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On Our Cover: Resourceful concierge Gustave H. (Ralph Fiennes) reflects upon bygone
days in The Grand Budapest Hotel, shot by Robert Yeoman, ASC. (Frame grab courtesy of
Fox Searchlight Pictures.)
FEATURES
30
44
54
5-Star Service
Robert Yeoman, ASC books a stay at
The Grand Budapest Hotel
44
DEPARTMENTS
10
12
16
24
68
72
73
74
76
78
80
Editors Note
Presidents Desk
Short Takes: Coward
Production Slate: Pompeii
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Rexford Metz
VISIT WWW.THEASC.COM
In an exclusive podcast, Philippe Le Sourd will discuss his work on Wong Kar-wais The Grandmaster, which earned ASC
and Academy Award nominations. The movie tells the story of Ip Man, the martial-arts expert who trained Bruce Lee.
THIS MONTHS ONLINE QUESTION: Which martial-arts movies have wowed you with their cinematography?
Sridhar Reddy: Derek Wans camera on Gordon Chans Fist of Legend. Beautifully lit and
Shady Grady: Hero and Unleashed.
composed throughout. A seamless blend of
frame rates and movement, the camera and
Joshua King: Crouching Tiger, Hidden Drag- lighting never once compete with the action;
on.
rather, they provide a rock-solid foundation for
Yuen Wo-Pings insanely powerful choreograLee J. Tamer: The first Matrix was like nothing phy.
I had ever seen.
Jeff Ryan Carlson: Hero with Jet Li the first
Chris Mooney: The Raid.
time I understood completely why color is important onscreen.
David E. Williams: There are so many great
ones, but Peter Paus work in Crouching Tiger, Sue Lawson: Crouching Tiger, Hidden Dragon
Hidden Dragon is truly great. (And you should was a work of art.
also check out his cinematography in The Bride
with White Hair.)
Andrew Henderson: The Protector. The cinematography of Nattawut Kittikhun has a 3Douglas Adam Ferguson: Bichunmoo, Fear- minute-plus tracking shot as the main character
less and Ashes of Time Redux.
[played by Tony Jaa] ascends a huge staircase
fighting off goons. This scene is nothing short of
Benoit Lelievre: Big Trouble in Little China. perfection; imagining the amount of choreography that went into its making is a marvel in
William Mank: Hero. Christopher Doyles cine- itself.
matography was some of the best I had ever
seen! He showed us the fantastic use of sym- Rajendra Biswas: Hero, The Matrix, The Banmetrical and asymmetrical balance in a frame. quet, Tom yum goong.
M a r c h
2 0 1 4
V o l .
9 5 ,
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EDITORIAL
EXECUTIVE EDITOR Stephen Pizzello
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American Cinematographer (ISSN 0002-7928), established 1920 and in its 94th year of publication, is published
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POSTMASTER: Send address change to American Cinematographer, P.O. Box 2230, Hollywood, CA 90078.
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OFFICERS - 2013/2014
Richard Crudo
President
Owen Roizman
Vice President
Lowell Peterson
Vice President
Victor J. Kemper
Treasurer
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Frederic Goodich
Secretary
Isidore Mankofsky
Sergeant At Arms
MEMBERS OF THE
BOARD
Curtis Clark
Richard Crudo
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Lowell Peterson
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ALTERNATES
Isidore Mankofsky
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Presidents Desk
Remember the days when the title card representing producer listed only one or two
names? Even if you were a civilian and not at all sure what such a person did, you could rest
assured that the movie or television show you were watching was somehow guided by a
strong and committed presence. Anyone whos made passing note of the credits leading into
most of todays movies and TV shows knows the situation has drastically changed. Now its
not uncommon for 15 or 20 people to be designated as producers, and not just in TV.
Perhaps the definition of the job has changed, but the hard, day-to-day work of getting
a project up on its legs and through to completion hasnt. I have the highest respect for the
true producers of this world, those who search out and develop great ideas and scripts,
nurturing them and whipping up support for them; the ones with years of experience, who
can read a budget and schedule and see the big picture; the ones who know their way around
a set from teeth to tail. Unfortunately, it appears to be a dying breed. As for the rest, I propose
a new title: the phantom producer. Every show seems to bring more of them out of the woodwork, and you might wonder who they are.
