American Cinematographer

MAY 2014
$5.95 Canada $6.95

The International Journal of Motion Imaging
30 Second Life
Jess Hall, BSC helps ASC member Wally Pfister make his
directorial debut with the sci-fi thriller Transcendence
44 Alien Ways
Daniel Landin, BSC lends eerie ambience to Under the Skin
54 Divine Purpose
Polish cinematographer Lukasz Zal and director
Pawel Pawlikowski discuss their approach to Ida
64 ASC Shines at Sci-Tech Awards
Academys honorees include prominent Society members
71 A Festive Focus
Lively ambience prevailed at this years ASC Awards events
DEPARTMENTS
FEATURES
VISIT WWW.THEASC.COM
On Our Cover: A terminally ill scientist ( Johnny Depp) cheats death by
downloading his mind into a computer in Transcendence, shot by Jess Hall, BSC.
(Photo by Peter Mountain, courtesy of Alcon Entertainment and Warner Bros.)
10 Editors Note
12 Presidents Desk
14 Short Takes: Me + Her
20 Production Slate: Locke
84 New Products & Services
86 International Marketplace
87 Classified Ads
88 Ad Index
90 Clubhouse News
92 ASC Close-Up: George Mooradian
M A Y 2 0 1 4 V O L . 9 5 N O . 5
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64
The International Journal of Motion Imaging
Left: Super-soldier-turned-superhero Steve Rogers,
a.k.a. Captain America (Chris Evans), returns to
action in Captain America: The Winter Soldier.
Right: Director of photography Trent Opaloch.
In an exclusive podcast, cinematographer Trent
Opaloch will detail his collaboration with directors
Anthony and Joe Russo for the latest chapter in
the Marvel cinematic universe, Captain America:
The Winter Soldier.
M A Y 2 0 1 4 V O L . 9 5 N O . 5
Dieter Burzum Horst: Batman Begins.
John Thiel: Hellboy, absolutely.
Mike Stephen Charles: Scott Pilgrim vs. the
World is by far one of the best adaptations of a
graphic novel.
Spencer Whitney: V for Vendetta is my
choice. (Although not widely considered a
superhero movie, it is still based on a comic-
book anti-hero.) That film would not have been
the same without the late, great Adrian Biddle,
BSC behind the camera. There is a great deal of
emotion conveyed to the viewer through the use
of creative framing and lens choices as well as
high-speed photography. Constantine (shot by
Philippe Rousselot, ASC, AFC) might be a close
second.
Hampus Lager: The Dark Knight. Wally Pfister
[ASC] and Christopher Nolan pushed the cine-
matography for this genre and took it one step
further than Batman Begins.
Matthew A. MacDonald: I dont know if it
counts as a superhero movie, but Vittorio
Storaro, ASC, AICs work on Dick Tracy is
absolutely striking.
Arjun Siva Tabooz: 300!
Michael Leatherwood: Tim Burtons Batman.
I was in awe as a kid way back in 89.
Tanmay Toraskar: The first two X-Men
movies. Splendid camerawork by Newton
Thomas Sigel [ASC]. Great use of movement,
space, colors and lighting. And also Batman
Returns, improving on the dark, moody palette
set by [Batman].
James Wright: Unbreakable.
Tom Wyler: The Dark Knight, Dick Tracy,
Watchmen, Thor.
Will Getchell: The Dark Knight Rises. Wally
Pfister seamlessly blended the Imax format with
the 35mm format, which resulted in a stellar-
looking image.
Jonas Fischer: Watchmen really had great
style.
Luther Alexander: Ben Davis, BSCs work in
Kick-Ass was nice, [and] Storaros color work in
Dick Tracy was very cool.
Leijo Van Aubel: The Dark Knight trilogy, and
I have to agree with the people who mentioned
V for Vendetta as well.
Mark Sullivan: The Richard Donner Super-
man. It made me appreciate the way a movie is
filmed.
Stephen Murphy: Geoffrey Unsworth, BSCs
work on Superman and Dariusz Wolski, ASCs
work on The Crow continue to be a source of
inspiration and admiration.
Brian Macaione: Sin City. I feel like the cine-
matography fit this film perfectly. To this day it
remains a staple film that I can turn on and sim-
ply enjoy the way it was shot.
Ray McDonough: Every frame of Superman.
Robert Skates: Man of Steel has the requisite
breathtaking fight and battle scenes, but it also
has smaller intimate scenes and beautiful single
shots. Its in these moments that Amir Mokris
work really shines. There are times when one
shot says more, makes you feel more, than an
entire scene. These iconic images are what set
Man of Steel apart from other films in the
genre.
Surrendar Shanmugam: The Dark Knight and
also Captain America.
SEE AND HEAR MORE CINEMATOGRAPHY COVERAGE AT WWW.THEASC.COM
THIS MONTHS ONLINE QUESTION: Which superhero movies have you most admired for their cinematography?
To read more replies, visit our Facebook page: www.facebook.com/AmericanCinematographer
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www.arri.com/qr/ac/awards
This awards season ARRI thanks the many winning and nominated productions that
worked with our equipment. We salute your extraordinary successes at the Academy,
ASC, DGA, PGA and Golden Globe Awards, and all other international awards events.
TRULY CINEMATIC
CONGRATULATIONS
TO ALL WINNERS AND NOMINEES
M a y 2 0 1 4 V o l . 9 5 , N o . 5
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
ASSOCIATE EDITOR Jon D. Witmer
TECHNICAL EDITOR Christopher Probst
CONTRIBUTING WRITERS
Benjamin B, Douglas Bankston, Robert S. Birchard,
John Calhoun, Michael Goldman, Simon Gray,
David Heuring, Jay Holben, Noah Kadner,
Jean Oppenheimer, Iain Stasukevich,
Patricia Thomson
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CREATIVE DIRECTOR Marion Kramer
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CIRCULATION, BOOKS & PRODUCTS

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CIRCULATION MANAGER Alex Lopez
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ASC ACCOUNTS RECEIVABLE Nelson Sandoval
American Cinematographer (ISSN 0002-7928), established 1920 and in its 94th year of publication, is published
monthly in Hollywood by ASC Holding Corp., 1782 N. Orange Dr., Hollywood, CA 90028, U.S.A.,
(800) 448-0145, (323) 969-4333, Fax (323) 876-4973, direct line for subscription inquiries (323) 969-4344.
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POSTMASTER: Send address change to American Cinematographer, P.O. Box 2230, Hollywood, CA 90078.

