummel for their assistance with
this article.
Terror inTechnicolor
76 February 2010 American Cinematographer
Left: Tovoli extends his meter down to water level for a suspenseful swimming sequence as
his camera is set up. Above: The cinematographer enjoys a rare calm moment during the shoot.
The aesthetic
concept on
Suspiria was
never to subtract,
but to add.
78 February 2010 American Cinematographer
Offhollywoods Digital Perspective
By Claire Walla
In 2003, after years of producing low-budget independent
features, building relationships, solving other peoples problems and
not making much money in the process, Mark Pederson and Aldey
Sanchez started their own company, Offhollywood, with a mandate
to do guerrilla digital intermediates. Armed with one Apple
computer and a copy of Final Cut Pro, they posted ultra-low-budget
productions while keeping a close watch on new industry trends.
Among the developers with whom they forged a relationship was
Red Digital Cinema, which was on the brink of introducing the Red
One camera.
Just before the One was officially unveiled, Offhollywood
agreed to purchase the first two bodies that would be released to the
public, #0006 and #0007. (The first five cameras went to Red
founder Jim Jannard.) The investment was a shot in the dark: Peder-
son had no way of knowing that Red would quickly develop a signif-
icant industry presence, or that the cameras would eventually
revamp Offhollywoods business model, transforming it into the
front-to-back production facility it is today.
With their keen interest in new technology, Pederson and
Sanchez took to Red with a great deal of enthusiasm. Red is a very
atypical company, says Pederson. Its like a bunch of mad scientists
breaking the rules, and I think they like the fact that we have some
of the same rebel sensibilities. When Offhollywood received its Red
Post Focus
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Colorist Milan
Boncich (top)
finesses a
project in
Offhollywoods
new SoHo
facility, which
boasts a prep
floor, office
spaces and a
35-seat theater
capable of
screening 2-D
and 3-D DCPs
(bottom).
cameras, in 2007, Pederson and Sanchez
tested and posted footage every day,
untangling the kinks while consulting with
productions and teaching the mechanics to
other rental houses.
Eventually, Offhollywood landed a
project called Asylum Seekers, an experi-
mental feature by a young director named
Ronia Ajami; it was one of the first features
to shoot fully with Red cameras. Soon
thereafter, director/cinematographer Doug
Liman used Offhollywoods Red cameras for
additional photography on his 2008 feature
Jumper. At press time, Liman was finishing
post at Offhollywood on the feature Fair
Game, which was shot entirely with the
companys Reds.
Pederson says Offhollywoods early
work with the Red helped the company
define its own workflow for the camera. It
was very much a moving target because the
camera was such a moving target there
were always new firmware builds, he
notes, adding that both Reds received six
firmware updates while Asylum Seekers
was in production. A lot of people say the
Red workflow is a problem, and that frus-
trates me so much because there is no such
thing as a Red workflow. There are a
bunch of workflows.
The camera captures compressed
information in Redcode RAW, with
unprocessed proxies viewable as 2K Quick-
Time files for immediate review of dailies.
Once the QuickTime proxies are logged and
captured in 2K, 3K or 4K, Offhollywood
typically edits footage in Final Cut Pro, does
color-grading using Assimilate Scratch, and
uses a Digital Video Systems Clipster 3 for
both 2-D and 3-D DCP creation. The
company still uses the same AJA Kona 3
Video System it initially purchased, which
Pederson notes is a highly efficient solution
for image capture and HD conversion. He
emphasizes, though, that each productions
workflow depends on the importance of
the dailies and the needs of the filmmakers.
John Pliny Eremic, chief operating
officer and director of postproduction,
notes that although Offhollywood is the
only authorized Red service center on the
East Coast, we dont just cater to Red.
The company also offers post services for
projects originating on other digital plat-
forms, as well as 35mm and 16mm film.
(The company has a partnership with
FotoKem in Burbank whereby Offholly-
wood sends film to FotoKem for digital
transfer.) To date, Offhollywood has
provided cameras and technical support for
14 features and has done second-unit and
post work for 23 others.