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American Society of Cine ma tog ra phers
The ASC is not a labor union or a guild, but
an educational, cultural and pro fes sion al
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di rec tors of photography and have
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A numbers of cinematographers have made the leap to
the directors chair, but ASC member Wally Pfister was
particularly well prepped to make his feature debut with
the sci-fi thriller Transcendence. His resume as a director
of photography includes a long string of complex
productions (including the Dark Knight trilogy and
Inception), but also lower-key dramas that demonstrate
his versatility (Laurel Canyon, Moneyball). On Transcen-
dence, Pfister recruited Jess Hall, BSC to help him make
the transition. I saw that Jess could be a collaborator
thematically and conceptually as well as visually, he
tells David Heuring (Second Life, page 30), adding, I
will always think about what the camera is doing its
instinctual by now. But certainly, having Jess lead this terrific crew enabled me to spend
more time focused on the actors and all the other concerns of a director.
Daniel Landin, BSC employed some very unique strategies while collaborating
with director Jonathan Glazer on another sci-fi project, Under the Skin (Alien Ways,
page 44). In her role as an extraterrestrial who preys on Scottish men, actress Scarlett
Johansson was required to drive around Glasgow in a van rigged with hidden cameras
that recorded her attempts to lure unsuspecting non-actors into the passenger seat. To
facilitate this approach, Landin employed new camera technology, as he explains in a
detailed Q&A with Iain Stasukevich: We shot about 60 percent of the movie with an
Alexa Plus, but the decision to go digital was really driven by the development of the
One-Cam, a small digital camera specifically invented for our film by Tom Debenham,
Louis Mustill and Arron Smith [at One of Us in London]. We used One-Cams to shoot
the driving scenes with Scarlett in such a way that we could hide the cameras whilst
shooting simultaneous reverses.
Connoisseurs of black-and-white imagery should certainly seek out Ida, the
Polish drama that won the inaugural Spotlight Award at this years ASC Awards cere-
mony. The honor is intended to call attention to great cinematography in non-main-
stream movies a description that aptly summarizes the stunning compositions and
artful lighting achieved by Lukasz Zal, PSC and Ryszard Lenczewski, PSC. (Zal, who
began the project as Lenczewskis camera operator, stepped up and shot most of the
picture when the cinematographer fell ill after one day of shooting.) In Benjamin
Bergerys coverage (Divine Purpose, page 54), Zal and director Pawel Pawlikowski
explain their aesthetic choices, with Zal noting, We wanted to build essential frames
that would have strong impact and speak about the space beyond the frame.
Other ASC Award winners and nominees appear in our annual pictorial on the
Societys awards-season events (A Festive Focus, page 71), while our coverage of the
Academys Scientific and Technical Awards (ASC Shines at Sci-Tech Awards, page 64)
spotlights several members and associates who were honored for their industry impact:
Peter Anderson, ASC, who received the prestigious Gordon E. Sawyer Award, and the
team that spearheaded the ASC Color Decision List: Curtis Clark, ASC; associate
members Lou Levinson, Joshua Pines and David Reisner; and David Register. Needless
to say, everyone at the ASC is extremely proud of their influential achievements.
Stephen Pizzello
Executive Editor
Editors Note
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NOW WITH
Details surrounding the February death of second camera assistant Sarah Jones in Georgia
have been well documented, but something important has been lost in the reportage. The
facts, as theyve been related, describe a horrible and preventable tragedy. The public
outpouring of grief by individuals and groups connected to the camera department was
remarkable, but the fact that it came almost exclusively from us uncovered a dark secret
most of us have known for quite some time: This industry is in trouble, and I dont mean
economically, but spiritually.
From time to time, the late ASC legend William A. Fraker liked to hold court in the
Clubhouse bar and expound upon the early days of his career. Those were the good days,
he was fond of saying. You could feel the romance when you went to work. His emotion
was palpable, and those of us lucky enough to be there believed his every word. But look
a little deeper, and his sentiment becomes more than a nostalgic reference to the era of
highballs and unfiltered cigarettes. He was really talking about the feeling of family and
community that infused the movie business of his day.
According to Fraker, filmmaking collaborators showed a genuine caring for one
another that extended well beyond the workplace. Though a similar ethic may exist in
isolated pockets today, it bears no relation to its predecessor. There is no question that in
the 1940s and 50s, and even up to the 70s, society had a sharper understanding of what
was really lasting and meaningful in life. On the soundstages of 2014, its likely those
notions of warmth and common decency will prevail only as long as they can generate cold, hard cash.
I am by no means suggesting the past was rampant with peace, love and understanding. There were plenty of things wrong
with our culture then, and there was no way for Fraker to know it was already beginning to unravel. But if were honest, his gauzy
recollections force us to confront uncomfortable truths about how we think of and treat one another, even in the smallest of ways.
Have we lost our humanity? Just open a newspaper. For a view closer to home, consider the disdain with which so many
people deal with each other on the road, in the supermarket, at the ballpark and, dare I say, on set. Its almost as if narcissism
and a sense of entitlement have drained some people of the ability to see anyone as being like themselves. Those who make motion
pictures for a living work long and hard at jobs we love, sometimes making significant sacrifices along the way. But were not curing
cancer. Were not even curing a hangnail. Twisted individuals for whom money, power, ego and prestige are the ultimate goals,
however, treat the obsessive pursuit of these superficial rewards as being tantamount to conquering a fatal disease. As sad as this
reality is, it becomes frightening when you realize how pervasive the attitude has become.
I cant imagine that anyone associated with Midnight Rider wished for Sarah Jones to be killed while doing her job. Unless
theyre followed by corresponding action, good intentions mean nothing, and thats especially true in this case. The only people who
really know what attitudes led to this tragedy are those who were with her at the location that day. But if you think a certain loss
of humanity didnt play a primary role in what happened, you might be beyond saving yourself.
Will we just make note of Sarahs passing, bow our heads for a moment and then carry on? Or will we use it and I mean
really use it to effect genuine change in how we regard one another? Our behavior is the only thing in our lives over which we
have total control, and its vital to realize were all living on borrowed time. Our journey through this world goes by very quickly.
As directors of photography, we have always been responsible for the safety of our crews, and it is incumbent upon us to
find ways to be more decent and caring not only to them, but also to everyone we know. It wont always be easy; at times, it will
run counter to initial impulses. But if our example proves worthy, it might make a start toward curing the spiritual sickness I have
described. It would also stand as the most profound tribute any of us could offer to the memory of Sarah Jones.
Richard P. Crudo
ASC President
Presidents Desk
12 May 2014 American Cinematographer
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A Cardboard Drama with Heart
By Mark Dillon
Movie characters that are superficially rendered are often
derided as cardboard, but the 11-minute silent movie Me + Her,
directed by Joseph Oxford and shot by Bradley Stonesifer, wrings the
gamut of emotions from actors and sets that actually are cardboard.
The short tells the story of Jack, a cardboard man grieving the
death of his mate, Jill. He contemplates ending it all with a lit match,
but then instead hops into a recycling bin bound for a box factory,
where he follows Jills body down a chute and into a shredder. Their
intertwined remains are scattered where a special tree once stood,
and a new one sprouts in its place.
Oxford reveals that the character of Jack was conceived for a
music video in 2007. I threw together available materials and came
up with a neat little puppet, he explains. These little cardboard
characters were going to strum guitars and bang on drums a
pretty straightforward performance video but then things fell
through with the band. However, I really liked the character design
and started to imagine what the rules of a cardboard world would
be, and how these characters would fit in.
Oxford wrote Me + Her in early 2009, and spent the next two
years building sets and characters in between gigs as a production
assistant and art director. He met Stonesifer while working on
projects directed by Lee Toland Krieger, and on the set of one such
project, the feature The Vicious Kind, he approached the cine-
matographer with his concept. Joey told me about this crazy world
he was coming up with, and I was all for it, Stonesifer recalls. We
figured out the visual style and general approach gradually, long
before getting anything on camera. The cinematographer and his
wife, Emily Bloom, became the projects lead producers through
their company, Island Creek Pictures.
Preproduction on Me + Her began in earnest in April 2013,
and the shoot (18 days of photography scheduled over six months)
took place in Los Angeles at The Escarpment studio and the Allen
Box Co. Because of limited storage space, the filmmakers had to
build and tear down sets on a regular basis. Sixteen puppeteers
manipulated the 15"-tall figures with rods, using wires to achieve
nuances such as the blinking of eyes. A through-line for the whole
movie was that it should look and feel handmade, which is why I
decided to leave the rods in frame, says Oxford.
After testing several cameras, including a Panasonic AG-
HPX500, an Arri Alexa, and Canon C300 and 5D Mark II cameras,
Stonesifer opted for a Passive Micro Four Thirds model Blackmagic
Cinema Camera. The Panasonic has a macro capability, so it would
have helped us get extremely close to the puppets and achieve vary-
ing focal lengths throughout the zoom, but its massive, and the
image quality wasnt what we wanted, explains the cinematogra-
pher. With both of the Canons, the sensor size was too large and
would have required more light for the depth-of-field we wanted.
And, based on our limited money, crew and equipment, we decided
moving an Alexa around 15-inch puppets was too daunting. The
Corrugated
constructs Jack
and Jill picnic
at magic hour
before Jill
suffers a tragic
fate in the short
film
Me + Her.
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Short Takes
image quality wasnt worth the sacrifice of
time and options. The comparatively light-
weight Blackmagic, he continues, rendered
images that held up on the big screen and
had an aesthetic Joey and I both liked.
Stonesifer used an MFT-to-PL-mount
lens adapter for most of the shoot, employ-
ing Arri/Zeiss Ultra Prime lenses, mainly a
20mm. With the [2.5K] sensor crop factor
of 1.6, when we put a 20mm lens on it, the
field of view was equivalent to what I was
used to seeing with a Super 35 32mm
lens, he notes. He occasionally used Canon
CN-E15.5-47mm and CN-E30-105mm
zoom lenses, which held up extremely well
beside the Ultra Primes. They were great for
moving a little quicker toward the end of
the shoot.
He used an EF model Blackmagic
Cinema Camera for a POV shot captured
with a Canon 100mm Macro IS USM lens:
Jack sees a recycling symbol on his bath-
room sink and gets the idea to go to the box
factory.
Stonesifer typically shot between a
T5.6 and T8. If youre shooting a human 6
feet away on a 50mm lens at T2 or T2.8,
youll have 4 to 6 inches of focus, he says.
If you want the same perceived focus on a
puppet 10 inches away, you have to stop
down substantially. He adds that he used
no lens filtration. We wanted to see the
texture of the cardboard.
Several tools were employed to
achieve the small-scale moves, including a
Dana dolly, 3' and 4' sliders, a VZQuickJib
and a 19' JimmyJib arm. Some shots were
handheld. In the box factory, the chute Jack
slides down was a 4'x4' set that was 14' tall
and featured removable side panels. To
maneuver in such a small space, the crew
used a Blackmagic Pocket Cinema Camera
and Super 16 Zeiss Super Speed prime
lenses. The full-sized Blackmagic cameras
captured in CinemaDNG raw to built-in SSD
recorders, and the Pocket captured in
ProRes 4:2:2 to SDXC cards. (The final
aspect ratio was 2.40:1.) Camera assistant
James Gustafson served as a part-time DIT.
We had the Pocket camera on a
monopod, out of which we ran a BNC
cable, explains Stonesifer. We were
converting the cameras HDMI signal to
HD-SDI for monitoring. We had a wireless
follow focus so the camera assistant could
Top to bottom:
Jills death spurs
Jack to drastic
action;
puppeteers
maneuver the
actors in the
cardboard
hospital;
cinematographer
Bradley
Stonesifer (left)
supervises the
lighting over
Jacks home; a
recycling truck
rumbles past
Jack.
pull focus from the monitor. The cine-
matographer operated on that segment;
otherwise, he pulled focus and allowed
crew volunteers to operate the camera.
Stonesifer notes that the Blackmagic
Cinema Cameras 2.5K sensor helped with
the productions limited lighting budget,
because the largest instrument he needed
was a 5K Fresnel, which served as a sun
source.
The box-factory set was 24' long,
with fog machines blowing smoke out of
the stacks and a haze machine for interior
atmosphere. We had 750-watt Source
Four Lekos on dimmers outside the factory,
blasting through the windows to create a
strong edgelight, Stonesifer explains. For
the interior, we had a daylight-balanced
4-foot 4-bank Kino Flo gelled with Lee 245
[ Plus Green] overhead to give us an indus-
trial-looking fill. Then, we had Dedolights
raking the interior walls, creating a sconce
effect as a downlight, along with a LitePan-
els 1-by-1 LED. The mix of colors helped to
create contrast. Its a moody finale, dark and
gritty.
Most of the picture was created in-
camera, but Oxford animated the time-
lapse growth of a tree, and students at the
Pastilla Institute of Design extended a few
sets digitally, removed rafters from back-
grounds and added a city to the back-
ground of the final shot.
Aaron Peak of Hollywood DI served
as the projects colorist, on-line editor and
post coordinator. The goal of the final
grade was to accentuate the texture of the
cardboard pieces, bring depth and life to the
set pieces, and unify the images, says Peak,
who worked on a DaVinci Resolve. He ran
some image sequences through Adobe
Lightroom processing in search of that
unique and magical look, particularly for
the flashbacks showing Jack and Jills happy
life together.
Me + Her received its premiere at the
2014 Sundance Film Festival.
Top and middle: Jack surreptitiously searches for Jills body. Bottom: Director Joseph Oxford (facing
camera) and the puppeteers block a romantic magic-hour setup.
t he r t of f i l m opt i c s
zoom lenses capture the dream.
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Road Work
By Jon D. Witmer
Written and directed by Steven Knight, Locke unfolds nearly
in real time as its title character (played by Tom Hardy) navigates a
veritable minefield of phone calls over the course of an 85-minute
nighttime drive. As Locke strives to keep a key business endeavor on
schedule, he also reveals to his wife that he has been unfaithful a
confession that threatens to destroy their life together. Although
Hardy is the only actor to appear onscreen, both sides of each conver-
sation are heard.
Locke is the first collaboration between Knight and cine-
matographer Haris Zambarloukos, BSC, who elected to shoot with
digital cameras in order to capture the nighttime driving along open
roads in and around London, England. Zambarloukos recalls that he
was sent the script by Locke producer Guy Heeley, a former assistant
director with whom he had worked on the features Sleuth (AC Nov.
07) and Death Defying Acts. Speaking with AC while enjoying a bit
of a break in Cyprus, Zambarloukos enthuses, I read the script,
which is probably one of the best Ill ever get to read, and I was like,
Please, sign me up!
American Cinematographer: Was it at all daunting to be
limited to one characters car, at night, for almost 90 minutes?
Zambarloukos: Oh, hugely daunting, but also liberating.
When we started talking about it, Steve asked, Do you ever drive at
night and get fascinated by color and light and the pulse of what
could possibly be going on behind each car windshield? We started
talking about [the film] as a kind of visual poem. More than anything
technical about how to shoot it, for me it was about, How can I be
a good servant to this human story?
How much prep time did you and Knight have
together?
Zambarloukos: Two to three weeks. It was quite intense.
First of all, Steve says, I want to do the whole performance every
night while driving from Birmingham to London. Thats the route
Locke takes along the M1, which is a very important highway in the
U.K, and it takes about an hour and a half. But then we were told
youre not allowed to film on a motorway in England anymore, so
we had to find permission from a road that could double for the
M1. We were both quite devastated that we couldnt do the Birm-
ingham-to-London route, but in retrospect, I was very lucky because
half or three-quarters of that route would have had no streetlights
whatsoever!
How many shooting days did you have?
Zambarloukos: We had eight nights to shoot. We had five
nights with Tom, and we needed to spend one shooting him getting
into the car and driving off from the construction site. In the end,
we decided to do three nights on a low-loader [process trailer] and
one night of Tom driving the real car, with us inside with two
cameras, so we could look through the windshield at the road. We
also did a couple of days of drive-bys and POVs, anything we could
do without Tom. We worked out that we could do two perfor-
mances every night, so I can actually tell producers I did 79 pages in
one day, because thats how long the script was! Tom put his entire
self into it, so he would be exhausted by 2 or 3 a.m., giving us about
four hours of shooting [each night]. Another reason for finishing by
Production Slate
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Ivan Locke (Tom Hardy) weighs the consequences of his path as he drives from Birmingham to London in the feature Locke.
I
2 or 3 in the morning was that after that,
the road emptied out. We couldnt afford
more picture cars, so almost everything you
see is a happy accident. We asked our police
escort to overtake twice, and we also had a
couple of vans for the rest of the crew. I was
on a walkie-talkie, and I would sometimes
ask the driver to come closer or put his
beam lights on to give us a [lens] flare.
Why did you choose a Red Epic?
Zambarloukos: I did a bit of Red
footage for the night-car work on Jack
Ryan: Shadow Recruit, so I went into Locke
with a little homework already done. Red
was definitely the right decision for Locke,
and I picked the Epic for its size its very
small and its great resolution. We shot
with three cameras [simultaneously], and
we predominantly rigged them to Lockes
car and not to the frame of the low-loader.
That made it feel a bit more like Tom was
driving. We recorded in 5K [at 5:1 compres-
sion to 256GB Red SSD cards], and we got
about 26 minutes per card. We did have a
problem with one card, and I dont know
what Red did with it its all black magic to
me but they managed to recover about
80 percent of the footage. It happens rarely,
but that is one of the challenges of digital.
I wanted all the dreamy nightscapes
you can create with Scope, so I used Panav-
ision C Series anamorphic lenses, which I
think soften digital in a way that seems very
filmic. I also picked the C Series based on
their bokeh as well as their resolution; that
was based on an assumption that they
would work well with out-of-focus lights
but still give sharp eyes, which they did. We
predominantly worked at 800 ASA, some-
times at 1,280, so I didnt really need a very
fast stop. To my eyes, T2.8-T4 is the
optimum for an anamorphic lens, in partic-
ular the C Series.
Did you favor any particular focal
lengths?
Zambarloukos: We stuck within
what I would say is [the range of] normal
human vision, 35mm to 100mm. We also
used a specialty lens. I really wanted to play
with focus, and I had [previously] asked Jim
Budd at Panavision U.K. if we could make
an anamorphic Lensbaby. He said, Youre
absolutely crazy, that cant be done, but
about a year later, he called me up and said,
Ive made it. Id say it was around 50mm,
but it was never locked off. We actually
undid the screws and some of the things
that hold it together and were constantly
having it mobile. Some of the extremely
weird, distorted, out-of-focus shots were
done on this Lensbaby with an anamorphic
element added on the back, a Jim Budd
Special.
Steve pushed me to get a lot of
reflections. Usually, you have to compromise
the composition to get the best reflections
off windshields, but Ive always been
intrigued by the two-way mirrors used in
3-D rigs, so I started experimenting with
putting a two-way mirror in front of the lens
and having it angled in a way that we could
Top: Lockes journey takes him away from a record-setting concrete pour he was to supervise,
and which he strives to keep on schedule via mobile phone. Bottom: 1st AC Ashley Bond (left)
and cinematographer Haris Zambarloukos, BSC ready one of the productions three
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get better reflections from streetlights and
cars. That could be [anywhere between] 15
degrees or 65 degrees, and it only worked
if [the frame line was] within the wind-
screen or one of the side windows of the
car. If you saw off the car, it didnt work, so
what he sees. By amplifying the reflections,
you do that. If you start analyzing it, you see
that the reflections are going in the wrong
direction, but that was a risk we were will-
ing to take. We were quite abstract and
unapologetic about it.
How did you handle the two
sides of the phone conversations?
Zambarloukos: The mechanics of it
ended up being that we would shoot for
these four nights with Tom while our other
actors were in a couple of rooms in a hotel.
They would call in, and their [side of the]
conversations would be recorded live in the
hotel. What you hear is the actual voice
performances of Tom and the other actors
interacting live.
Where were you while filming?
Zambarloukos: We were allowed
only 12 people on the low-loader, so my
operator, Simon Baker, was on one camera,
with Shaun Cobley on focus; Ashley Bond,
my B-camera focus puller, manned and
focused the second camera; and the third
camera was locked off. I stayed on the truck
[that pulled the low-loader] with my gaffer,
Julian White, and we played with a small
dimmer [a GrandMA2 Command Wing
and PC laptop that sent a signal via a
LumenRadio wireless DMX transmitter/
receiver system] to control the LED lights we
had rigged to the car to augment what we
saw happening on the street.
What LEDs did you rig to the car?
Zambarloukos: We rigged four
Martin Stagebar [RGBAW] fixtures outside
we only used them when we felt it was
right. We had two of them, and my key
grip, Malcolm Huse, pretty much jerry-
rigged them with Cardellini Clamps. From a
story point, I was trying to say, I want to
look at Tom Hardy, but I also want to see
To help capture the play of light reflected on the cars windshield, Zambarloukos frequently employed
two-way mirrors rigged at varying angles in front of the cameras. With the effect, Zambarloukos notes,
I was trying to say, I want to look at Tom Hardy, but I also want to see what he sees.
the vehicle, two on each side [from scaffold
box attached to the roof rack]. Then, we
had individual strips of warm and cool
LiteGear LiteRibbon LED strips positioned
discretely within the vehicle, one strip above
the sunshade and some behind the driver's
seat. I didnt need a lot of light because I
didnt want to burn out the effect of the
streetlights, but I did need to augment
within that surrounding. I chose RGB LEDs
so we could be quite specific [when match-
ing existing streetlights]. They were DMX-
able, and they worked off a 5K generator,
which was plenty for us. [The LiteRibbon
was battery-powered.] Chris Craig, who is
my usual dimmer-board operator, rigged
the dimmer for us. We programmed in
what the buttons and levers would do, and
we set certain chases, certain color
schemes, so if we were in a sodium-vapor
area, we could [tune the LEDs to] a sodium-
vapor look. Wed listen to [the dialogue],
and sometimes wed [base the lighting on]
what was happening on the road, and
sometimes wed go with what we were
hearing. We improvised. I think thats the
best way to do anything: know your script,
do a lot of testing, figure out a lot of things
in advance and then let go. Its like being a
jazz musician who knows his scales, chords
and what mode hes in, and then lets go.
Only through practice, rehearsal and
Top: One of two
BMW SUVs was
rigged on a
process trailer for
three nights of
shooting.
Zambarloukos
requested a
picture car with a
sunroof, which
really made a
difference, he
says. You see a
lot more
movement [of
light] because of
the sunroof.
Middle: Hardy
takes the wheel.
Bottom: Bond
and
Zambarloukos
prepare to shoot.
preparation can you let yourself go and
improvise.
The film is bookended with
crane shots. The first reveals the
construction site and introduces Locke
as he gets into his car, and the last
moves off his car as he exits the motor-
way. What crane did you use for those
shots?
Zambarloukos: We used a 30-foot
Technocrane. Panavision and Panalux really
went out on a limb and helped us out with
this project. For as long as I can remember,
all the way back to my student projects, the
[parties] that have always donated time,
equipment and knowledge are the rental
companies. I believe theyve been sponsor-
ing the film industry for years, and they
should be thanked and praised for that. A
film like Locke was made with a lot of help.
People like Hugh Whittaker at Panavision
basically said, Youre lucky youre doing it in
eight days and in January, because [at that
time], you can pretty much have what you
want!
Did you work with a digital-
imaging technician?
Zambarloukos: Yes, Sophie Bagga-
ley from The Digital Orchard. She was back
at base camp, and she would download the
cards so we could re-use them. We made a
basic LUT, and I switched from RedColor3 to
raw to keep an eye on things, but I didnt
spend time grading on set.
Were you watching dailies
during production?
Zambarloukos: Absolutely. Justine
Wright is a superb editor. We sent her a lot
of footage, but she was very diligent and
could work in the daytime. Then, while we
were setting up [to shoot at night], I would
watch footage in the DIT trailer, and Justine
would come in and tell us how many angles
we had on everything, what seemed to
work and what we might need. Having her
check everything in the day with fresh eyes
was hugely helpful.
What was your goal in the final
grade?
Zambarloukos: It was mostly just
fine-tuning. We transcoded the 5K footage
to 2K DPX files, and we graded and did final
outputs at 2K. [Colorist] Rob Pizzey at
Company 3 in London set it up, and when
he had to leave for another project, I
finished the grade with [colorist] Trevor
Brown. Things transposed very quickly from
shot to shot. Certain performances repre-
sented the dominant mood Steve ended up
favoring, so you can pretty much count on
your two hands the number of shots that
actually made it into the film. That made it
a very quick grade to do. With a DI, I used
to work very hard on each shot until it was
perfect, slowly moving through a reel. But
what Ive started to do is go back to the way
I worked on a film print: I do a rough pass
as quickly as we can over the entire film,
then go back to the beginning and fine-
tune. That way, youre observing the mood
of the film as a complete picture. I find I do
a better grade this way, going from broad
strokes to the fine brush strokes.
TECHNICAL SPECS
2.40:1
Digital Capture
Red Epic MX
Panavision C Series
Top: The production utilized a 30' Technocrane for shots that bookend the film. Bottom: Zambarloukos
confers with director Steven Knight. The cinematographer recalls that he and Knight discussed Locke as
a kind of visual poem. More than anything technical about how to shoot it, for me it was about, How
can I be a good servant to this human story?
With Transcendence,
Jess Hall, BSC, envisions a
contemporary sci-fi tale for first-time
director Wally Pfister, ASC.
By David Heuring
|
Second
Li
f
e
www.theasc.com May 2014 31
I
ts late January in a sound designers
dark room in Hollywood, and direc-
tor and ASC member Wally Pfister
is reacting to a series of provisional
sound effects that were created for a
scene in Transcendence that depicts the
growth of nanotechnology fibrous,
plant-like tendrils that spread over the
ground and up the support posts of solar
panels. Pfister asks for less insect-like
sound elements, and then approves of a
low-frequency rumble derived from a
rocket-engine roar. You know I love
the low frequencies, he says with a
smile, referring to his affinity for bass
guitar.
Transcendence, Pfisters feature-
directing debut, tells the tale of a termi-
nally ill scientist, Will Caster ( Johnny
Depp), whose consciousness makes the
leap from his dying body to a computer
and, eventually, the Web. His partner,
Evelyn (Rebecca Hall), and colleagues,
including Joseph (Morgan Freeman)
and Max (Paul Bettany), discover that
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Opposite page: Artificial intelligence researcher Will Caster (Johnny Depp) communicates with his
wife and fellow academic, Evelyn (Rebecca Hall), after his consciousness is transferred from his body
to a computer. This page, top: Caster is questioned by an audience member during a conference
presentation. Bottom: Cinematographer Jess Hall, BSC meters a scene.
with the transition, Caster gains terrify-
ing omnipotence. The science-fiction
tale unfolds not in a distant future, but
rather in the present day.
Pfister tapped English cine-
matographer Jess Hall, BSC to shoot
the picture. A graduate of Central Saint
Martins College in London, Hall has
shot such features as The Spectacular
Now, Hot Fuzz and Brideshead Revisited
(2008). Pfister says that in Hall, he saw
a cinematographer with a similar
aesthetic. I saw that Jess could be a
collaborator thematically and conceptu-
ally as well as visually. I knew we could
make the images strong.
In their earliest conversations,
Pfister and Hall focused on the more
intimate, less techy aspects of the script.
Hall observes, This isnt an out-and-
out technological sci-fi movie, and
Wally and I talked a lot about how to
create images that would feel tactile, not
sterile. Theres a very strong, dramatic
human element to this film, even
Second Life
Top: Evelyn comforts Caster as he begins succumbing to the terminal effects of radiation poisoning.
Bottom: Casters image appears on a monitor in a data-storage facility after he succeeds in transporting
his consciousness to the digital realm.
though Will, the protagonist, ceases to
exist in human form as we enter the
second act.
I also think its important that
the story is rooted in technological
development that is happening now,
continues Hall. Elements of the story
required a futuristic palette, but one
grounded in reality. Im a great admirer
of photojournalism, particularly The
Magnum Group, and Wally began his
career as a news cameraman. I think we
both connected with the idea of captur-
ing a palpable, tangible realism.
The dichotomy of organic vs.
synthetic guided the entire production,
which shot for about eight weeks in
Albuquerque, N.M., and four weeks in
Los Angeles. The main sets were built
at I-25 Studios in New Mexico under
the direction of production designer
Chris Seagers. Although Pfister
prepped for many months, his main
prep with Hall was about six weeks.
From the beginning, Pfister
Evelyn communicates with Caster from her apartment (top) and the data facility (bottom). All but a few
of the projections were captured in-camera. That was incredibly beneficial for the actors, and it also
meant that we were composing complete shots, says Hall. Finding ways to achieve these effects in
camera was a great challenge, but the results were visually exciting.
intended to shoot 35mm anamorphic
and finish with photochemical color
timing. As weve become more reliant
on technology, I think weve lost sight of
the fact that some technology can over-
complicate things and can cost a lot
more, and thats my analogy with digital
vs. film, says Pfister. Theres nothing
wrong with 35mm film; it didnt need
replacing. People simply thought that
digital capture was a cheaper way of
doing it. However, digital is more
complicated and, in some cases, it
requires a more expensive process.
Certainly, its not as reliable as film.
Also, film is higher resolution,
he adds. To capture all the resolution of
an anamorphic 35mm image, you need
a scan somewhere between 8K and 12K.
So while everyone brags about 4K
cameras and scans, were shooting on,
effectively, a 10K camera. Why replace
that with an inferior technology?
Hall chose two Kodak Vision3
negatives, 500T 5219 and 250D 5207,
which intercut really well, he says.
Between them, they dealt with every
extreme from harsh desert to a
completely black set, which was Evelyns
apartment. He avoided special process-
ing, noting, The locations and the
palette of the film are so diverse that I
didnt want to overcomplicate the
processing.
The productions A and B
cameras were Panaflex Millennium
XL2s, and Hall and his team also used
an Arri 235, an Arri 435 and a Vision
Research Phantom Flex. (The latter two
were for specific effects shots.) The
Panavision lens package comprised C
Series, E Series and High Speed
anamorphic primes, as well as some
Close Focus lenses, a T1.8 100mm and
a T2.8 25mm. The 25mm was used for
Second Life
Top: Evelyn walks
the futuristic floor
of the Brightwood
Data Center, a set
built at I-25
Studios in New
Mexico. Production
designer Chris
Seagers designed
the set to facilitate
the use of multiple
projections on
glass, Perspex and
other materials
that would add
layers and depth
to the visual
design. Bottom:
Director Wally
Pfister, ASC
(center) works
through a scene
with actor Clifton
Collins Jr.,
A-camera operator
Scott Sakamoto
(at camera) and
visual-effects
supervisor Nathan
McGuinness (right).
POV shots of the machine [Casters
embodiment as artificial intelligence] as
seen through its surveillance devices,
and we also used it for some spectacular
desert vistas, one of which was captured
in a real storm, Hall notes.
As for camerawork, he continues,
The general analogy for our approach
was, The camera should find its own
place. By that I mean the camera
should find a point of view from which
to inhabit a scene, a perspective that
served the narrative without imposing
itself in a self-conscious display. In this
respect, Wally and I responded to the
actors, watching the rehearsal process
intensely, often from opposing angles.
During that process, I tried to feel the
inherent rhythm of a scene, its heart-
beat, and then to find a sequence of
shots to best express that. That might
involve any number of techniques from
a slow tracking shot to vigorous hand-
held, but they all derived from a moti-
vation to serve the narrative, to support
and capture the performance.
At the conceptual center of our
visual approach was the conflict
between the organic and the synthetic,
he adds. We allowed the tension and
potential incompatibility of these two
forces to inhabit our images in many
respects, from the choice of locations
and materials to decisions about
composition, color and contrast.
At the heart of the story is Wills
subterranean research facility, the
Brightwood Data Center, whose associ-
ated spaces include Evelyns apartment,
an incubating room and a data-storage
room. All of these sets were designed to
facilitate the use of multiple projections
on glass, Perspex and other materials
that would add layers and depth. The
projection concept also encompasses
Casters virtual presence as a live feed. A
separate booth was built for Depp so
that he and the other actors could inter-
act live during the shoot.
All but a few of the projections
were captured in-camera. That was
incredibly beneficial for the actors, and
Top: Casters colleague, Joseph (Morgan
Freeman), and an FBI investigator (Cillian
Murphy) are equally astounded by the
scientists digital reincarnation. Here he
appears on a monitor in the data centers
mainframe storage room. The filmmakers
used a variety of lighting tools, including
LiteGear LiteRibbon and Kino Flo Tubes, to
illuminate the shelving on the walls.
Bottom: Hall within a hall.
it also meant that we were composing
complete shots, says Hall. Ive always
been inspired by the work of [artist] Bill
Viola, who projects imagery on various
materials, and Wally let me run with
that idea. In testing, we found a material
called Clearview that allowed us to
project onto glass whilst allowing the
material to remain reflective and semi-
transparent. We also found a type of
black Perspex that worked well. It was all
about getting the right balance with the
existing lighting. Finding ways to
achieve these effects in camera was a
great challenge, but the results were
visually exciting, and the integration of
projections into the initial photographic
process gave the film a distinct quality.
Because we were shooting film
and not doing a DI, we really had to
have a theory worked out, and that
meant color balancing all the projectors
and being really careful to maintain that
balance, Hall continues. It was quite
precise work. We mostly used Barco
HDF-W26 DLP projectors and Barco
HD20 FLM DLP projectors. All the
graphic material running through them
was controlled through a Dataton
Watchout system that enabled us to
manipulate multiple layers of projec-
tions quickly. It also gave us almost infi-
nite flexibility with the layering,
Second Life
Top left: Caster
emerges from
Brightwood amid
a field of solar
panels that
power the facility.
Top right: Depp
and Pfister confer
on the location.
Bottom: A wire
rig helps facilitate
an explosive
stunt performed
by Hall.
resolution and positioning of the various
elements. However, ultimately, monitor-
ing the color balance of the projectors
and their material was done the old-
fashioned way, using a color-tempera-
ture meter, and finally by eye, utilizing
the knowledge of the process I had
gained during testing.
Two key environments featuring
the projections presented different chal-
lenges: an all-white lab, which is the
central room in Brightwood, and
Evelyns all-black apartment. The latter,
Hall explains, was partly a design deci-
sion [in that] it worked as a nice coun-
terpoint to the all-white lab. However, it
also has a meaning and a purpose within
the story. Its darkness presents a void
from within which Will reproduces
elements of his and Evelyns shared past
in the form of projections. Images from
their shared consciousness, dreams and
memories appear from within its dark-
ness alongside data monitoring the
activities within the facility and tracking
the world at large. So, the main chal-
lenge was about how to get light into the
set and a good quality of light onto the
actors without polluting the many
projections or creating reflections in the
multiple panes of glass, reflective floor
and ceiling it had a low [10'], black,
reflective ceiling and a highly reflective
black epoxy resin floor. Balancing all the
elements without destroying the mood
of the space was tricky.
Second Life
Top: Pfister (right)
surveys a scene
while perched
atop a Chapman
crane. Middle and
bottom: The
director and crew
coordinate
carnage for a fiery
action sequence.
The perfect interview.
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The apartment set has no
windows, and its walls consist largely of
back projections we created using
Stewart Filmscreen 150 RP material,
says Hall. There were 8-by-4-foot
panels of glass dividing the room into
various sections, and those also featured
projections.
I realized we had to bring light
in through the ceiling, he continues.
There were projectors coming through
the ceiling to project onto the glass, and
there was also significant rigging to
suspend the projectors above the ceiling
that limited our lighting options. Chris
Seagers and I collaborated to design
recessed apertures in the ceiling that
could accommodate lighting and
resemble practical fixtures if seen on
camera, and we cut various diffusion
panels and attached them with Velcro so
we could quickly exchange panels
depending on the size of frame; wed
bring the larger, thicker panels of diffu-
sion lower in frame for closer shots to
make the light spread more and soften
its quality further. It was problem solv-
ing, really a collaboration involving
Chris ingenious design, a lot of engi-
neering help from key grip Ray Garcia,
and thorough planning of our intended
shooting angles for the respective
scenes, says Hall.
The ceiling in the all-white lab
plays as a compositional element, and
was built with four 120' lines of light
that gaffer Cory Geryak created with
Par Bars: Par cans every 1
1
2' aimed
straight down from above through milk
Plexiglas and Lee 129 diffusion.
Tungsten sources meant consistent
color temperature, but the light was a bit
warm after passing through the Plexi
and the 129, so Geryak used Lee
CTB gels to bring it back to white.
Custom light boxes using Par cans and
2Ks were integrated into the ceiling
design; these illuminated the various
booths and cubicles where the
nanotechnology experiments take place.
Smaller panels also served as architec-
tural accents, and 1K Babies were posi-
tioned to shoot through narrow gaps
between the walls and the ceiling to
create hot lines of overexposed light.
The Par Bars were the most
cost-effective way to rig it, continues
Geryak, a longtime collaborator of
Pfisters who had also worked with Hall
on several commercials. We needed a
consistent color across the entire ceiling,
and that would not have been achiev-
able with Kino Flos. It required a lot of
channels and Socapex connections to
control because we wanted the ability to
shut off [some lights] to give more
modeling and create more contrast in
closer shots, as well as the ability to
create brownouts and flickers when the
data center is being destroyed later in
the story.
The data center is connected to a
mainframe storage room that features
multiple glass shelves running the
length of the space, creating a kind of
infinite corridor. The edges of the glass
shelves emit light, created with
LiteGear LiteRibbon firing through
from behind. Some were turned off,
fracturing the lines in interesting ways.
Semi-reflective plastic and glass
elements were lit from behind with 4'
Kino Flo tubes gelled with Deep
Amber, a color that echoes the original
hard drives of the experimental project
Will developed at the university, says
Hall.
Casters terminal illness is the
result of a terrorist attack by Rift, an
anti-technology resistance movement.
A Craftsman-style bungalow in
Hollywood served as Rifts headquar-
ters, and Hall and his crew took a
simple approach to the location, which
presented many equipment restrictions
and a less-than-ideal sun path.
Cables were run from the house
to trees on the opposite side of the
Arrimaxes bounced into a 12-by-12
bleached muslin and then diffused
through a 12-by-12 Light Soft Frost to
sculpt the faces a little more. We added
some tungsten light inside the house to
add color contrast.
Hall says that in general, his
approach was to light so that Pfister
could change shooting direction
quickly and efficiently. An example is
the schoolhouse, a derelict building in
Albuquerque whose main room was
about 70'x40'. We needed to be able to
create different times of day in there
very quickly, says Hall. We had 18Ks
on cherry pickers coming through
windows on one side for hard daylight.
We also built a scaffolding structure so
we could black out quickly and shoot
night scenes. We built some structure
into the ceiling so we could light
quickly or tear it out for wider shots,
garden. Using a pulley system, various
textiles could be reeled over to cover the
scenes, which frequently involved inte-
rior/exterior transitions. At one point,
for a long dialogue scene, we created
dusk during the day by tenting with a
60-by-60-foot black silk that diffused
the daylight, says Hall. We effectively
turned harsh sunlight into soft, ambient
dusk light. This was also achieved by
shooting tungsten stock in daylight. I
used CTS to balance the daylight units,
which were predominantly lighting
faces, to around 4,600K, and that kept
the skin tones from becoming too blue.
As the sun path changed
throughout the day, I kept the ambient
light consistent by lighting through the
black silk with 18K Arrimaxes situated
on the roof, Hall continues. The light
was still quite toppy, so I added a
daylight-balanced book light, two 4K
Second Life
Armed troops burst through the doors of an Internet caf while executing a raid.
and there we used EB lights, strip lights
that Cory designed, and layers of hori-
zontal Chimeras that allowed us to
quickly get a backlight anywhere in the
room. It was all about being ready to
move fast and change direction quickly
whilst maintaining the quality of the
lighting.
Regarding exposure, Hall says, A
photochemical finish requires precision
and consistency. I knew we were going
to have very limited manipulation of
color and contrast in post. Changes in
exposure would equate to changes in
contrast and saturation on the print, and
I wanted shots to cut perfectly within a
scene. We did print dailies, which are
such a great and absolute register of
what youre doing with exposure. In
testing, I developed a set of lights that I
was very happy with, and then I tried to
maintain that.
There was definitely some very
low-light work, but because Wally and I
are not big fans of grain, we didnt want
to underexpose to the point of milky
blacks and grain, the cinematographer
continues. We found the point beyond
which we felt the film stock fell apart,
and we didnt underexpose below that.
But within those limits, I used under-
and overexposure as a musician
uses fortissimo and pianissimo, tech-
niques to implement a desired emotion
or mood. During testing, we also
found exactly where we liked to put
each actors skin tone in terms of expo-
sure, and that was rarely at key. On inte-
riors, we liked to work around T2.8-T4,
and on exteriors, between T5.6-T11,
depending on the focal length. But on
darker scenes, I was often underexpos-
ing the key light by 2 stops. I overex-
posed some of the sets that featured a lot
of white because we found they looked
better that way the whites became
cleaner.
For the visual effects, Pfister says
he asked for a very photographic
aesthetic from visual-effects supervisor
Nathan McGuinness and his team at
Double Negative, which employed an
all-4K workflow. Finished effects shots
were recorded back to 35mm film with
an Arrilaser and merged with the film
workflow. Nathans approach was to
interrupt the natural freedom of the
photography as little as possible, says
Hall. We tried to keep the lighting
integrated, to avoid the use of green-
screen, and to not restrict the use of
camera moves. Nathan did a great job of
making sure that the shots came out of
the digital platform with the right kind
of contrast and color so that they would
integrate smoothly with the rest of the
picture.
McGuinness emphasizes the
importance of designing the right
workflow. Of course, design and
conception are important, but before
our artists could do their work, we had
to create a pipeline in our facility that
would preserve the integrity of the piece
of film itself, from its origin all the way
to print. We had to make sure that what
we saw in that film was what we gave
back once we were finished with it.
When youre doing a full film finish, the
color timing doesnt have the same flex-
ibility of a digital grading system, so I
had to be very careful about the color
management. One very important
consideration was the organic molding
of that digital creation as it is transposed
to film that amazing little bit of
magic that occurs when you go back to
negative.
Hall says he relished the chance
to do a traditional photochemical
finish. I am increasingly aware of the
subtle shifts that occur in the image
within the DI process, and I have been
dissatisfied with some results, so I
grabbed this opportunity when Wally
Second Life
Pfister consults
with Depp in
the virtual
world.
42
suggested it. I just thought it was a great
chance to do something very pure.
The picture workflow chiefly
involved FotoKem in Burbank and
Technicolor in Hollywood. FotoKem
processed the productions negative and
created print dailies (timed by Don
Capoferri), and Technicolor then
scanned those to create HD dailies,
which were graded by colorist Stephen
P. Arkle, one of Pfisters longtime
collaborators. FotoKem colorist (and
ASC associate member) Mato Der
Avanessian supervised the photochemi-
cal timing of the IP and 35mm release
prints. The IP was then scanned at 4K
at Technicolor for the final digital
outputs and for a stereoscopic conver-
sion by Stereo D. Technicolor created a
4K DCP for standard exhibition and a
4K DCP (timed at 22-footlamberts) for
Imax exhibition, and Arkle did the 3-D
color mapping on the 4K DCP for
stereoscopic exhibition. Show prints
were made from the original cut nega-
tive, and about 200 release prints were
made from an IN, all on Kodak Vision
2383, according to Pfister.
Looking back on the experience
of making Transcendence, Geryak says
that Pfisters wealth of experience as a
cinematographer made for a very effi-
cient shoot and a great-looking picture.
Often, directors are so focused on
performance or coverage that time-of-
day becomes secondary, but Wally knew
how to schedule our days around the
light, even as he was concentrating on
directing, says Geryak. When the
look of the movie is important to the
director, it shows.
Cinematographers never stop
thinking in images, Pfister says. Even
when Im directing, I will always think
about what the camera is doing its
instinctual by now. But certainly, having
Jess lead this terrific crew enabled me to
spend more time focused on the actors
and all the other concerns of a director.
I did feel the need to put the camera on
my shoulder every now and again just
for the fun of it, because shooting action
is so much damn fun! Aside from that,
it was Jess baby, and I just helped out
where I could.
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43
D
irected by Jonathan Glazer and shot by Daniel Landin,
BSC, Under the Skin is a hallucinatory journey in which
an alien being (played by Scarlett Johansson) masquer-
ades as a human and cruises the Scottish countryside in
a van, picking up strangers from the side of the road in order
to harvest their muscle fiber for her extraterrestrial employers.
In time, she becomes comfortable in her human skin, and
soon finds herself preyed upon by her quarry.
In depicting an alien adrift in the human world, the film-
makers went to great lengths to hide their own presence. The
result is an immersive drama that reflects upon the best and
worst aspects of humankind.
American Cinematographer: The production notes
describe Under the Skin as existential science fiction, which
brings to mind films like Solaris and 2001: A Space Odyssey.
Did you look to other films or filmmakers for inspiration?
Daniel Landin, BSC: Reflecting back on our discussions
in prep a long time ago! Jonathan and I were inspired by
Akira Kurosawas Ran and Dersu Uzala and Mikls Jancss My
Way Home, and more generally by Andrei Tarkovskys Andrei
Rublev and Mirror and Sergei Paradjanovs Shadow of Forgotten
Ancestors. Fundamentally, though, our greatest inspiration came
from the fantastic landscape, both rural and urban, in which we
were filming. Jonathan wanted to put an alien character in a very
real environment, and putting a Hollywood star in a city like
Glasgow was the nearest thing to an alien we could get!
Alien Ways
Daniel Landin, BSC goes
undercover to create other-
worldly ambience for the eerie
sci-fi drama Under the Skin.
By Iain Stasukevich
|
Glasgow is an energetic city and has its
own intense pride. Although there has
been prolonged industrial decline and
hard times, there is still vitality and a
direct engagement [that is] less
common in London. People are less
guarded, and we were able to work with
a lot of non-actors who werent aware of
the film industry and had little desire to
engage with it. We wanted to be very
discreet about getting in, shooting and
leaving without affecting that too much.
Would you say the story is told
from the aliens perspective, or is it
more of an objective experience?
Landin: One of the challenges
was to capture her gaze, which is devoid
of subjectivity because she has none. At
the beginning of the film, she doesnt
have any emotional connection to the
landscape or her human body, and she
doesnt react to beauty or violence, and
we wanted our cameras to convey that
objectivity. Then, as the film progresses,
human emotion starts to corrupt her
vision, and also ours. She starts to learn
how to see more like a human, a condi-
tion which can only lead to her demise.
We understand you used a new
camera, the One-Cam, along with an
Arri Alexa. Tell us more about those
choices.
Landin: We shot about 60
percent of the movie with an Alexa Plus
[capturing in ArriRaw to a Codex
recorder], but the decision to go digital
was really driven by the development of
the One-Cam, a small digital camera
specifically invented for our film by Tom
Debenham, Louis Mustill and Arron
Smith [at One of Us in London] after
we had tested all the other compact
cameras. The One-Cam has a Super
16-sized [1" diagonal] 2.7K CCD
sensor, which we cropped at 1.85:1,
though its native ratio is more like
1.66:1. Once we had a prototype, we
shot extensive tests for resolution and
lens options. Our first AC, Nathan
Mann, then worked with Movietech,
our camera-rental house, to take the
basic unit and make it more roadworthy.
Tom also designed a custom look-up
table for us in the interest of being truer
to the way the One-Cam saw things
and replicating monitoring/rushes/edit.
Preserving saturated reds was an impor-
tant part of this decision. We used One-
Cams to shoot the driving scenes with
Scarlett in such a way that we could hide
the cameras whilst shooting simultane-
ous reverses. Whilst testing, we were so
pleased with the One-Cam image that
we considered shooting the entire film
on it, but there wasnt enough time to
make it rugged enough for general
shooting in our more hostile environ-
ments.
Tell us more about your hidden-
camera setups in the van.
Landin: Jonathan didnt want to
stage and restage action for the camera,
so it was crucial to put the cameras in
the right places so that things would
unfold naturally. Production designer
Chris Oddy redesigned the vans dash-
board so we could conceal eight One-
Cams in it. The cameras were small
enough to be in each others shots, so we
had a front-
3
4 camera both for driver
and passenger, two cameras concealed
behind the headrests, one wide two-
shot mounted in the center of the dash-
board, one camera shooting from
behind the steering wheel on a medium U
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.
Opposite page:
An emotionless
extraterrestrial
(Scarlett
Johansson) takes
the form of a
human female in
Under the Skin.
This page, top:
While cruising the
Scottish
countryside
seeking men to
seduce and
process, the
alien meets a
disfigured recluse
starved for
physical contact.
Bottom:
Cinematographer
Daniel Landin, BSC
surveys a seaside
setup.
close-up of the driver and the equivalent
on the passenger, and one camera with a
6mm PL-mounted Zeiss Super Speed
Super 16 lens shooting through an 18-
inch optical flat set into the metal parti-
tion separating the cabin from the rear.
We also had a ninth One-Cam that
could be rigged outside or used for other
angles.
Did you run all the cameras at
the same time?
Landin: They were all going at
once, with a [2336x1752 uncompressed
12-bit] raw data feed to the back of the
van. There were six of us in the back:
Jonathan, me, assistant director Nick
Heckstall Smith, sound mixer Nigel
Albermaniche, DIT Mark Purvis and
One-Cam tech Arron Smith. We were
able to shoot 26 minutes of continuous
takes on each camera.
How were the One-Cams
configured?
Landin: The camera is the size of
a big box of matches, and on most of
them I used C-mount Super 16
Schneider Cinegon and Xeno/
Xenoplan lenses in 16mm, 25mm,
35mm and 50mm focal lengths to
complement the Zeiss Super Speeds we
used on the Alexa. For some One-Cam
shots, I used Kowa [8mm, 12.5mm,
16mm, 25mm and 50mm] lenses,
though we found during testing that
they had a lower resolution and
performed substantially less well wide
open. In spite of the One-Cams size, its
image quality was in many ways more
cinematic than that of the Alexa.
How so?
Landin: Tom Debenham de-
signed the cameras color interpretation
with a more filmic curve than that of
the Alexa, which is essentially an excel-
lent image gatherer to which one can
apply a look later. So, in a sense, using
the One-Cam was more like shooting
reversal [stock] than negative.
What was your overall approach
to lighting?
Landin: We pursued a very natu-
ralistic kind of light, working with a soft
palette of overcast skies and urban
sodium. The light in Scotland from
October to December was very mono-
chromatic, with the low sun generally
obscured by fast-moving clouds.
Constant moisture in the air puts a
shine on everything, but in the muted
light, the asphalt looks stark and lunar
rather than slick.
Did you rig any lights inside the
van?
Landin: A few, but we always
kept the light level low enough to use as
much available light as possible. My
Alien Ways
Top: The aliens
resolve is reflected
in the stony
expressions she
adopts between
encounters.
Bottom: The
huntress mimes
human charm as
she entices her
victims. Most of
the men who play
the aliens pickups
were unaware they
were being shot
with hidden
cameras positioned
strategically
in the van.
gaffer, John Colley, worked with Steve
Howard at Panalux to design ultra-slim,
lightweight LED panels in 5-by-20-
inch sections of tungsten and daylight,
and 10-by-2-inch RGB batons to simu-
late traffic lights. Picture-car coordina-
tor Terry Smith rewired the interior
cabin light, and everything was fed back
to dimmers that I could control live at
the rear of the van. Our aim was to be
able to shoot continuously on all
cameras and adjust lighting levels with-
out having to interrupt performances
by anyone traveling with Scarlett. All
the lighting, video and computing
equipment drew a substantial amount of
power, which required the van to tow a
small, silent generator. That gave
Scarlett another challenge, along with
driving on the wrong side of the road,
acting and improvising with non-actors!
Were her passengers really
unaware they were being filmed?
Landin: Many of them. They
were guys Scarlett picked up on the side
of the road and lured in, and they only
found out what was going on after
theyd climbed out of the van and
production chased them down to have
them sign release forms!
Was one of your goals to make
the alien look as seductive as possible?
Landin: The seduction is all
Scarletts performance. Using a beguil-
ing light on her would have been
counter to our principles. The camera
was allowed to linger on her actions and
absorb them without passing judgment,
although I cant swear there was never
any flattering light on her, of course.
The goal was not to just show up and
switch the camera on, but to create a
cinematic representation of reality. We
wanted to use what was found but shape
and author it to drive our story.
Were you always working incog-
nito?
Landin: When we had control
over a location, like the beach or the
forest, we didnt need to hide the
camera. When we went into the public-
housing estate or the mall, we tried to
disguise our presence so our non-actors
would remain unaffected by the shoot.
The public-housing estate where the
alien gets attacked by a group of guys
was located in a fairly derelict part of
town, and the streetlights had been
vandalized. Because we were filming
from all angles as Scarlett drove into the
location, we couldnt have a whole elec-
trical department on the side of the
road. John Colley developed some
covert sodium lights with practical-elec-
trical expert Joe McGee, and these were
After being
lured to a
desolate
location, the
men are trapped
in a mysterious
liquid substance
so their muscle
can be
harvested.
wired to the top of the destroyed lamp-
posts. Most of the lighting ended up
being in shot, so it had to look like it was
practical.
What were your lens stop and
ISO rating for the night scenes?
Landin: At night, we mostly
worked wide open on the One-Cams,
rating them at 800 ISO, which was
pushing them about a third of a stop.
We had to set our light levels to the
existing lamps, and Glasgow is not a
brightly lit city in general. The C-
mount lenses in particular were difficult
in that respect because they were slower
than the Super Speeds, and all of them
were rendered in f-stops rather than T-
stops. The Schneiders were generally
f1.8 and the Kowas f1.6, but the Kowas
lost resolution wide open.
How did you shoot the mall
scenes without being noticed?
Landin: We got permission to
shoot at the Buchanan Galleries and
were there at the busiest time of day on
a Saturday. We prepped the One-Cams
in a back room and had a number of
operators, including me, operating
cameras that were hidden in mop buck-
Alien Ways
ets, safety cones and shopping bags.
Our A-camera operator, Stuart Howell,
had a jacket over his arm concealing a
handheld One-Cam with a 16mm
prime lens and a Kenyon KS-6 gyrosta-
bilizer. He was able to follow Scarlett
through the crowd of people, who were
completely unaware of our presence.
Tell us about the locations you
used for the scenes that show the
aliens native environment.
Landin: We chose derelict
Victorian buildings in secluded areas for
the transitional moments where we go
from hard reality to an alien space. One
of the principles of these locations is
that the aliens allure allows her to
engage these men even though their
common sense and the viewers
might be telling them, Dont go in
there! The mens drive for what shes
offering outweighs the danger they
sense. You see that particularly with her
last victim; she has to work harder to
draw him into her web.
How did you create the alien
environment?
Landin: On Stage 8 at Elstree
Studios, Chris Oddy laid an 80-foot-
Opposite page, top and middle: Inside the van, the crew rigged compact cameras in hidden
positions to capture the interactions between Johansson and her passengers from a variety
of angles. The pictured setup shows two One-Cams with PL adapters and 16mm Zeiss Super
Speed lenses rigged to shoot through an 18" optical flat mounted in the vans steel partition;
one camera was equipped with a 6mm lens to capture a wide over-the-shoulder angle, and
the other with a 25mm trained on the rearview mirror. During filming, these cameras were
shrouded in black cloth. Other cameras, mounted in the vans dashboard and other spots,
were equipped with 1" and 1.3" Schneider C-mount lenses and 1" Kowa SWIR lenses. This
page, top: The filmmakers monitored the action from the back of the van. Both pages,
bottom: Manning the mobile base with Landin, were (from left) 1st AD Nick Hextall-Smith,
production sound mixer Nigel Albermaniche, director Jonathan Glazer, DIT Mark Purvis and
One-Cam engineer Arron Smith.
long black glass floor in panel sections,
into which was sunk an 8-foot-deep
tank filled with black, Methocel-based
liquid. The liquids surface was at the
same height as the black glass, so the
men were able to step from one panel to
the other. They were then lowered 7 feet
on hydraulics into the liquid by Asylum
[Models & Effects] a very frighten-
ing descent! Jonathan was very specific
that he didnt want to do a lot of CGI,
that everything should be done in-
camera if possible. So the wide shots of
Scarlett and the men were done in two
passes: one with Scarlett walking back-
ward on glass, and one with the men
walking forward into the black liquid.
We kept the camera in one position so
we could maintain the same perspective,
and then the screen was split in the edit.
How did you light those scenes?
Landin: We used two overhead
light boxes, with 36 double-black-
skirted 4.8K space lights in each truss
frame, to toplight the actors. These were
kept at 8-foot centers, with egg crates on
the bottom to keep the light from
spilling sideways. They were all
programmed so that when necessary,
the toplight could move with the actor
so it wouldnt be in the back of the shot
as the camera moved. The shots in the
liquid were done by underwater special-
ist Mark Silk at the Underwater Studio
in Basildon. It was important that those
sequences didnt feel like they were
actually filmed in water; the substance
beneath the surface is more like an
unknown gas. For The Swimmer,
prosthetic-effects artists at Asylum
made a wig of steel wire so his hair
wouldnt sway in the water. We filmed
at 25 fps, 33 fps and 50 fps, creating a
similar toplight with underwater Kino
Flos so we wouldnt get a ripple effect in
the lighting.
Once the alien leaves Glasgow
for the Highlands, the films scope
broadens, but the environments, such
as the castle and the Quiet Mans
home, become more solitary.
Landin: Our location manager,
Eugene Strange, really strove to get to
the right locations rather than ones that
were just handy for the unit. In a lot of
cases, the local crewmembers were
going to places theyd never been before!
Jonathan felt very strongly that we
should let the actors react to their envi-
ronments, so our approach with the
Quiet Mans home was very much
driven by the kind of man who would
have lived there. It was a very small
house, and one of our conditions was
that we wouldnt alter a place any more
than we had to. The house possessed
certain qualities that we wouldnt have
necessarily chosen on our own, so the
limitations ended up informing our
visual style.
In what ways?
Landin: We were inspired by the
practicals, even though they werent
always the only sources for filming. We
were emulating what we found in the
kitchen, the living room and the
bedroom. Authenticity triumphed over
beauty in a good way. In the living-
room scene when theyre watching TV,
we could have really played with the TV
Alien Ways
Top: Vehicle supervisor Ben Dillon (seated) prepares for a shot with Purvis and A-camera
operator Stuart Howell. All of the motorcycle POVs were shot with One-Cams mounted to the
bikes handlebars or rear fenders. They were very small and didnt compromise the rider in any
way, says Landin. Bottom: For scenes shot at the Buchanan Galleries shopping center, the crew
operated One-Cams hidden in shopping bags, mop buckets and safety cones. Pictured (from left)
are 2nd AC Simon Surtees, Howell, Smith and One-Cam technical supervisor Louis Mustill.
effect, but instead we looked at the way
the room was actually lit. It had a stark
overhead source, so we just put a small
1K Rifa exactly where that fixture was.
For the bedroom scene thats lit with an
electric-bar fire, we first looked at how
the heater lit the room, and then we
worked out a gel package that was the
same color and tone as that light. What
you see, exposure wise, is 30 percent the
heater and 70 percent a single 2-foot
Kino Flo tube gelled with Flame Red
and CTO.
As the story unfolds, the alien
encounters increasingly hostile envi-
ronments, such as the castle and the
forest. Were they equally hostile in
terms of logistics?
Landin: Tantallon Castle was
chosen specifically because its old and
dramatic, but not very pretty. In a way,
the weight of that historical architecture
is informing the alien about mankind.
The location itself was incredibly hostile
toward filming! Rather than bring in
any lighting, we had to be careful about
where we put the actors. One scene was
filmed in a narrow 15th-century stone
staircase, and Stuart had to shoot with a
handheld Alexa while walking back-
ward down this incredibly tight spiral.
That was one of the scenes where we
were losing light on a very short day.
The forest in Drimsynie was also a
hostile place to film because it was dark,
cold and muddy. Again, we had short
daylight hours, and the amount of light
that actually penetrated the forest was
very minimal, even at midday. In fact,
Alien Ways
After meeting a kind man who provides her with shelter, the extraterrestrial begins to
experience emotional stirrings.
52
during the scouting period, after wed
earmarked the areas we wanted to work
in, our greensman, Roger Holdman,
removed the tops of the trees to give us
enough daylight for a proper exposure.
We had lights with us, but nearly all of
our work was done in natural daylight,
so we prepped and wrapped in the dark-
ness to maximize our shooting time.
The Alexa was generally set at 800 ISO,
and wed increase that to 1,600 as we
began to lose the light. But even in the
daytime, we were wide open.
What was your focus in the final
grade? Were there any surprises with
the One-Cam?
Landin: The One-Cam image
was a little less sharp than that of the
Alexa particularly with the lenses we
used but in a way that we liked. The
highlights fell off in what felt like a
more filmic way; they didnt feel like
they were clipping even as the camera
was moving past a streetlamp. We had
to get [the look] right on the day
because there wasnt a wealth of [image
information] we could plunder in post.
The One-Cam has its limits, but it got
us action we could never have got other-
wise and drove the films entire visual
style. We did the grading at One of Us.
First, Tom Debenham who also
served as our second-unit director and
visual effects co-supervisor [with
Dominic Parker] did an initial pass
on the Alexa footage to bring it into
line with the One-Cam footage, using
a combination of proprietary tools to
generate LUTs and then doing the color
correction in [Baselight] Truelight.
Then, colorist John Claude did the final
grade. The final output was 2K.
Ive always felt that cinema is
defined by the impact of the whole, not
by technical definitions. Each medium
has its own character, and, as a cine-
matographer, I should be open to all
options, including rejecting those on the
shelf. Filmmakers should be able to use
whatever it takes to create that epic and
intoxicating feeling you get when you sit
in the cinema. A low-resolution, pixel-
ridden image can achieve as much as
65mm if the emotional effect is the
same. Under the Skin offered us all the
rare opportunity to work with a director
who demanded we stretch our ideas
about cinema beyond the confines of
what we already knew, and pushed us
beyond the comfort zone of conven-
tional filmmaking.
53
TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa Plus;
One of Us One-Cam
Zeiss Super Speed;
Schneider Cinegon,
Xeno/Xenoplan; Kowa
Ida, an ASC Award winner
shot by Lukasz Zal, PSC, and
Ryszard Lenczewski, PSC, tells
its story with artful
black-and-white images.
By Benjamin B
|
P
awel Pawlikowskis Ida has captured some notable awards
for its cinematographers, PSC members Lukasz Zal and
Ryszard Lenczewski, including Camerimages Golden
Frog and the inaugural ASC Spotlight Award (created to
recognize outstanding cinematography in a non-mainstream
fiction or documentary feature). Set in the early 1960s, the
black-and-white drama focuses on Ida (Agata
Trzebuchowska), a young novice in a Polish convent who is
preparing to take her vows to become a nun. The Mother
Superior sends Ida out into the world to meet her aunt,
Wanda (Agata Kulesza), who sent people to their deaths as a
judge during the Stalinist era, and who now leads a dissolute
life. When they meet, Wanda abruptly informs Ida that she is
Divine Purpose
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Jewish, and that her parents died during
the war in mysterious circumstances.
The two women set out to inves-
tigate the deaths with the hope of find-
ing the couples graves so they can pay
their respects. Their journey takes them
to the Polish countryside, where they
gradually uncover anti-Semitism and
war crimes, and over the course of their
travels, the two women become very
close.
Though Ida is centered on the
unlikely bond between a disenchanted
Stalinist judge and her innocent niece,
the film is above all about identity and
faith, says Pawlikowski. What was
great about making the film was that I
managed to put a lot of themes into it,
and then managed to lose them in the
story. Thats how I think art should
work; it shouldnt be explanatory or
didactic or illustrative. Ida is a film that
tries to hover above the ground some-
how. Its set in a certain historical time
and place, but I wanted it to be about
universal things about the spirit and
the mind. I wanted it to be a spiritual
journey, or about the lack of one.
With a laugh, the director
concedes that a black-and-white Polish-
language film about a Jewish nun was
not an easy sell. In the end, he secured
modest funding from Polish and other
European sources. It was kind of liber-
ating not to expect anything commer-
cially or critically to be able to do
what I wanted to, but with little money,
he says.
For the cinematography,
Pawlikowski turned to Lenczewski,
who had shot his first three features.
Lenczewski spent months prepping Ida,
scouting locations and taking thousands
of stills, but he fell ill after one day of
shooting, so Pawlikowski asked Zal, the
camera operator, to take his place. (Zal
and Lenczewski share a long history.
Zal was Lenczewskis teaching assistant
at the National Film School in Ldz,
and worked as his operator on several
films.) Lenczewski returned to Ida
briefly to shoot a few scenes, notably the
first nightclub scene and the discovery
of a grave in the woods, but Zal shot
Opposite page:
Novitiates prepare
to take their vows
in Ida. This page,
top and middle:
Ida (Agata
Trzebuchowska,
right) learns that
she has an aunt
and leaves the
convent to meet
her. Bottom:
Director Pawel
Pawlikowski (left)
and
cinematographer
Lukasz Zal, PSC
on set.
most of the picture. Lukasz replaced
me perfectly, notes Lenczewski. He is
a talented, sensitive guy.
Inspired by his familys old photo
albums, Pawlikowski wanted to frame
Ida in 1.33:1, which led him to choose
an Arri Alexa with a 4:3 sensor. (The
monochrome Alexa had not yet been
introduced, so the picture was shot in
color and desaturated in post.) The
filmmakers used Arri/Zeiss Ultra
Prime lenses and captured in ArriRaw
to a Codex recorder. The equipment
was provided by Panavision Poland.
Zal says the main challenge with
the Alexa was to find the right density
for darkness to be just on the edge of
visibility and achieve the proper effect
on set. He adds, The Alexa performs
great at its maximum latitude and with
high underexposure, when the picture is
almost about to break. It looks less digi-
tal that way.
Pawlikowski recounts that he set
out to make an anti-film, without
using camera moves or conventional
cinematic techniques. At the root of
Ida was a desire to make a film with
nothing but the essentials, he says.
Maybe its my midlife crisis, but I feel
Ive been seeing too many similar films
that have little to say, and that use the
same old bag of tricks, where camera-
men are hired because of a style they
used on a previous film. There are very
few films where the form has some-
thing to do with the content, possibly
because there is often little content.
Idas form was designed to be as
unadorned as possible. Almost all the
shots are locked off, so the few shots
that feature moves have that much
more impact. There is no traditional
coverage. Zal describes the approach as
creating scenes with posters wide,
static frames that enclose the characters
and convey the story and mood. Some
scenes unfold in single long takes,
whereas others are broken down into
two or three austere shots. When
Wanda tells Ida she is Jewish, there are
just three shots: a lengthy wide shot, a
shot of Ida, and a close-up of a family
photo.
Divine Purpose
Ida and her aunt,
Wanda (Agata
Kulesza), pause
on their journey
for a moment of
prayer. Part of
the filmmakers
strategy was to
frame the
characters with
wide, static
compositions
that would
convey the story
and mood.
I wanted the viewer early on to
get used to the fact that hes not going to
be guided to look at one thing, then
another, explains Pawlikowski. There
are a lot of wide shots, so the eye has to
get used to that. You have to really
watch the film. Because the photogra-
phy is strong, each image is really felt.
Some viewers think its just a lot of
pretty shots, but theres a lot of emotion
in each composition. My ideal viewer
realizes the images are as emotional as
the performances, and as charged.
Reducing the number of shots
required more work on each shot and
more takes. There is often something
happening in the background or fore-
ground, or in the sky, and when you put
everything in one shot, it all has to work
together you cant cut your way out of
trouble, says Pawlikowski. So, I often
shaped the scene as we went along.
Ida is marked by compositions
that feature a lot of sky room tall,
empty spaces above the characters. Zal
notes, We eliminated color and camera
moves, so composition and lighting was
all we had left! We wanted to build
essential frames that would have strong
emotional impact and speak about the
space beyond the frame. In the scene
where Ida is waiting in the bus station,
for example, we feel a kind of isolation,
an emptiness, that she is somehow lost
in the frame. This tension in the frame
speaks about the souls of our characters
and their world.
Pawlikowski adds, When you
analyze the framing intellectually, you
Top and middle:
Photoflex
Octodomes light
a close-up of Ida
in bed. Bottom:
The crew
positions a
diffusion frame
to soften the
light for another
bedtime scene.
I wanted to find a
proper contrast
between the
characters and their
environments.
can say its about the missing millions,
or the lack of God, or even the presence
of God and Im pleased to look at it
that way, but it didnt start out like that.
[The framing] wasnt decided intellec-
tually; it just felt right somehow. We
started by asking, How can we make
this format more interesting? And then,
after you do it a few times, you realize
there is something happening that
suggests meaning. At times, it looked
kind of ridiculous, but when youre
halfway through the shoot and youve
been composing like this, you just have
to stick to it. It paid off in the end.
The monochrome imagery
required great finesse in adjusting
contrast, and in modulating the frame
with subtle areas of light and shadow.
Zal reports that he estimated exposure
using the Alexas false-color and Log C
settings. Ida is marked by less contrast in
exteriors than in interiors. The gray
exteriors with gentle contrast, says Zal,
were greatly helped by shooting in the
bleak Polish winter, with its consistently
soft light. The filmmakers avoided what
Divine Purpose
Clockwise from
top: Ida
watches her
aunt leave their
hotel; bare
lightbulbs
enhance the
ambience as
Wanda relaxes
to music in a
nightclub; the
pair grow closer
as they flip
through family
photographs.
little sunlight there was, but they some-
times used large HMIs bounced on
large frames on one side of frame, and
large negative fill on the other, to add
some direction to the diffused light.
Zal says he wanted to create
lighting that was very simple and
natural, like the other elements in this
movie. I wanted to find a proper
contrast between the characters and
their environments. He notes that
when he and Pawlikowski felt the image
was too beautiful, they stepped back to
simpler setups.
Zal perceived his frequent reduc-
tion of light in the frame as following
the directors desire to strip down to the
essentials. It was important to subtract
lighting, like Pawel was subtracting
other levels, and create an uncluttered
look. He often used negative fill to
create contrast in the image. With a
chuckle, he admits that his approach
often led to a forest of stands and flags
to cut light from a big soft source and
modulate areas of shadows in the static
frame.
For day interiors, Zal often used
6K and 4K HMI units outside (on tall
stands or cherry pickers), putting them
through 4x4-meter silk butterflies or,
depending on available space, large
frames of Lee 250 diffusion. In the
convent chapel, he added large frames
of black cloth to create a contrast with
these soft sources coming through the
Top: A handsome
saxophone player
(Dawid Ogrodnik)
leads the
nightclubs band.
Middle: A closer
view of the
location shows the
diffused lighting
deployed for the
scene. Bottom: Ida
and the musician
share a moment
outside the club.
A film that works is
like a table with four
even legs: the
structure, acting,
photography and
sound are all equal.
large windows; holes were cut in the
cloth to create spots of light in the
background. For closer shots, he would
usually add a large (200x120-centime-
ter) vertical frame of 250 very close to
the actor. Zal notes that the chapel
setup was inspired by his visit to the
location on a sunny day. The sun was
just amazing that day, so I took some
pictures and copied that [lighting]
when we shot.
While working on convent day
interiors, Zal used diffusion and flags to
lend some texture and differentiation
to the large expanses of flat walls.
Another technique he employed was to
cut holes in black cloth to let spots of
light shine through, as seen in the
convents kitchen, adding a little smoke
to soften the image.
Zal frequently used Dedolight
Octodomes as soft sources for night
interiors. In the convent dining room,
for example, he created three soft pools
of light with Octodomes above the
frame, using the white tablecloth as fill.
For other night interiors, he created
gradations of shadows and vignetting
on the background walls with small
Octodomes suspended above the frame,
as in the scene where Ida stands by the
stove and is transfixed by a young nun
washing herself. To convey the sensual-
ity of the moment, the filmmakers
stoked a big fire in the stove to create
flickering light on Idas face. In a similar
Divine Purpose
Top and bottom
left: Octodomes
bounce fill light
off a white
tablecloth for a
dinner sequence
in the convent.
Bottom right:
Smoke and a
beam of light
aimed through
black cloth
enhance the look
of a scene in the
convents
kitchen.
realistic vein, Zal used half a dozen
candles to create authentic candlelight
on Ida as she prays at night.
In the hotel room Wanda and Ida
share, Zal spent time with the produc-
tion designer twisting and turning the
sheer curtains on the window to create a
wispy reflection on the wall from the
HMIs outside.
When Ida goes to a nightclub at
the end of the film, Zal used a couple of
old tungsten Fresnels, one as a backlight
in frame. Those Fresnels were probably
built in the Sixties! he jokes. He added
smoke for atmosphere. For the shot of
Ida entranced by the music, Zal lit her
with a Compact Kino Flo bounced off
polystyrene and further diffused by 250,
adding the two Fresnels in the back-
ground, a Dedolight to rake the wall
behind her, and an Octodome fill on the
side. He balanced the units with a
dimmer, tweaking the effect a bit differ-
ently for every take. I just couldnt help
myself, he chuckles.
Zal recalls that one of the most
difficult scenes was a night exterior on
the last day of the shoot, when Ida
stands in the darkness before a statue
of Christ. We were shooting from
the balcony of the monastery, and we
couldnt use any cherry pickers in that
area, so I decided to shoot it at dusk and
use skylight as a fill. For a side-back-key
light, we created a wall of Grid Cloth
butterflies [2x6x6-meter and 4x4-
meter] about 50 meters from her and
bounced all our HMIs off it, tilting the
fixtures down to match the falling
daylight. Then, the crew quickly moved
to the ground, and we added a frame of
250 diffusion on one side for her close-
up. The whole crew was working extre-
mely fast, and we managed to do it
because of their extraordinary efforts.
During their prep for Ida, the
filmmakers conducted tests at DI
Factory in Warsaw to devise a workflow
that would progress from the color
ArriRaw footage to the final black-and-
white DCP and film print. Technical
director Kamil Rutkowski explains that
he used several tools, including Visual
Basic and Microsoft Excel, to create
Top and middle:
Flags and
diffusion frames
shape the light
for a sequence in
the convents
chapel. Bottom:
On the opposite
side of the
chapel, Zal
positioned large
frames of black
cloth to create
contrast with
the soft sources
coming through
the large
windows.
three custom look-up tables for the
production. For previewing on set, he
created a Rec 709 LUT, which was also
baked into the editing dailies. (Zal
alternated between this LUT and the
Alexas built-in DCI P3 viewing LUT
when checking shots on his monitor.)
After the shoot, the ArriRaw footage
was ingested using Arris ADA-3
deBayering process to create a color file.
The grading was done on a Nucoda
Film Master, and a second custom
LUT, for RGB color space, was applied
to the color file to output a black-and-
white image. The transfer to mono-
chrome was not done until the final
delivery to 35mm and DCP, which
required a LUT for P3 color space. The
full Alexa camera resolution of
2880x2160 was scaled down to
1998x1080 in the DCP. The workflow
Rutkowski devised included a Kodak
Vision 2242 color intermediate printed
onto Kodak Black-and-White Print
Film 2302 with high printing lights.
In the final grade, for which
footage was projected at 2K onto DI
Factorys 26'-wide screen, colorist
Micha Herman worked with the
underlying color levels to adjust the
projected black-and-white image. He
likens his technique to creating virtual
color filters for the monochrome image,
in the same way cinematographers in
the past used color filters to alter black-
and-white 35mm negative. Noting that
Pawlikowski and Zal were both closely
involved in the DI, Herman says the
three of them had spirited discussions
about contrast, often comparing differ-
ent ways of rendering a scene. In the
Divine Purpose
Many of the
compositions in
Ida feature
abundant sky
room.
Pawlikowski
says this
framing was
initially
designed to
maximize the
impact of the
movies 1.33:1
aspect ratio, but
concedes that
the strategy
suggests
meaning to
some viewers.
62
end, the filmmakers opted for an overall
increase in contrast. Pawlikowski recalls,
We had never done a film like this
before, so we were groping, and finally, it
didnt feel dynamic enough, so we put
the contrast back in.
Hermans main focus was the
actors faces, and he sometimes
augmented the underlying greens and
yellows to output a brighter, more
glamorous skin tone that he compares
to silky paper. He also used color keys
to give some exteriors, like the forest,
less solid, smokier blacks. Pawlikowski
and Zal wanted a film look, so Herman
used Nucodas virtual-grain function to
add minute film grain with varying
degrees of opacity. Zal adds that the
grain helped deteriorate a digital
image that was too clean.
Looking back at the 39-day
shoot, Zal is thankful for Pawlikowskis
understanding of the time required for
lighting. When there was a hard scene
for lighting, Pawel never asked me to
work faster; he was always very
patient. His first feature as a director of
photography was a dream come true,
he adds. Pawel was very collaborative,
and the images are a result of this close
collaboration.
A film that works is like a table
with four even legs: the structure,
acting, photography and sound are all
equal, notes Pawlikowski. Therefore,
my work with the cinematographer is
a bit like my work with actors: I try
to establish the rules of the game, and
then I let them join the game and
express themselves. Its all about the
collaboration. With Lukasz, I had the
kind of complicity I had with Ryszard
on previous films, and shooting became
a fun game. Sometimes it was more
me, sometimes it was more Lukasz, but
we were always going in the same
direction.
63
TECHNICAL SPECS
1.33:1
Digital Capture
Arri Alexa
Arri/Zeiss Ultra Prime
Prominent Society members share
spotlight with fellow honorees at
Academys Scientific and
Technical Awards.
By Jay Holben
|
S
hortly after the ASC Awards wrapped in February, the
Society enjoyed another evening of celebration at the
Academy of Motion Picture Arts & Sciences Scientific and
Technical Achievement Awards ceremony, where five
members of the ASC Technology Committee received a
Technical Achievement Award for the creation of the ASC
Color Decision List and ASC member Peter Anderson
received the Gordon E. Sawyer Award, which recognizes an
individual whose technological contributions have brought
credit to the industry. Charles Tad Marburg received the John
A. Bonner Medal of Commendation, which honors outstand-
ing service and dedication in upholding AMPAS standards.
Front row (from left): Actress/co-host Kristen Bell; Peter Anderson, ASC; Charles Tad Marburg; AMPAS President Cheryl Boone Isaacs; Sci-Tech Awards
Committee Chairman Richard Edlund, ASC; and actor/co-host Michael B. Jordan. Second row (from left): Jeremy Selan, Andre Gauthier, Jan Sperling, Etienne
Brandt, Gifford Hooper, Philip George and Robert Lanciault. Third row (from left): Ronald D. Henderson, Dan Piponi, Ian Sachs, Olivier Maury, Tony Postiau,
Emmanuel Prvinaire, Yves Boudreault and Benoit Sevigny. Fourth row (from left): Chris Perry, Peter Huang, Thomas Lokovic, Areito Echevarria, Peter Hillman,
Martin Hill, Nick McKenzie, Jon Allitt and Jim Hourihan. Fifth row (from left): Greg Humphreys, ASC associate Joshua Pines, Colin Doncaster, Janne Kontkanen,
David Cardwell, Csaba Kohegyi, Pat Hanrahan, Tibor Madjar, David Register and Curtis Clark, ASC. Back row (from left): Matt Pharr, Joe Mancewicz, Hans
Rijpkema, Johannes Saam, Chris Cooper, Eric Veach, Andrew Camenisch, Ofer Alon, Florian Kainz, Jeffery Yost, Philip Hubbard, ASC associate Lou Levinson and
ASC associate David Reisner.
ASC Shines at
Sci-Tech Awards
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Sharing the Technical
Achievement Award for the ASC
CDL were Curtis Clark, ASC, who
chairs the Societys Technology
Committee; ASC associate members
Lou Levinson, Joshua Pines and
David Reisner; and David Register.
Pines, the vice president of imaging
R&D at Technicolor, accepted the
award with characteristically dry
humor. After apologizing for lacking
the time to thank everyone who
contributed to the ASC CDL, he
pulled out a 5'-long flip card of his
thank-you list. Its an honor to be here
competing at the Winter Olympics for
geeks, he joked. Producing a line of
color-timing punch tape, he explained,
This was the method used for describ-
ing color-correction information in the
fabulous days of film, and cinematogra-
phers lamented no longer having a
similar mechanism to accurately and
repeatedly describe their creative looks
as things went downhill I mean, as
things went digital.
Once the audiences laughter
subsided, Pines continued, So, we
came together under the auspices of the
ASC [and] created the CDL, which
allows cinematographers to have their
creative visions passed from the set to
dailies [and] all the way through post,
including editing, visual effects and final
color correction.
Speaking to AC more recently,
Clark said, The ASC CDL provides a
much-needed, easy-to-use, cross-plat-
form tool for crafting and managing
creative photographic looks that are
initially generated on set by the cine-
matographer and subsequently applied
to dailies, editorial and VFX. Its perva-
sive adoption throughout an array of
digital motion-picture production and
postproduction workflows is evidence
of its intrinsic value.
Noting that the ASC CDL had
also recently received a Prime Time
Emmy Engineering Award, Clark
continued, The Academy Technical
Achievement Award [recognizes] an
accomplishment that could only have
been achieved with the dedication and
enthusiastic support of members of the
ASC Technology Committee, a unique
industry forum that has definitively
reaffirmed the vital role of the ASC [as]
originally envisioned by its 15 founders
in 1919. As we address the impact of
the digital-imaging revolution on cine-
matography, we take our inspiration
from their vision, which provided the
foundation for past decades of ASC
leadership in advancing the art of cine-
matography.
The Gordon E. Sawyer Award
was presented to Peter Anderson, ASC
by his friend and colleague Douglas
Trumbull, the 2011 recipient of the
same prize. I love Peter dearly, and Im
honored to speak at this occasion, said
Trumbull. Peter somehow ended up at
my company [to work on] Steven
Top: Co-hosts Kristen Bell and Michael B. Jordan welcome the audience. Bottom: ASC associate
member Joshua Pines (at podium) makes light of his thank-you list while accepting the Technical
Achievement Award for the ASC CDL on behalf of fellow honorees (from left) Curtis Clark, ASC;
David Reisner; David Register; and Lou Levinson.
ASC Shines at Sci-Tech Awards