Pederson and Sanchez have
welcomed colorists Robbie Renfrow and
Milan Boncich and senior DI/visual-effects
artist Jim Geduldick to the team, and the
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An early investment in Red One cameras transformed Offhollywood from a guerrilla post
house to the front-to-back production facility it is today.
company recently opened the doors of its
new, larger facility in SoHo, featuring a
brand-new prep floor, new office spaces
and a 35-seat theater capable of screening
2-D and 3-D DCPs. Offhollywood continues
to test new software and hardware solu-
tions, and in addition to the growing cache
of Red Ones it owns and sub-leases from
individual owners, the company will soon
obtain Reds new Epic camera system.
Most recently, Offhollywood has
ventured into 3-D technology. Its first 3-D
feature, The Mortician, is currently in
production in New Orleans; cinematogra-
pher Michael McDonough is using Red
Ones with Element Technica Quasar 3-D
rigs. Offhollywood has also invested in The
Foundrys Nuke compositing software and
Ocula 3-D for 3-D post, and the companys
new theater is equipped with 3-D glasses
and a Dolby Cinema Server capable of
showing 2-D and 3-D footage. (The theater
also has a Barco DP2000 2K projector for DI
work.)
Noting that Offhollywoods front-to-
back business model makes the company
especially well suited to 3-D workflows,
Pederson muses, I dont know how long it
will last, but theres going to be a moment
in time when youll have a significantly
better chance of selling your movie, finding
theatrical distribution and making your
money back if your movies in 3-D.
Technology democratizes services,
says Sanchez. When Mark and I started
Offhollywood, we talked about how tech-
nology would merge the production and
postproduction worlds. To compete, you
need to offer more added value, and I think
one of our core strengths is our expertise on
the very bleeding edge.
80
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82 February 2010 American Cinematographer
Osram, Mole Introduce MoleLED
Mole Richardson and Osram have launched the MoleLED film-
friendly LED lighting solution. The MoleLED system unites a sophisti-
cated fixture designed by Mole Richardson with Osrams advanced
remote-phosphor LED technology.
Touting 3200K and 5600K color, the 50-watt MoleLED
fixture offers an alternative solution for fluorescent fixtures up to 110
watts or tungsten solutions up to 300 watts. MoleLED fixtures have a
rated life of over 25,000 hours
and will operate on everything
from a 12-volt car battery or
14.4-volt Anton/Bauer or IDX V-
mount battery to a 24-volt
camera battery or any DC source
up to 50 volts. The MoleLED was
designed with both local and
remote DMX dimming, and the
fixtures can be dimmed down to
10 percent without any shift in
color temperature.
Each MoleLED fixture consists of 12 Osram Kreios LED metal
core circuit boards; the 12 boards each contain 20 high-output blue
LEDs topped with a remote-phosphor dome, for a total of 240 indi-
vidual sources. The phosphor domes, an Osram proprietary design, are
blue-light activated to produce light in two exact color temperatures,
tungsten and daylight. Osrams remote-phosphor technology offers a
single semiconductor system leading to consistent temperature behav-
ior, allowing the module to easily achieve a CRI greater than 90. Spec-
tral characteristics are simple to adjust with remote phosphors, and the
technology further ensures light and color output stability over time.
Remote-phosphor technology allows the MoleLED fixture to
provide tungsten and daylight white light that parallels both the spec-
tral sensitivity curves of film and the visible spectrum, or what the eye
sees, says Leslie Trudeau, Osram Sylvania NAFTA business unit
manager for entertainment. This is one of the many benefits over
LED mixing. Mike Parker, CEO of Mole Richardson and an ASC asso-
ciate member, adds, Unlike existing LED fixtures, the MoleLED blends
these multiple sources into one soft light source. This single-source
approach renders the light more attractive to the talent and more
familiar to the technicians.
Built rugged and with a low profile and mobile features,
MoleLEDs are ideally suited for all set-lighting needs. The fixtures also
feature multiple rigging points and mounting options, and Mole
Richardson offers a wide range of standard accessories, including barn
doors, louvers and gel frames.
For more information, visit www.sylvania.com and
www.mole.com.
Sony Updates HDCam-SR
Sony Electronics has unveiled the next generation of its
HDCam-SR production technology, including the SRW-9000
HDCam-SR camcorder, which features a future-proof upgrade
path to 35mm imaging and file-based production. Sony has also
announced SR memory solid-state media and more cost-effective
BCT-SR series tape pricing.
HDCam-SR technology now meets the current and future
needs of high-end cinematic and TV broadcast production, says
Rob Willox, director of Sony Electronics content-creation group.
SR is already file based and can support data recording in resolu-
tions up to 4K as DPX today. The benefits of non-linear acquisition
are now a production requirement. The addition of solid-state
media enhances the formats inherent file-based design and brings
SRs proven quality to an even wider audience.
The SRW-9000 camcorder combines the SR formats image
quality with the versatility of a one-piece camcorder. The full HD
(1920x1080) resolution camcorder uses
2
3" CCDs with a 14-bit A/D
converter and digital signal processing to capture up to 1080/60p
images with a high level of detail. Furthermore, recognizing the
markets requirement for a 35mm B camera complement to its
high-end F35, Sony has unveiled an optional upgrade path for the
SRW-9000 to a 35mm imager and PL mount to increase the
camcorders flexibility and protect a users investment.
The latest HDCam-SR compression is SR Lite, a 220 Mb/s
data rate codec based on the open MPEG-4 SStP (Simple Studio
Profile); SR Lite will be supported as an MXF-wrapped file to help
ensure high picture quality while enabling almost real-time
exchange over a GB Ethernet connection. SR Lite is designed to
provide more efficiency and flexibility for SStP file-based production,
using an open codec that is ideal for high-end cinematic and broad-
cast production. Because the system is backwards compatible,
content recorded on HDCam tape can also be integrated into the
MXF SStP file-based operation.
Sony has also announced the next version of its popular
SRW recorder, the SRW-5800/2. The updated deck will support
MXF file transfer and the 220 Mb/s data rate as well as the ability
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.
to record and play back 4:4:4 content at 2X
real time. These capabilities will also be
available to existing SRW-5800 owners
through optional hardware upgrades.
The SR solid-state memory cards will
deliver rapid transfer rates of more than 5
Gb/s and storage capacity of up to 1TB.
This new SR memory technology is
designed to be the ideal media for future
high-end production, with native acquisi-
tion capabilities for applications such as 3-D
1080p and higher resolutions up to 4K.
Sony also plans to deliver an upgrade to SR
memory on the existing SRW-9000
camcorder, along with a memory adapter
for the F35 and F23.
Our enhancements to the SR tech-
nology extend far beyond product
announcements, Willox stresses. Were
reassuring customers that what they buy
not only works now, but also supports
future needs and delivers a return on their
investment.
The SRW-9000 camcorder is
currently available through Band Pro Film &
Digital. For more information, visit
www.bandpro.com and http://pro.
sony.com.
Element Technica Goes 3-D
with Quasar
Element Technica, whose series of
Technica 3D Rigs are designed to precisely
position a pair of cameras to achieve realis-
tic stereoscopic digital video for broadcast
and cinema applications, has begun deliver-
ing its Quasar 3D Rigs to owner/operators
and rental houses.
The Quasar is designed to accom-
modate full-size digital-cinema cameras like
the Sony F23 and F35, Red One, and Panav-
ision Genesis, as well as full-body box-type
digital broadcast cameras like the Sony
F950 and 1500, Philips LDK and more.
Regardless of the cameras utilized, the
Quasars precision and refinement make it
an ideal platform for matching zoom or
prime lenses to accommodate any shooting
style or format.