Spielbergs Close Encounters of the Third
Kind. That was the beginning of a
40-year friendship. He is one of the
most gracious, kind and forthright
creative gurus that I know in the movie
industry.
Anderson is a cinematographer,
visual-effects supervisor and leading
expert on a number of specialized imag-
ing technologies, many of which he
helped to develop, including modern
3-D, motion control, large format, high
frame rate and high dynamic range. He
was the staff director of photography at
Walt Disney Studios, and he has led
visual-effects facilities at Disney and
Universal studios. He was instrumental
in the creation of the theme-park attrac-
tions King Kong 360 3-D, Terminator 2
3-D: Battle Across Time (AC Aug. 96)
and Captain Eo (AC Dec. 87). He has
also supervised Imax 3-D productions,
including Cirque du Soleil: Journey of
Man (AC Sept. 00) and Wild Ocean (AC
June 08), and contributed visual effects
to an array of projects, including the
features U2 3D and Tron (AC Aug. 82)
and televisions original Battlestar
Galactica and Cosmos (AC Oct. 80).
Anderson has been an ASC
member since 1999, and he was a
founding member of the Societys
Technology Committee. His profes-
sional memberships include SMPTE,
the Academy of Motion Picture Arts &
Sciences, the Visual Effects Society and
the Television Academy of Arts &
Sciences.
Speaking to AC after the cere-
mony, Anderson said, This is a special
Oscar, and I am very proud and
honored to receive it. I was blindsided
when I got the news! I think Joseph
Walker [ASC], the first recipient [in
1981], and I are the only lighting
cameramen who have ever received the
Gordon E. Sawyer Award.
An award is easy to understand
when its for a movie or a single tech-
nology, but this is for a 50-year arc, a
lifetime of saying, Yes, we can, and
then taking it from there, he added.
No one wants to call it a lifetime-
achievement award, but in a way, I
accept it as just that. For 50 years, I have
had a chance to do just about everything
a cinematographer can do, and with
each project, Ive tried to do it a little bit
better. I am very lucky: I get to create
images, and I get to create fantasy, and I
have done it with real cameras as well as
virtual ones. Knowing that every project
Ive made was unique, and that it exists
because I was able to contribute to it in
some way thats the joy. Its hard to
forget Im just a kid from Wisconsin
who dreamed of making movies!
Tad Marburg, this years John A.
Bonner Medal of Commendation
honoree, is the vice president of opera-
tions for the Digital Cinema
Distribution Coalition. He was previ-
ously a vice president of technical oper-
ations for Warner Bros. For almost a
decade, he has been an executive
consultant to film labs, international
media companies and major studios. He
is the former chairman of the Academy
Sci-Tech Councils public programs
and education subcommittees, and in
that capacity he produced more than 50
programs.
Above: Richard
Edlund, ASC,
chairman of the
Academy Sci-Tech
Awards Committee,
and Academy
President Cheryl
Boone Isaacs
congratulate the
honorees. Right:
Filmmaker
Christopher Nolan
presents an
Academy Award of
Merit honoring the
hard work and
dedication of film-
laboratory personnel
over the past
century.
The other awards presented over
the course of the ceremony were:
Technical Achievement Awards