The Technica 3D Series provides
smartly engineered 3-D systems that are
lighter weight and less costly than previous
3-D rigs, making 3-D acquisition easy for
traditional 2-D production crews. Complete
camera/lens installation and alignment can
be completed in less than 15 minutes with
nothing more than a set of Allen wrenches
and a mirror gauge. Wayne Miller, president
31 0/301-81 87
www.hydroflex.com
UNDERWATER
HOUSINGS
for
RED ONE
and
PHANTOM HD
NOW AVAILABLE
IDX Redefines
Red Camera Power
IDX System Technology Inc. has
unveiled the Redefined Elite battery system
for powering the Red One camera. The
Redefined solution consists of two power
packages centered on Elite batteries along
with the sleek EL-BAPIDXA mounting plate,
which is customized with V-mount and
Lemo technology.
Redefined Elite is a
136 watt-hour high-
capacity V-mount battery
system with the unique
IDX twin power-cartridge
construction as well as
multiple safety and
protection features. In
addition to award-
winning architecture, the
Redefined solution offers the exclusive Elite
Smart Battery mode, which quickly and
easily activates the protocol data for tighter
integration with the Red One system. V-
mount battery plate EL-BAPIDXA which
was crafted by Element Technica in partner-
ship with IDX enables operators to view
live battery-life data by percentage in the
Red One viewfinder. When the batteries are
drained, new power-cartridge pairs can be
inserted into the original housing in less than
30 seconds.
IDX Elite batteries are in full compli-
ance with the 2009 DOT and IATA Danger-
ous Goods Regulations,
meaning they can be
carried aboard all national
and international flights.
Professionals also have
the option of either using
the high-performance
quad charger VL-4S or
dual charger/AC adapter
VL-2SPLUS. Additional
variations of the mount-
ing plate are available and can be purchased
separately from Element Technica.
For more information, visit
www.elementtechnica.com and www.id
xtek.com.
83
84 February 2010 American Cinematographer
of Action 3D Productions, chose the Quasar
3D Rigs to capture the Dave Matthews Band
concert at the Austin City Limits Festival,
Ben Harper at the Mile High Music Festival,
and Gogo Bordello at the All Points West
Music Festival. The functionality of the
Technica 3D Rigs is such that when youre
out on location shooting, they are quick to
set up and calibrate, he says. Once
aligned, they hold that alignment very
well.
Now, for the first time, the very best
3-D acquisition equipment can be rented
much like a traditional camera package,
says Stephen Pizzo, co-founder of Element
Technica. Combine that with the ability to
choose your own crew as well as your
favorite post facility, and you gain greater
creative control over the entire 3-D
process.
Technica 3D systems will soon be
available in three different sizes to accom-
modate a variety of cameras. In addition to
the largest system, Quasar, the mid-sized
Pulsar mounts box-style digital-cinema
cameras such as the Red Scarlet, Red Epic
and Silicon Imaging SI-2K. The ultra-small
Neutron is designed for tiny
2
3"- or
1
3"-
imager cameras supporting C-mount
lenses, such as the SI-2K Mini and the Iconix
HD-RH1. All three Technica 3D Rig systems
can convert from parallel to beamsplitter
configuration and back.
Element Technica has also developed
a series of intuitive hardware/software tools
to automate stereo calculation. These tools
will be available as add-on modules for the
core 3D Rig systems to enable users to intu-
itively control how much or how little the
subject comes off of the screen without
requiring complex interocular and conver-
gence calculation techniques. Interocular,
convergence, zoom, focus and iris control
can all be coordinated through Element
Technicas Stereo Assist feature; Technica
3D Rig users can also choose to integrate
Preston motors with the system via ports
and adapters.
Element Technica is coordinating
one-day operator training classes geared
toward camera assistants through Keslow
Camera and Offhollywood. For more infor-
mation, visit www.elementtechnica.com
and www.technica3d.com.
Petrol Bags Red One
Petrol, a Vitec Group brand, has
introduced the Petrol Red Bag (PRB-15), an
innovative camera carrier specifically
designed to transport and protect the Red
One digital camera.
The Red Bags dual-directional
upside-down zippers open smoothly for
quick and easy access to the smartly
designed interior, where a removable upper
tray with detachable dividers provides the
perfect place to stash the Red Ones essen-
tial accessories. Rugged nylon handgrips on
either side of the tray allow for easy removal
and carrying. Underneath, the Red One fits
comfortably in the bags lower padded
compartment. When a panel is removed
from the upper accessory tray, the camera
can be stored without disturbing the
viewfinder. An adjustable nylon strap holds
the camera firmly and safely in place, and
four detachable padded dividers help
secure the compartments contents and
form pockets for additional storage.
The PRB-15 comes equipped with a
separate fabric sleeve to hold the Red Ones
steel support rods. With the rods inside, the
Fast Forward Video Launches
Micron Recorder
Fast Forward Video (FFV) has
announced the release of its Micron HD digi-
tal video recorder (DVR), a powerful, cost-
effective solution for recording and playing-
out broadcast-quality digital SD and HD
video. The Micron HD offers many of the
features of FFVs Omega HD DVR in a single
rack unit and at a price point specifically
targeted to todays most budget-conscious
broadcast-grade operations.
The Micron HD is a direct response
to many of our customers who requested an
inexpensive entry-level HD DVR that could
still measure up to the superb picture quality
of the Omega HD, says Harry Glass, vice
president of sales for FFV. The single-chan-
nel Micron HD is an ideal solution for broad-
casters seeking to migrate to HD operations
at a low cost per channel while maintaining
SD capabilities.
The Micron HD utilizes high-quality
JPEG2000 compression at speeds up to
100 Mb/s, making it an excellent replace-
ment for SD-only DVRs and analog tape
decks. It offers up to five hours of record
time, and its removable non-proprietary
2.5" SATA drive is fully compatible with
FFVs Elite HD camera-mounted DVR. Users
can record, play and store multiple SD and
HD video files, and with a simple machine
controller, users can access a larger set of
functions and command multiple units with
one keystroke.
The suggested retail price of the
Micron HD DVR is $4,995. For more infor-
mation, visit www.ffv.com.
martyoppcam.com 8eatt|e: +206-467-8666
Oppenheimer Camera Products
current offerings include the OppCam
Panhandle System, LCD Monitor Yoke Mounts,
Arriex 235 On-Board System, Handheld
GripSets, Macro & Ultra Wide Lenses and our
Angenieux & Fujinon Carry Handle Systems.
We are currently developing a series of on-camera
LCD Viewnder Brackets, Support & Shoulder
Mount Systems for Canon DSLR cameras, and
Universal Monitor Yokes. We also create custom
products for our clients.
Oppenheimer Camera Products has been an inno-
vator of elegant, practical, reliable camera accessories
since 1992. Our products are used by rental houses,
production companies and cameramen around the
globe. We welcome your suggestions and input!
Specialty Products
for Film, Video, & HD
sleeve stores neatly against the lower cham-
bers middle divider. An external envelope-
style pocket keeps important documents
close at hand. Additional features include an
internal envelope-style pocket of clear plas-
tic mesh, Petrols built-in smooth-gliding
wheel-and-tote assembly, Griplock inter-
locking top carrying handle and a padded
shoulder strap. Petrols exclusive thermo-
formed panels of cold-molded laminate and
injection-molded polypropylene legs safe-
guard the bottom of the bag from dirt or
water. The exterior is constructed of black
ballistic nylon and Cordura.
The PRB-15 has a recommended
price of $499. For more information, visit
www.petrolbags.com.
Chrosziel Accessorizes Red
Chrosziel now offers three matte-
boxes specially designed for the Red One
camera, as well as a support system with a
bridge plate and 19mm rods.
Of the three matteboxes, MB 840 R2
offers the most versatility, with its double-
rotating filter stage and two identical multi-
format filter holders for 4"x5.65" horizontal
and 5"x5". Both rotate independently and
boast independent height adjustment. The
MB 840 R2 also features a convenient
swing-away design for easy lens changes,
and the mattebox mounts directly to the
19mm rods without the need for an
adapter. (If necessary, a tools-free clamp
adapter can be attached for mounting the
mattebox directly to the lens.) The maxi-
mum lens diameter compatible with the
mattebox is 142.5mm; smaller diameters
use rubber bellows and retaining rings.