(Academy Certificates):
To Olivier Maury, Ian Sachs and
Dan Piponi, for the creation of the
Industrial Light & Magic Plume
system, which simulates and renders fire,
smoke and explosions for motion-
picture visual effects. The unique
construction of this system combines
fluid solving and final image rendering
on the GPU hardware without needing
an intermediate step involving the CPU.
This innovation reduces turnaround
time, resulting in significant efficiency
gains at ILM.
To Ronald D. Henderson, for
the development of the Flux gas-simula-
tion system. The use of the Fast Fourier
Transform for solving partial differential
equations allows Flux a greater level of
algorithmic efficiency when multi-
threading on modern hardware. This
innovation enables the creation of very
high-resolution fluid effects while main-
taining fast turnaround times.
To Andrew Camenisch, David
Cardwell and Tibor Madjar (concept
and design) and to Csaba Kohegyi and
Imre Major (implementation), for
Mudbox software. Mudbox gives artists
powerful, new design capabilities that
significantly advance the state of the art
in multi-resolution digital sculpting for
film production.
To Martin Hill, Jon Allitt and
Nick McKenzie, for the creation of the
spherical harmonics-based efficient
lighting system at Weta Digital. The
lighting pipeline pre-computes and
reuses a smooth approximation of time-
consuming visibility calculations. This
enables artists to quickly see the results
of changing lights, materials and set
layouts in scenes with extremely
complex geometry.
To Florian Kainz, Jeffery Yost,
Philip Hubbard and Jim Hourihan,
for the architecture and development of
the Zeno application framework. For
more than a decade, Zenos flexible and
robust design has allowed the creation
of a broad range of Academy Award-
winning visual-effects toolsets at ILM.
To Peter Huang and Chris
Perry (architectural contributions) and
to Hans Rijpkema and Joe Mancewicz
(core engineering), for the Voodoo
application framework. For more than a
decade, Voodoos unique design
concepts have facilitated the develop-
ment of a broad range of character-
animation toolsets at Rhythm & Hues.
To Matt Pharr, Greg
Humphreys and Pat Hanrahan, for
their formalization and reference imple-
mentation of the concepts behind phys-
ically based rendering, as shared in their
book Physically Based Rendering. This
has transformed CG lighting by more
accurately simulating materials and
lights, allowing digital artists to focus on
cinematography rather than the intrica-
cies of rendering. First published in
2004, Physically Based Rendering is both
a textbook and a complete source-code
implementation that has provided a
widely adopted practical roadmap for
most physically based shading and
lighting systems used in film produc-
tion.
To Peter Hillman, for the long-
term development and continued
advancement of innovative, robust and
complete toolsets for deep compositing.
Hillmans ongoing contributions to
standardized techniques and a common
deep-image file format have enabled
advanced compositing workflows across
the industry.
Left: Don Rogers (right) presents the John A. Bonner Medal of Commendation to friend and colleague
Charles Tad Marburg. Right: Marburg addresses the audience.
ASC Shines at Sci-Tech Awards

To Colin Doncaster, Johannes
Saam, Areito Echevarria, Janne
Kontkanen and Chris Cooper, for the
development, prototyping and promo-
tion of technologies and workflows for
deep compositing. Their contributions
include early advancements in key deep-
compositing features such as layer and
holdout-order independence, spatial
and intra-element color correction,
post-render depth-of-field, and precise
blending of complex layer edges.
To Thomas Lokovic and Eric
Veach, for their influential research and
publication of the fundamental concepts
of deep-shadowing technology.
Providing a functional and efficient
model for the storage of deep-opacity
information, this technology was widely
adopted as the foundation of early deep-
compositing pipelines.
To Gifford Hooper and Philip
George of HoverCam, for the continu-
ing development of the Helicam minia-
ture helicopter camera system. The
current Helicam system is a high-speed,
extremely maneuverable, turbine-
engine, radio-controlled miniature heli-
copter that supports professional film
and digital motion-picture cameras.
Helicam provides a wide range of
stabilized, remotely operated pan, tilt
and roll capabilities.
To John Frazier, Chuck Gaspar
and Clay Pinney, for the design and
development of the Pneumatic Car
Flipper. This self-contained, high-pres-
sure pneumatic device safely launches a
stationary full-sized car on a predeter-
mined trajectory. The precision of oper-
ation enhances the safety of performers,
and the physical design allows a rapid
setup and strike.
To Jeremy Selan, for the devel-
opment of the OpenColorIO color
management framework. Developed
at Sony Pictures Imageworks,
OpenColorIO is an open-source
framework that enables consistent color
visualization of motion-picture imagery
across multiple facilities and numerous
software applications.
Scientific and Engineering