The MB 805 Red is a variation on the
standard MB 805 mattebox. Like MB 840
R2, MB 805 Red fits directly onto the 19mm
86 February 2010 American Cinematographer
support rods. The fixed stage is equipped
with multi-format filter holders for 4"x4"
and 4"x5.65" horizontal; a second stage
features multi-format filter holders for
5"x5" and 4"x5.65" horizontal. Both the
MB 840 R2 and MB 805 Red can be
upgraded with further filter stages.
The MB 456 R2 boasts a compact
and lightweight (approximately 1.3 pounds)
design. It can be used with 15mm support
rods or it can attach directly to the lens as a
sunshade. The two rotating filter stages are
equipped with identical 4"x5.65"/4"x4"
filter holders. The maximum front-element
diameter is 130mm, covering most lenses
commonly used with the Red One.
Chrosziel products are distributed in
the United States by 16x9 Inc. For more
information, visit www.chrosziel.com and
www.16x9inc.com.
AJA Releases Free iPhone App
AJA Video Systems has released the
AJA DataCalc iPhone application, a fast and
simple storage-requirement calculator for
video and audio professionals. DataCalc can
be used in the field during acquisition or in
the edit bay during post, allowing the user
to effortlessly calculate their storage
consumption and data-capturing require-
ments. The application supports a wide
array of video-compression formats, includ-
ing Apple ProRes, DVCProHD, HDV,
XDCam, DV, RGB and YUV uncompressed,
and more. Supported video standards
include NTSC, PAL, 1080i, 1080p, 720p, 2K
and 4K.
Were all big fans of the iPhone and
wanted to create an application that would
be useful to our customers in professional
digital content creation, says Nick Rashby,
president of AJA Video Systems. DataCalc
is right in line with AJAs product philosophy,
which aims to deliver products that simplify
and streamline the often complex work-
flows of video professionals. Its a simple
little application that has already proven to
be very handy in the field!
The application features an intuitive
user interface where most settings can be
entered with a simple finger scroll through
lists of the most common file-format config-
urations. Durations can be entered in units
of days, hours or seconds, or in a precise
time code frame count. A More button
allows users to further select and specify
frame rates, frame sizes and compression
type, as well as audio sample rates and bits
per sample. Pressing the Information icon
on the More page takes users to a
Summary page where they can review
results and have the option to deliver the
data via email.
DataCalc is available as a free down-
load from the Apple iTunes Store. For more
information, visit www.aja.com.
Filmworkers Adds
Digigog Services
Filmworkers has launched the Digi-
gog digital-media processing service at its
Chicago and Dallas locations. The service is
aimed at facilitating the growing number
of feature film, television and commercial
productions that are choosing to capture
and post their projects as data.
The Digigog offers a seamless, one-
stop solution for servicing commercials,
films and other projects from dailies
through delivery, especially those shot with
digital cameras such as the Red One and
Vision Research Phantom HD. Services
include dailies processing for digitally
acquired media, real-time non-linear color
grading at resolutions up to 2K, and final
assembly and deliverables production. The
Digigogs services can also be packaged
with other services offered by Filmworkers,
including visual-effects production, CG
and motion-graphics design.
Projects that originate on data
have special technical and creative require-
ments, says Reid Brody, president of Film-
workers. The Digigog has the resources
needed to process Red camera and other
data files with maximum quality and effi-
JMR Stores Red Data
JMR Electronics, Inc. has launched
the BlueStor Red Video Storage Server,
which boasts a transfer rate of over 1.4 GB/s
and is ideal for recording and streaming digi-
tal video imagery captured on a Red One
digital camera or used in complex SD, HD,
2K and 4K postproduction workflows.
The 4U rack-mount 16-bay RAID
system offers extremely high performance,
robust reliability and a wide variety of ingest
and output features, making it ideal for both
postproduction, streaming and DVR/DVTR
replacement editing applications. The
BlueStor Red also features dual quad-core
processors; dual 3 Gb/s internal SAS
expanders; dual PCIe RAID controllers;
redundant hot-swap power supplies and
fans; a 19-in-1 card reader; Blu-ray writer; an
Nvidia Quadro FX5600 SDI graphics card;
24 GB of DDR3 ECC memory; and USB,
FireWire, dual GigE and an E-SATA storage
port. The system can scale up to 32 TB using
the latest generation 2 TB disk drives.