Awards (Academy Plaques):
To Ofer Alon, for the design and
implementation of the ZBrush software
tool for multi-resolution sculpting of
digital models. ZBrush pioneered
Clockwise from top left: Peter Anderson, ASC
(left) accepts the Gordon E. Sawyer Award
from longtime friend Douglas Trumbull; the
pair poses for the camera; Anderson
expresses his gratitude.
multi-resolution digital sculpting, trans-
forming how artists conceive and realize
their final designs.
To Eric Veach, for his founda-
tional research on efficient Monte Carlo
path tracing for image synthesis.
Physically based rendering has trans-
formed CG lighting by more accurately
simulating materials and lights, allowing
digital artists to focus on cinematogra-
phy rather than the intricacies of
rendering. In his 1997 Ph.D. thesis and
related publications, Veach formalized
the principles of Monte Carlo path trac-
ing and introduced essential optimiza-
tion techniques, such as multiple
importance sampling, which make
physically based rendering computa-
tionally feasible.
To Andre Gauthier, Benoit
Sevigny, Yves Boudreault and Robert
Lanciault, for the design and imple-
mentation of the FilmBox software
application. FilmBox, the foundation of
MotionBuilder, enables the real-time
processing and control of devices and
animation. For over two decades, its
innovative architecture has been a basis
for the development and evolution of
new techniques in filmmaking.
To Emmanuel Prvinaire, Jan
Sperling, Etienne Brandt and Tony
Postiau, for their development of
Flying-Cam Sarah 3.0. This battery-
powered, radio-controlled, miniature
helicopter camera system employs
computer-assisted piloting and tele-
operation in an airframe that utilizes
GPS-assisted flight controls for aerial
filming of unparalleled sophistication.
Academy Award of Merit:

Finally, filmmaker Christopher
Nolan came to the stage for a highly
symbolic presentation: an Academy
Award of Merit, to, collectively, all
those who built and operated film
laboratories, for over a century of
service to the motion-picture industry.
The Academy citation notes further:
Lab employees have contributed extra-
ordinary efforts to achieve filmmakers
artistic expectations for special film
processing and the production of
billions of feet of release prints per year.
This work has allowed an expanded
motion-picture audience and an
unequaled worldwide cinema experi-
ence.
In presenting the award, and
accepting it on behalf of tens of thou-
sands of individuals, Nolan said, There
are alchemists who, for over 100 years,
in various windowless rooms all across
the world, have practiced a very special
form of alchemy: turning silver and
plastic into dreams not just any kind
of dreams, but the kind you can unspool
from a reel and hold in your hand, hold
up to the light and see frozen magically.
These dreams can be run through a
projector and thrown onto a screen,
where they spark the imagination and
emotion of audiences, as they have all
across the world for so long.
I am very pleased to be here,
speaking on behalf of the men and
women who have practiced this very
special dark art, continued Nolan.
With this award, the Academy has
chosen to recognize all the men, women
and companies involved in the tech-
nology that lies at the heart of filmmak-
ing and still represents the gold standard
of imaging technology. This statuette
will be put on display in the Samuel
Goldwyn Theater until the Academys
new museum [the Academy Museum
of Motion Pictures] is completed.
There, it will remain on display as a
permanent reminder to future genera-
tions of the fine work of all of these men
and women.
From left:
Jordan,
Marburg,
Isaacs,
Anderson,
Edlund and
Bell pause for
a photo op.
Photography by German Jimenez, Alex Lopez, Rene
Macura, Kim McBride, Danny Moloshok, Richard
Salazar, Hector Sandoval and Matt Turve.
The American Society of Cinematographers saluted
the best cinematography of 2013 at its 28th annual ASC
Awards for Outstanding Achievement in Cinematography,
held on Feb. 1, 2014 at the Hollywood & Highland Grand
Ballroom in Los Angeles. Hosting the event were ASC
Presidents Assistant Delphine Figueras and ASC member
John Simmons, who entertained the crowd with their deft
comic timing.
Following the awards ceremony, the ASC Clubhouse
was the site of a boisterous afterparty sponsored by
Panavision. The bash was filled to capacity with revelers who
danced and socialized well past the traditional last call hour.
In the days leading up to the awards, the ASC also
hosted an Open House, a Sponsors Breakfast and a Nominees
Dinner. Photos from all of the Societys events are featured on
the following pages.
Special ASC Awards handed out during the ceremony
included the Board of Governors Award, presented to film-
maker John Wells; the Bud Stone Award of Distinction,
presented to ASC associate Beverly Wood, EVP of Technical
Services and Client Relations for EFilm, a Deluxe Digital
Studios company; the Career Achievement in Television
Award, presented to Richard Rawlings Jr., ASC; the
International Award, presented to Eduardo Serra, ASC,
AFC; and the Lifetime Achievement Award, presented to
Dean Cundey, ASC.
The Society also unveiled the inaugural ASC Spotlight
Award, created to honor great cinematography discovered in
non-mainstream movies. While introducing the new cate-
gory, ASC Awards Chairman Lowell Peterson said, I want to
personally salute four ASC members who pushed the hardest
to support this inspired idea: Amy Vincent and Rodney
Taylor championed this new award for years. Stephen
Lighthill embraced it and gave it the green light. And Roberto
Schaefer and his committee hammered out the details and
carried the ball into the end zone.
Here are the nominees in all of the evenings competi-
tive categories, presented in alphabetical order, with winners
highlighted in boldfaced type:
ASC Spotlight Award: Camille Cottagnoud, Winter Nomads;
Mark Lee Ping Bing, Renoir; Ryszard Lenczewski and
Lucasz Zal, Ida.
Half-Hour Episodic Television Series/Pilot: Peter Levy,
ASC, ACS, House of Lies, The Runner Stumbles; Matthew J.
Lloyd, CSC, Alpha House, Pilot; Blake McClure, Drunk
History, Detroit.
Television Movie/Miniseries: Jeremy Benning, CSC,
Killing Lincoln; David Luther, The White Queen, War at First
Hand; Ashley Rowe, BSC, Dancing on the Edge, Episode 1.1.
One-Hour Episodic Television Series/Pilot: Stephen
Bernstein, ASC, Magic City, The Sins of the Father; David
Franco, Boardwalk Empire, Erlknig; Jonathan Freeman,
ASC, Game of Thrones, Valar Dohaeris; Pierre Gill, CSC,
The Borgias, The Purge; David Greene, CSC, Beauty and the
Beast, Tough Love; Anette Haellmigk, Game of Thrones,
Kissed By Fire; Kramer Morgenthau, ASC, Sleepy Hollow,
Pilot; and Ousama Rawi, BSC, CSC, Dracula, The Blood Is
the Life.
Theatrical Release: Barry Ackroyd, BSC, Captain Phillips;
Sean Bobbitt, BSC, 12 Years a Slave; Roger Deakins, ASC,
BSC, Prisoners; Bruno Delbonnel, ASC, AFC, Inside Llewyn
Davis; Philippe Le Sourd, The Grandmaster; Emmanuel
Lubezki, ASC, AMC, Gravity; Phedon Papamichael, ASC,
Nebraska.
A
Festive
Focus
Dean Cundey, ASC accepts his

Lifetime Achievement Award.
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3
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5
4
8
10
11
7
1. The Grand Ballroom is filled to capacity
as showtime approaches. 2. Bill Bennett, ASC
welcomes the Societys guests. 3. ASC
Awards Chairman Lowell Peterson steps up
to introduce the show. 4. Hosts Delphine
Figueras and John Simmons, ASC warm up the crowd with humor. 5. John
Bailey, ASC introduces the Spotlight Award. 6. Lukasz Zal, PSC accepts the
Spotlight Award for Ida, which he shot with Ryszard Lenczewski, PSC. 7. Blake
McClure took top honors in the half-hour episodic television category for his
stellar work on Drunk History. 8. ASC members John C. Flinn III and Michael D.
OShea offer fond words for their longtime friend Richard Rawlings Jr., who
earned the Career Achievement in Television Award. 9. Actress Cheryl Ladd
introduces Rawlings, with whom she worked on the hit TV series Charlies
Angels. 10. Rawlings accepts his award with heartfelt gratitude. 11. Rawlings
and Ladd reunite offstage.
9
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2
3
4
7
6
5
8
9
10
11 12
13
1. Figueras and Simmons salute the students who won Harris Savides Heritage Awards. 2. The audience applauds the student winners: Miskha
Kornai, Ryan Broomberg, Drew Heskett and Ryan Westra of Chapman University. 3. Filmmaker Edward Zwick praises his collaborator Eduardo Serra,
ASC, AFC, recipient of the International Award. 4. ASC President Richard Crudo presents a progress report on the Societys various programs and
endeavors. 5. ASC associate Beverly Wood expresses her surprise and delight as she accepts the Bud Stone Award of Distinction for her extraordinary
contributions to both the Society and the industry. 6. Wood shows off her plaque while posing with Crudo. 7. Actress, filmmaker and choreographer
Debbie Allen introduces the television motion picture/miniseries nominees. 8. Jeremy Benning, CSC accepts the top honor for Killing Lincoln.
9. Benning busses Allen. 10. Despite the ebullient expectations of Miss ASC, Natalie Clark, Figueras and Simmons deny the rumor that Miley Cyrus
will twerk during the show. 11. Actress Margo Martindale introduces filmmaker John Wells, recipient of the Board of Governors Award. 12. Wells
hefts his trophy. 13. Wells and Martindale celebrate with smiles.
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3
5
4
6 7
8
9
10
1. Actress Niecy Nash regales the room with her spirited introduction of the
one-hour episodic television category. 2. Kees Van Oostrum, ASC accepts the
award on behalf of fellow ASC member Jonathan Freeman, who won for the
Game of Thrones episode Valar Dohaeris. 3. Director John Carpenter
introduces his friend and collaborator Dean Cundey, ASC, recipient of the
Lifetime Achievement Award. 4. Cundey reminisces about his remarkable
career. 5. Cundey offers Carpenter a shoulder to lean on. 6. Caleb Deschanel,
ASC introduces the theatrical-release category. 7. Emmanuel Lubezki, ASC,
AMC achieves high orbit for his work on Gravity. 8. Lubezki accepts his
award with characteristic humility. 9. The winner hugs his ASC colleague.
10. Figueras and Simmons close the show.
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6
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1. David Mullen and his wife, Lisle Foote, circulate during cocktail hour. 2. ASC associate Joe Matza with his daughters, Daria and Tia. 3. Guests
socialize outside the ballroom. 4. ASC members Rodney Charters, Bill Bennett and Ron Dexter pose with Dexters wife, Jill. 5. Mark Irwin, ASC, CSC
with Nancy Schreiber, ASC and Rick Doremus. 6. Gil Hubbs, ASC and his wife, Ann Major. 7. Bernhard Jasper, BVK (left) and ASC associate
Alexander Schwartz (right) flank ASC associate Wolfgang Baumler and his wife, Sabine. 8. Steven Fierberg, ASC squeezes his significant other,
Shielu Bharwani. 9. ASC member Patrick Cady and his wife, Jill (left) socialize with Aaron Saffa and his girlfriend, Alexandra Olson. 10. Paul
Cameron, ASC and his wife, Laura. 11. Fred Elmes, ASC and his wife, Nancy Israel.
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2
4
3
5
6
7
9
8
10
11
12
13
14
1. Oliver Bokelberg, ASC, BVK and his wife, Jill.
2. Joe Bogacz with William Mank and Robert Lewis
Cunningham. 3. Stephen Lighthill, ASC and his wife, Veronika.
4. Steve Silver, ASC and his wife, Kerri Kenney-Silver.
5. ASC associate Frank Kay and his wife, Sharlene. 6. Nominee
Anette Haellmigk (Game of Thrones, Kissed By Fire).
7. Patty Mack with ASC legends Haskell Wexler and Vilmos
Zsigmond. 8. Isidore Mankofsky, ASC and his wife, Chris.
9. Spotlight Award nominee Camille Cottagnoud (Winter
Nomads); director Paul Walther; theatrical-release nominee
Bruno Delbonnel, ASC, AFC (Inside Llewyn Davis) and
nominee Ashley Rowe, BSC (Dancing on the Edge, Episode
1.1). 10. Cundey and his wife, Patricia Cowmeadow.
11. ASC members Kramer Morgenthau and Ellen Kuras.
12. Radek Ladczuk with ASC Award winners Lukasz Zal, PSC
and Blake McClure and McClures wife, Sarah. 13. Nominee
Pierre Gill, CSC (The Borgias, The Purge) with ASC member
Matthew Libatique. 14. Sharon Henley and Sara Wood.
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6
3
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4
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9
10 11
12
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15
1. Mardrie Mullen and ASC associate Denny Clairmont. 2. Claudio Miranda, ASC. 3. Marek Zebrowski with Stephen Goldblatt, ASC, BSC.
4. ASC associate Franz Wieser and his wife, Philomena. 5. ASC members Amy Vincent and Donald M. Morgan with Bruce Doering and his wife,
Lynn. 6. John Toll, ASC and his wife, Lois Burwell. 7. Kees Van Oostrum, ASC (far left) and his wife, Esther Spitz (second from left) with Theo van de
Sande, ASC (far right) and his wife, Michle Ohayon, and Baird Steptoe. 8. John Simmons, ASC and his wife, Cynthia. 9. Robert Primes, ASC and his
wife, Theo. 10. Honorary ASC member Larry Parker and cinematographer Lisa Wiegand. 11. Owen Roizman, ASC and his wife, Mona.
12. Cinematographers Jendra Jarnagin; Rachel Morrison; Uta Briesewitz, ASC; Svetlana Cvetko; and Ellen Kuras, ASC. 13. Crescenzo Notarile, ASC
and his girlfriend, Carolyn Trampf. 14. Dwayne Ralston with his two dates. 15. Crudo and his date, Joanne Baker.
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3
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9
10
6
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1. Panavision sponsored an ASC
Awards after party held at the
Societys Clubhouse. 2. ASC events
coordinator Patty Armacost (left)
and Crudo (right) lead the
applause during a birthday
celebration for Awards Chairman
Lowell Peterson, who enjoys the
moment with his wife, Carol.
3. Nancy Schreiber, ASC and ASC
associate Judith Doherty.
4. Michael Goi, ASC and his wife,
Gina. 5. Rick Beatty and Yolanda
Price. 6. ASC associate Kim Snyder
and her husband, Jim. 7. Former
American Cinematographer photo
editor Julie Sickel and her twin
sister, Chelsea, with AC associate
editor Jon Witmer and his wife,
Corinne. 8. Dean Cundey, ASC
seeks compositional counsel from
his wife, Patricia Cowmeadow.
9. Spotlight Award nominee Mark
Lee Ping Bing (Renoir) flanked by
his wife, Robin, and daughter,
Danielle. 10. AC senior editor
Rachael Bosley with ASC
circulation director Saul Molina
and Carmen Cabana.
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5
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8
7
1. Beverly Wood parties
with Rodrigo Ruiz.
2. Bill Wages, ASC and his
wife, Cathy. 3. ASC associate
Joshua Pines with journalist
Carolyn Giardina.
4. Figueras and her husband,
AC executive editor Stephen
Pizzello, with Lubezki and
his wife, Lauren. 5. Rodney
Taylor, ASC with Justin
Dickson and Beverly Wood.
6. AC circulation manager
Alex Lopez and his wife,
Noemi. 7. Niecy Nash with
her husband, Jay Tucker.
8. A birds-eye view of the
festivities on the ASC
Clubhouse lawn.
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1. Guests gather for the annual Nominees Dinner.
2. Nominees Delbonnel and Peter Levy, ASC, ACS
(House of Lies, The Runner Stumbles). 3. Nominee
Steven Bernstein, ASC (Magic City, The Sins of the
Father) and his fiance, Carolyn Rodney. 4. Robert Liu,
ASC and his wife, Ivy. 5. Crudo and Peterson flank
Rowe. 6. Theatrical-release nominee Phedon
Papamichael, ASC (Nebraska). 7. Haellmigk totes her
plaque. 8. George Spiro Dibie, ASC walks past the
Societys Donor Wall with his daughter, Suzanne
Shook. 9. Nominee Ousama Rawi, BSC, CSC (Dracula,
The Blood Is the Life). 10. Delbonnel frames his
honor. 11. Theatrical-release nominee Sean Bobbitt,
BSC (12 Years a Slave). 12. Christopher Chomyn, ASC,
with his wife, Lindsey, and Florence Omens.
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1. Pam and Larry Parker with Amy Vincent,
ASC. 2. ASC Awards Chairman Lowell
Peterson and his wife, Carol. 3. Cundey with
ASC associate Robert Hoffman and Victor J.
Kemper, ASC. 4. Andrew Evenski and his wife,
Linda. 5. Woody Omens, ASC with Crudo.
6. Nominee David Greene, CSC (Beauty and
the Beast, Tough Love). 7. Lighthill and
Crudo. 8. Evenski, president and general
manager of Kodaks Entertainment Imaging
Division, which sponsored the Nominees
Dinner, addresses the evenings guests.
9. Roizman and Crudo. 10. Le Sourd steps into
the spotlight. 11. Theatrical-release nominee
Barry Ackroyd, BSC (Captain Phillips).
12. The nominees form an illustrious group
on the Clubhouse steps.
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1. and 2. Peterson steps to the podium to provide good cheer and salute the nominees achievements. 3. Daniel Pearl, ASC with ASC associate
Wolfgang Baumler. 4. Ryan Smith, Pat Caputo and Thierry Garepian. 5. ASC members Johnny Jensen and John C. Flinn III. 6. Bernstein and his fiance,
Carolyn, with Greene. 7. Peterson and Ed Barger. 8. Dibie and ASC associate Thomas Fletcher flank Kelli Bingham. 9. ASC associate Frieder Hochheim
with Lighthill and Curtis Clark, ASC. 10. Cundey with fellow ASC members OShea, Flinn and Rawlings.
A+J Cases
Abel Cine
Active Camera Systems
AFI American Film Institute
AJA Video Systems
Alan Gordon
Alcon Entertainment
Alternative Rentals
Anton/Bauer
ARRI, Inc.
ARRI Rental Group
Autoscript
Barbizon Lighting Co.
Best Audio
Bexel
Birns & Sawyer
Blackmagic Design
Bling
Boxx
CAM-A-Lot Audio Visual
Camera Dept., The
Camera House, The
Cameron Pace Group
Canon USA
Cartoni
Chapman/Leonard Studio Equipment, Inc.
Checkers Industrial Safety Products
Chimera
Cine Gear Expo
Cine Lab
Cinelease, Inc.
Cinema Shot
Cinemills Corporation
Cineo Lighting
Claire Best & Associates
Clairmont Camera
Codex Digital
Columbia College Chicago
Company 3
Cooke Optics Ltd.
Creative Technology
CW Sonderoptic GmbH Leica
Dattner Dispoto and Associates
Daufenbach Camera
Dedotec USA, Inc.
Deluxe
Division Camera
Dolby Laboratories
DPS Production Specialists
EFilm
ELS (Entertainment Lighting Systems)
Encore Hollywood
Filmtools
FJS International
FotoKem
Fox Searchlight
Freefly Systems
Fujinon
GE
GEO Film Group
Gersh Agency, The
Global Artists Agency
Green Hasson Janks
HBO
Hive Lighting
Hot Rod Camera
IATSE Local 600
IATSE 667
IATSE Local 728, Set Lighting Technicians
ICM Partners
Ignite PR
Illumination Dynamics
Innovative Artists
IMAX Post/DKP Inc.
Iron Mountain
J.L. Fisher, Inc.
JVC ProHD
K5600, Inc.
Keslow Camera, Inc.
Kino Flo, Inc.
Kodak
Koerner Camera
Law Offices of Stephen D. Marks
Leader Instruments
Lee Filters
Light Iron
Litepanels, Inc.
Local 817, Teamsters IBT
Locations Michel Trudel
Luminys
MAC Tech LED
Manfrotto Distribution
Matthews Studio Equipment
Modern Video/Film
Mole-Richardson Company
Motion Picture Studio Mechanics, Local 52, IATSE
Murtha Agency
NBC Universal
Nikon
OConnor
Osram
Otto Nemenz International, Inc.
Panavision
PanavisionCanada
Paradigm
Paramount Pictures
Paskal Lighting
Pixar Animation Studios
Preston Cinema Systems
PRG, Production Resources Group
ProTapes and Specialties
Rag Place, The
RED
Rosco
Rose Brand
Sandra Marsh & Associates
Schneider Optics
Sesler
Shadowstone
SIM Digital
Skouras Agency, The
SOCSociety of Camera Operators
Sony
Sound Devices, LLC
Technicolor
TechnicolorPostWorks New York
Teradek
Thales Angenieux
Tiffen Manufacturing Company
TWCThe Weinstein Company
UTA, United Talent Agency
Vantage Film GmbH (Hawk)
Video Equipment RentalsVER
Vision Research (Phantom)
Warner Bros. Motion Picture Imaging
William F. White
WME
Worldwide Production Agency
Zacuto
Zeiss
With Very Special Thanks to Autoscript, Illumination Dynamics, Mole-Richardson Company and Technicolor
THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Thanks Our Sponsors for Their Support of the 28th Annual ASC Awards
classical RGB imager/prism system that provides equi-band full-reso-
lution color processing for critical applications. Among the
camcorders key features are real-time high-frame-rate and off-
speed recording up to 240 fps in 1080p (using AVC-Intra 100), plus
the ability to change frame rates while recording. Image controls
such as matrix, detail, gammas and a new Log recording capability
allow precise creative control over image parameters. The VariCam
HS also features Panasonics Emmy Award-winning Chromatic Aber-
ration Compensation technology to minimize lateral chromatic aber-
rations and improve the Modulation Transfer Function of the optical
system.
The VariCam HS features a range of high-quality recording
formats, including AVC-Intra 100 (recording as 1080/24p, 30p or
60p format with VFR, up to 240p), AVC-Intra 200 (up to 30p/60i)
and AVC-Intra 4:4:4 (up to 30p). Professional interfaces on the Vari-
Cam HS include RGB 4:4:4, a 3G-HD-SDI out to support 1080/60p,
an HD-SDI out for monitoring, and two XLR inputs to record four
channels of 24-bit, 48KHz audio. The cameras
2
3" B4 lens mount
enables the use of a wide variety of prime lenses and servo zooms.
Both the VariCam 35 and VariCam HS will utilize Panasonics
new expressP2 card for high-frame-rate (VariCam HS) and 4K (Vari-
Cam 35) recording. The camera recording module unit is equipped
with a total of four memory card slots, two for expressP2 cards and
two for microP2 cards. The new expressP2 card can record up to 130
minutes of 4K/24p content, or about 32 minutes of 240p 1080 HD
video; the microP2 card is designed for recording HD or 2K at more
typical production frame rates.
The VariCam 35 and VariCam HS will launch this fall, with
pricing to be announced. For more information, visit www.pana
sonic.com/broadcast.
Alan Gordon Distributes Panavisions AC Bag
Alan Gordon Enterprises is the exclusive distributor for a new
camera assistants bag made by Panavision. The bag has been
designed to satisfy a wide range of professional camera assistant
needs.
The bags interior is lined with Velcro-
compatible gray polyester atop foam backing,
allowing for an array of bag-division options.
The bag also houses an easily removable
accessory tray, two sets of dividers
and four clear plastic pouches (one
17"x5" and three 5"x5") with
Velcro-exposed flaps.
The bags exterior is wrapped
in black canvas reinforced with rugged
PVC, providing superb water resistance and structural
Panasonic Updates VariCam Line
Panasonic has expanded its VariCam line with a pair of
cameras: the VariCam 35, a 4K camera that incorporates a newly
developed super 35mm MOS image sensor, and the VariCam HS, a
third-generation
2
3" VariCam with high-speed 1080p image
capture of up to 240 fps.
Both models boast an inventive design whereby the 4K (AU-
V35C1) and
2
3" (AU-V23HS1) camera heads are separate from but
dockable to the recording module (AU-VREC1), enabling users to
switch between whichever head best suits the project at hand. The
flexibility can be further expanded with an umbilical cable between
the camera head and recorder, providing box functionality for jibs,
cranes and other remote camera heads.
The VariCam 35 boasts superb image handling in multiple
formats, including 4K and UHD in AVC-Ultra 4K, and 2K and FHD in
AVC-Intra 100/200. The cameras super 35mm MOS sensor, which
enables 4096x2160 4K capture, provides 14+ stops of latitude and
faithfully captures high-contrast, wide-dynamic-range imagery.
Powerful color-management capabilities provide an extended color
gamut for further image fidelity, and support of the Academy Color
Encoding System enables fully faithful mastering of original source
material.
Among the VariCam 35s top-level production features are a
standard 35mm PL mount; real-time high-frame-rate variable-speed
4K recording up to 120 fps, providing the capability for master-level
2K/FHD recording; and advanced workflows with parallel simultane-
ous 4K/UHD, reference 2K/HD and proxy recordings for in-camera
on-set color grading and monitoring/editing ease. The camera also
features a newly developed OLED electronic viewfinder with optical
zoom functionality, and 14-bit LPCM audio for in-camera audio
master recording. Professional interfaces include 3G-HD-SDI x4 for
4K Quad output, 3G-HD-SDI x2 for raw output, an HD-SDI out for
monitoring (down-converting from 4K) and two XLR inputs to
record four channels of 24-bit 48KHz audio.
The VariCam HS utilizes three newly developed 1920x1080p
MOS imagers with 14 stops of dynamic range, providing full control
over a wide range of lighting conditions. The HS system boasts a
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.
integrity. The exterior also features three water-
resistant, zippered pockets and three draw-
string pouches, which allow easy access to
gear. The bags padded shoulder strap is made
from heavy-duty nylon security-belt material
and fashioned with nickel-plated snap-hooks,
which lock to both sides of the bag.
For additional information, visit
www.alangordon.com.
Cinedeck Tackles 4K
Cinedeck has introduced the MX4K
recorder and the v5 software release for the
RX3G and MX recorders.
The Cinedeck MX4K features two
channels of 4K YUV10 30 fps recording from
4K and Ultra HD sources, including the Sony
F55 camera, while simultaneously creating
edit-ready HD master and proxy deliverables as
well as H.264 for streaming. The MX4K also
down-converts the 4K camera feeds in real
time for on-set HD monitoring. The 4K, HD
master and proxies are all simultaneously
recorded to the MX4Ks embedded SSD drives,
with edit-ready deliverables written to SAN for
immediate access, and can be encoded to the
full gamut of ProRes or Cineform profiles.
Users can apply a variety of industry-standard
or custom look-up tables to the proxy, H.264,
onboard display and HD outputs.
A key feature of Cinedecks v5 software
release for the RX3G and MX is the addition of
the AS10/AS11-compliant acquisition and
delivery standards XDCam HD Op1A, AVC-
Intra 100 Op1A and D-10 (IMX) Op1A. These
codec/wrapper specifications remove ambigui-
ties during production and delivery processes
by including editorial and technical metadata,
and ensure a consistent set of information for
the processing, review and scheduling of
programs. The v5 software release also
includes enhanced Edit While Record, EDL and
H.264 support features.
www.cinedeck.com.
For-A Upgrades FT-One
For-A has unveiled a new version of
its FT-One 4K super-slow-motion camera,
which offers fiber I/O connections built
directly into the unit for ease of use when
shooting in the field. The company has also
introduced the ZE-One 4K Extraction
system.
The FT-One employs For-As high-
sensitivity FT1-CMOS color sensor and plays
back full 4K (4096x2160). One output
channel can provide QFHD (four 1080p 3G-
SDI) outputs, while the other output chan-
nel provides down-converted HD-SDI for
live viewing and playback. The FT-One
captures images as uncompressed raw data
on the systems internal memory, which has
a recording capacity of 9.4 seconds. This
data is then stored on one of two hot-swap-
pable SSD cartridges, each of which is capa-
ble of storing 84 seconds of full 4K resolu-
tion images at 900 fps.
The ZE-One allows FT-One users to
frame and extract desired 4K image areas to
capture the action for HD replays. The 4K
extraction system provides operators with
an intuitive touch-screen interface to frame
and extract specified HD scenes at any size
from 4K sources. The ZE-One allows users
to smoothly zoom in or out, and includes an
embedded audio delay processor.
www.for-a.com.
App Translates Hollywood for
China, Hong Kong
Cinematographer Dean Head, ACS
has introduced the Hollywood in China and
Hollywood in Hong Kong apps for iPhone,
iPad and iPod Touch devices running iOS 5.0
or later.
The apps translate more than 1,000
film and video terms and phrases such as
change lens, minimum focus and
camera car with pre-recorded voice
files that can be heard and played face-to-
face, or over a phone or walkie-talkie. Holly-
wood in China translates English to
Mandarin, and Hollywood in Hong Kong
translates English to Cantonese.
For additional information, search
for the apps in the iTunes Store or visit
http://tinyurl.com/nfnlgnv.
Telecine &
Color Grading
Jod is a true artist with
a great passion for his craft.
John W. Simmons, ASC
Contact Jod @ 310-713-8388
Jod@apt-4.com
International Marketplace
Classifieds