JMRs affordable and fault-tolerant
storage solutions are based on the
companys PeSAN (PCIe Storage Attached
Network) technology. The companys 16-
bay BlueStor PeSAN RAID systems were
developed to be the ultimate in high-perfor-
mance Direct Attached Storage or Network
Attached Storage for a wide range of video
applications, including content creation,
video editing and 2K/4K digital-intermediate
applications requiring extremely high
sustained throughput and reliability. For
collaborative or multi-stream SD/HD and
2K/4K DI
wor k f l ows
requiring even
higher perfor-
mance and
scalable storage, BlueStor PeSAN RAIDs can
achieve up to 4,000 MB/s and be expanded
to over 4,000 TB using the current JMR
PeSAN technology.
For more information, visit
www.jmr.com.
ciency. Our staff understands the nuances
of working with data. They can help clients
reap the benefits of a data-centric mode of
production while avoiding the pitfalls.
The Digigog offers overnight dailies
processing for data files from virtually any
source. The system generates dailies in the
format required by the projects editorial
team, including Avid DNX-HD and Apple
ProRes 422, as well as uncompressed files
for final color-correction and assembly.
Deliverables for review purposes are avail-
able in a variety of popular formats, includ-
ing QuickTime.
The Digigog also offers real-time
non-linear color-grading services for both
film-based and digitally acquired projects
through the use of DaVincis Splice tech-
nology, which allows the companys
DaVinci 2K Plus color correctors to grade
scanned imagery directly on a SAN.
Commercials and features can be graded
in context, saving time and enhancing the
creative process. Repositioning, grain
reduction and other image-processing
functions can be applied in real time.
Colorist Lynette Duensing notes, Splice
allows us to directly access Red camera
DPX conversions. Its a seamless process
from end to end.
The Digigogs proprietary software
facilitates importing EDLs and automates
most aspects of the final assembly process.
As color grading occurs at 2K, the work-
flow results in a high-resolution master
that can be used to produce deliverables
for all distribution channels, including HD,
SD and Internet media. Because all
elements are stored in a randomly accessi-
ble shared-storage environment, multiple
versions of a project can be produced
quickly and with ease.
For more information, visit
www.filmworkers.com.
International Marketplace
88 February 2010 American Cinematographer
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Advertisers Index
16x9, Inc. 88
Abel Cine Tech 17
AC 1, 4, 66, 89
Aja Video Systems, Inc. 11
Alan Gordon Enterprises
89
Arri 51
AZGrip 88
Backstage Equipment, Inc.
87
Band Pro Film & Digital 5
Burrell Enterprises 88
Cavision Enterprises 29
Chapman/Leonard Studio
Equipment Inc. 21
Chapman University 61
Cinematographer Style 80
Cinematography
Electronics 87
Cinekinetic 88
Cinerover 88
Clairmont Film & Digital 27
Convergent Design 44
Cooke Optics 13
Deluxe C2
Denecke 88
Eastman Kodak 9, C4
Film Gear 41
Filmtools 6
Filter Gallery, The 88
Five Towns College 87
FTC West 88
Fuji Motion Picture 39
Glidecam Industries 19
Hollywood Rentals 45
Hochschule 41
Hydroflex 83
J.L. Fisher 23
K 5600, Inc. 67
Kino Flo 54
Laffoux Solutions, Inc. 88
Lights! Action! Co. 89
Mac Group C3
Matthews Studio Equipment
89
Movie Tech AG 89
MP&E Mayo Productions 89
MSM Design 6
NAB 81
Nalpak Inc. 89
New York Film Academy 15
Oppenheimer Camera Prod.