for ex-demo and
used equipment!
www.movietech.de

EQUIPMENT FOR SALE
4X5 85 Glass Filters, Diffusion, Polas etc. A
Good Box Rental 818-763-8547
14,000+ USED EQUIPMENT ITEMS. PRO
VIDEO & FILM EQUIPMENT COMPANY. 50
YEARS EXPERIENCE. New: iLLUMiFLEX
LIGHTS & FluidFlex TRIPODS.
www.UsedEquipmentNewsletter.com AND
www.ProVideoFilm.com
EMAIL: ProVidFilm@aol.com
CALL BILL 972 869 9990, 888 869 9998.
EQUIPMENT FOR SALE
Worlds SUPERMARKET of USED MOTION
PICTURE EQUIPMENT! Buy, Sell, Trade.
CAMERAS, LENSES, SUPPORT, AKS & MORE!
Visual Products, Inc. www.visualproducts.com
Call 440.647.4999
MISCELLANEOUS
NEW BOOK
Showdown at Shinagawa:
Tales of Filming from Bombay to Brazil
By Bill Zarchy
Cinematographers memoir. Funny, sweet, and
wise.
showdownatshinagawa.com OR on Amazon
CLASSIFIED AD RATES
All classifications are $4.50 per word. Words set in
bold face or all capitals are $5.00 per word. First
word of ad and advertisers name can be set in capi-
tals without extra charge. No agency commission or
discounts on clas si fied advertising.PAYMENT MUST AC -
COM PA NY ORDER. VISA, Mastercard, AmEx and
Discover card are ac cept ed. Send ad to Clas si fied
Ad ver tis ing, Amer i can Cin e ma tog ra pher, P.O.
Box 2230, Hol ly wood, CA 90078. Or FAX (323) 876-
4973. Dead line for payment and copy must be in the
office by 15th of second month preceding pub li ca tion.
Sub ject mat ter is lim it ed to items and ser vic es per -
tain ing to film mak ing and vid eo pro duc tion. Words
used are sub ject to mag a zine style ab bre vi a tion. Min -
i mum amount per ad: $45
Advertisers Index
Adorama 9, 51
AJA Video Systems, Inc. 25
Alan Gordon 87
Arri 5
ASC 13
Backstage Equipment, Inc. 8
Birns & Sawyer 86
Blackmagic Design, Inc. 11
Carl Zeiss 27
Cavision Enterprises 86
Chapman/Leonard Studio
Equipment Inc. 23
Cine Gear 70
Cinematography
Electronics 8
Cinekinetic 86
Codex 15
Cooke Optics 7
Eastman Kodak C4
Film Gear (International), Ltd.
41
Filmotechnic USA 42
Filmtools 85
Glidecam Industries 17
Hertz Corporation C3
Hollywood Rentals 63
Huesca Film Office/HFO 29
Jod Soraci 85
Kino Flo 53
LAFF 91
Lee Filters 43
Lights! Action! Co. 86
Maine Media 8
Manfrotto 39
Matthews Studio
Equipment/MSE 86
Movie Tech AG 86, 87
Next Shot 41
P+S Technik 87
Pille Filmgeraeteverleih
Gmbh 86
Pro8mm 86
Red Digital Cinema C2-1
Siggraph 89
Schneider Optics 2
Super16, Inc. 86
Technocrane 21
Thales Angenieux 19
Video Equipment
Rentals/VER 37
Willys Widgets 86
www.theasc.com 6, 52,
62, 88
88
Klein Becomes
Associate Member
Scott Klein, Technicolor Creative
Services senior supervising colorist, broadcast,
has been named an associate member of the
ASC. A native of Philadelphia, Pa., Klein began
working at a young age as a still-photography
assistant before spending time as a touring
guitar player. He graduated from Berklee
College of Music in Boston, Mass., before
moving to Los Angeles and starting in the film
business. Over the course of his 30-year career
in broadcast finishing, Klein has lent his talents
to commercials, music videos, features and
such series as Miami Vice, The Sopranos,
Deadwood, Entourage, True Blood and The
Vampire Diaries. In his role as senior supervis-
ing colorist, Klein continues to work creatively
with broadcast clients while also working
more closely with Technicolor management in
the development of standards and techniques
embedded in the companys growing roster of
digital colorist talent.
Cinematographers in Spotlight
During Awards Season
Among the multitude of accolades
presented during the recent awards season, a
number of honors went to ASC members and
their director-of-photography colleagues. On
the critics front, the Los Angeles Film Critics
Association selected Emmanuel Lubezki,
ASC, AMC for its best-cinematography
award, recognizing his work on Gravity (AC
Nov. 13); Bruno Delbonnel, ASC, AFC was
named the runner-up for his work on Inside
Llewyn Davis (AC Jan. 14). The Online Film
Critics Society also saluted Lubezki for Gravity,
while the National Society of Film Critics
awarded its top honor to Delbonnel.
Lubezki also took home the cine-
matography award during the 67th annual
British Academy Film Awards. His fellow
BAFTA nominees were Barry Ackroyd, BSC
(Captain Phillips; AC Nov. 13); Sean Bobbitt,
BSC (12 Years a Slave; AC Dec. 13); Delbon-
nel and Phedon Papamichael, ASC
(Nebraska).
The Film Independent Spirit Awards
gave its cinematography award to Bobbitt,
while also nominating Benot Debie, AFC
(Spring Breakers; AC June 13); Delbonnel;
Frank G. DeMarco and Peter Zuccarini (All is
Lost; AC Nov. 13); and Matthias Grunsky
(Computer Chess).
Last but not least, the Academy of
Motion Picture Arts and Sciences nominated
Roger Deakins, ASC, BSC(Prisoners; ACOct.
13); Delbonnel; Lubezki; Philippe Le Sourd
(The Grandmaster); and Papamichael, with
Lubezki receiving the Oscar.
SOC Honors Talent Behind Camera
The Society of Camera Operators
recently hosted its annual Lifetime Achieve-
ment Awards at the Skirball Cultural Center in
Los Angeles. Cammy Awards were
presented to camera operator Chris Haarhoff,
SOC; camera technician William Coe; still
photographer Barry Wetcher, SMPSP; and
mobile camera platform operator Jack
Carpenter of Carpenter Camera Cars. The
Historical Shot Award went to J. Michael Muro
for his zip-line Steadicam shot in The Mighty
Quinn.
The Distinguished Service Award was
presented to Stan McClain, the founder of
Filmtools, Inc., and Technical Achievement
Awards were given to Tom Hallman on behalf
of Pictorvision (for the Eclipse gyro-stabilized
aerial camera system) and Dave Grober on
behalf of Motion Picture Marine (for the
Perfect Horizon camera stabilization head).
ASC President Richard Crudo was also
on hand to present the Camera Operator of
the Year Awards, which went to Peter Taylor,
ACO, SOC, for Gravity, and Don Devine, SOC,
for Mad Men.
Additionally, the Presidents Award was
presented to ASC associate Leonard Chap-
man, the founder of Chapman-Leonard
Studio Equipment, Inc., for his longtime
support of camera operators.
VES Salutes Dykstra,
Appoints Board
The Visual Effects Society recently held
its 12th annual awards presentation, which
recognized outstanding visual-effects artistry
and innovation in film, animation, television,
commercials, video games and special venues.
During the festivities, Douglas Trumbull
presented the VES Lifetime Achievement
Award to John Dykstra, ASC.
The VES also recently elected its board
of directors for 2014. ASC associate Jeff
Okun was re-elected as chair of the board,
which also comprises 1st Vice Chair Michael
Fink, 2nd Vice Chair Nancy St. John, treasurer
Gene Rizzardi and secretary Kim Lavery.
Clubhouse News
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Top to bottom: Scott Klein; Emmanuel Lubezki,
ASC, AMC; Leonard Chapman (left) and
SOC President Chris Tufty.
PRESENTING MEDIA SPONSOR HOST VENUE
L.A. LIVE | DOWNTOWN LAFILMFEST.COM
PASSES ON SALE NOW
INDIVIDUAL TICKETS ON SALE MAY 20
When you were a child, what film made the strongest impres-
sion on you?
It has to be Its a Mad, Mad, Mad, Mad World (1963). Blame it on
the Southern drive-in and all the Saturday nights my parents took me
to the movies.
Which cinematographers, past or
present, do you most admire?
Mother Nature at magic hour and
sunrise. As for mortals, [ASC members]
Owen Roizman, Vilmos Zsigmond and
Vittorio Storaro have inspired me as a
human being and as a cinematogra-
pher.
What sparked your interest in
photography?
Growing up in provincial Georgia and
then being exposed to a vibrant, global
culture in Montreal opened my eyes to
escapism through photography.
Where did you train and/or study?
Ohio University, the Maine Media
Workshops, and Atlanta film compa-
nies where I spent summers working
for free.
Who were your early teachers or mentors?
At Ohio University, Joseph Anderson (an assistant director for Kuro-
sawa) and David Prince. In Maine, Vilmos Zsigmond, direct from
Mobile, Ala., after Close Encounters.
What are some of your key artistic influences?
My mothers garden and the color, architecture and composition of
her flower arrangements (Ikebana), and a Pygmy hut in Uganda with
its light and shadows.
How did you get your first break in the business?
Monroe Askins, ASC plucked me to be a loader (my first time) on a
film in Atlanta, House on Skull Mountain. Monroe emphasized that
every position on the crew was important and integral. I never looked
back!
What has been your most satisfying moment on a project?
I was in Bratislava, observing through the Moviecam Compacts short
eyepiece (with fluid head) as Rutger Hauer played with the light I had
created, stepping in and out of the shadows. I was smitten.
Have you made any memorable blunders?
I once used green HMIs that couldnt be dialed out on an ancient
stone stairway, which you can see forever in the movie Omega
Doom! From then on, I always checked for color temperature
depending on the age of the bulb.
What is the best professional
advice youve ever received?
At the bottom of a silver mine in Park
City, Utah, 1 miles underground,
Garland Wilde intoned, Dont be afraid
of the dark. You can take that advice
anywhere.
What recent books, films or
artworks have inspired you?
The James Turrell retrospective at the
Los Angeles County Museum of Art.
Hes a cinematographer from the
future/past. Oh, how he writes with
light. Also, Cervantes Don Quixote,
which I recently read from cover to
cover. I was imbued with windmills,
brio, and boundless spirit, the ethic of
every cinematographer.
Do you have any favorite genres,
or genres you would like to try?
A 70mm Ben-Hur-style home movie in silvery black-and-white star-
ring my family, Pablo, Milena, Robert and Rachel. Growth spurts and
relationships in the spirit of the Marx Brothers!
If you werent a cinematographer, what might you be doing
instead?
Id be the fifth Beatle, a soccer coach for FC Barcelona, or a pilot for
Virgin Intergalactic.
Which ASC cinematographers recommended you for
membership?
Michael Goi, Ken Zunder, Bob Primes and Vilmos Zsigmond.
How has ASC membership impacted your life and career?
When I pull up to the ASC Clubhouse and the gate opens for me, I
smile broadly. It opened for me! I enter among giants; I enter among
equals. A feeling of wholeness comes over me. Being invited into the
yurt of cameramen creates a calmness and sense of peace. The ASC
recognizes our eternal youth as cinematographers, and I must live
fully and with loyalty, progress and artistry.
George Mooradian, ASC Close-up
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ASC Shines at Sci-Tech Awards

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68 May 2014 American Cinematographer

ASC Shines at Sci-Tech Awards

Scientific and Engineering

Academy Award of Merit:

Dean Cundey, ASC accepts his

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