85, 88
P+S Technik 25,
Panasonic Broadcast 7
PED Denz 53
Photon Beard 89
Pille Film Gmbh 88
Powermills 79
Pro8mm 88
Schneider Optics 2
Shelton Communications 88
Showbiz Expo 91
Stanton Video Services 85
Super16 Inc. 88
Telescopic 89
Thales Angenieux 30-31
Transvideo International 55
VF Gadgets, Inc. 89
Visual Products 6
Welch Integratead 93
Willys Widgets 88
www.theasc.com 77,
80, 83, 95
Zacuto Films 89
ZGC, Inc. 13, 25
Zipcam Systems 43
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Classifieds
90 February 2010 American Cinematographer
92 February 2010 American Cinematographer
ASC member Marc E. Reshovsky, an award-winning cine-
matographer and still photographer, died on Nov. 20 at the age of
53. The cause of death was complications resulting from influenza.
Reshovsky was born on Nov. 6, 1957, in Los Angeles, Calif.
His mother, Zora, was a magazine writer, and his father, Ernest, was
a freelance photojournalist. Young Reshovsky would often accom-
pany his father on assignments. When Reshovsky was in his early
teens, a local arts program introduced him to filmmaking, and one
of his Super 8mm films went on to earn accolades in National Educa-
tional Televisions 1971 National Young Filmmakers Competition,
airing nationwide on public television.
In 1975, with an eye on law school, Reshovsky began study-
ing political science at the University of California-Los Angeles. Before
long, though, his passion for crafting images led him to transfer into
the universitys film department, where he concentrated on cine-
matography. After graduating with a B.A. in 1980, Reshovsky was
accepted into UCLAs graduate film program, but he chose instead
to begin his professional career. His first jobs were as an assistant, but
he soon found work as a cinematographer on travel and adventure
documentaries, shooting in Europe, New Zealand, Indonesia and
Alaska.
From 1982-1984, Reshovsky lived and worked in New
Zealand, where he worked first as a still photographer and printer,
and then as a staff cinematographer for a small production company
that created commercials, industrials and documentaries. He
returned to Los Angeles in 1984 and quickly carved a niche in the
emerging field of music videos. By 1990, he had shot some 300
music videos, plus numerous long-form concerts for such acts as
Fleetwood Mac, Bon Jovi and Pink Floyd.
During this time, Reshovsky also took his first steps into
feature films, shooting low-budget features such as Sorority House
Massacre (1986) and Teen Witch (1989) and doing second-unit cine-
matography for Robert Richardson, ASC on Eight Men Out (1988)
and Oliver Stapleton, BSC on The Grifters (1990).
In 1992, Reshovsky was nominated for a CableACE award
for his cinematography in the pilot for Red Shoe Diaries. That same
year, he shot the music video for En Vogues Free Your Mind,
which brought him the Music Video Production Association Award
for Best Cinematography and an MTV Award nomination. He also
shot the short films Trevor (1994) and Lieberman in Love (1995),
which won Academy Awards for Best Live-Action Short Subject in
their respective years.
Reshovsky won an ASC Award in the Regular Series category
for his work on the 3rd Rock From the Sun episode Nightmare on
Dick Street. Three years later, in 2000, he joined the ASC; Russell
Carpenter, Steven Poster and John Schwartzman recommended
him for membership. That same year, Reshovsky was presented with
the Kodak Vision Lifetime Achievement Award for music-video cine-
matography.
In 1986, Reshovsky married Sandra Matsumoto. They had
two sons, Zachary and Rory, and settled in Pasadena, Calif.
Matsumoto died in 2004, and Reshovsky relocated to Lopez Island,
Wash. In 2007, he collaborated with viola da gamba player Vittorio
Ghielmi on the concert piece The Spectacle, based on Dieterich
Buxtehudes Membra Jesu Nostri cantatas.
A decade ago, while participating in a seminar on music
videos impact on feature filmmaking, Reshovsky was asked about
the effects of then-new digital technologies, and his answer still
rings true: We are not going to devolve because of technology.
Cinematography is a language and a form of artistic expression
which comes from the soul.
Reshovsky is survived by his sons; his partner, Taylor Bruce;
and his faithful dog, Mochi.
Jon D. Witmer