Of course, the industry has a long, glorious tradition of nepotism, and significant others
are often given their moments in the spotlight (not to mention a nice slice of the budget).
Then there are the agents, managers and representatives who might bring in a star or two to
help obtain the financing. Stars themselves tend to cede the producer title, though they occasionally deliver practical value beyond their box-office appeal. Writers have made tremendous advances in the producers realm over
the years, especially in TV, where they enjoy much more influence than in features. Investors, bankers, completion-bond people,
distributors, and almost anyone else with some small role in the process who doesnt fit into any other category are also good fits
for the phantom prefix. That they dont know a sprocket hole from a donut hole is of no concern. To many of them, the title is just
a line on their rsum, something to jack up their rate the next time out or get them a good seat at a hot restaurant. Even if they
prove vital to the preliminary stages of a show in some way, once the rocket leaves the pad (often sooner), they become irrelevant,
which is quite the opposite of a real producer. I cant imagine having a dozen or more cinematographers credited for something Im
shooting, especially if they only arranged the tests for me. Im sure the genuine producers of the world are wincing at a similar denigration of their profession.
Given all the ridiculous, frivolous and outright deceptive practices that often define the producer credit, why hasnt some
smart individual figured out that it would be efficient and cost effective to allow the cinematographer a measured hand in producing? Think about it. No one is more qualified, across the broader scale of a show, to make clear and intelligent decisions about
budget, scheduling, equipment and personnel; most of our time in prep is spent huddling with the director and making decisions
in these areas. Calling us producers would sanctify the relationship and encourage more respect for our contributions, and the time
and money saved could only benefit the production.
The streets are filled with cinematographers who also direct and directors who also produce. The leap from cinematographer
to producer is a lot narrower than you might think, and this idea deserves serious consideration. We are well prepared from the start,
so whats the big deal?
Cinematographer/Producer. Yeah, I like the sound of that. And its long overdue. Now if we can only get the powers-that-be
to listen.
Richard P. Crudo
ASC President
12
March 2014
American Cinematographer
INTERNAL ND FILTERS
CANON 4K SUPER 35MM CMOS SENSOR
GO WHEREVER THE
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EDOARDO PONTI
DIRECTOR
DIRECTOR OF PHOTOGRAPHY
// ZORAN VESELIC
FIRST AC
Human Voice was born at the Tribeca Film Festival, where director
That was the rst step of a journey that soon landed the duo in
Edoardo Ponti rst met Rodrigo Prieto. The two clicked, and shortly
Rome with renowned AC, Zoran Veselic, and a Cinema EOS C500
PL. With its dynamic range and 2K 12-bit color depth, the fully
congured camera provided the warm skin tones and detail the
team needed to bring this beautiful, romantic lm to life.
CANON COLLABORATIONS
Short Takes
Set on the front lines of the First World War, the 28-minute
film Coward follows the fictional characters James (Sean Stewart)
and Andrew (Martin McCann) Irish cousins who enlist in the
British Army and serve in the trenches at Ypres, Belgium to shed
light on a real-life tragedy: During the war, a number of Irish-born
British soldiers suffering from what is now believed to have been
shell shock were tried and executed for desertion and disobedience.
To tell the story, director David Roddham and Irish cinematographer Stephen Murphy aimed for what Murphy describes as
an old-school visual approach. We arent hugely enamored of the
current trend of shooting with a shaky handheld camera and using
rapid cuts. Instead, we wanted to slow things down and distill the
visual storytelling into a simpler fashion to reinforce what these
[soldiers] had to cope with: a relentless assault, both literally and
metaphorically. Were both big fans of David Lean, and wed love to
see that kind of cinema being made again.
Murphy came to cinematography with a background in
makeup and special effects, which he studied at the Dun Laoghaire
Institute of Art, Design & Technology in Dublin, Ireland. As he started
to find work on set, though, he very quickly gravitated toward the
cinematographer, and before long, he transitioned into the camera
department, where he climbed the ranks and eventually notched
operating credits on such features as Hunger (AC April 09) and The
Guard. His cinematography credits include the features Porcelain and
Assault of Darkness, as well as numerous commercials and shorts
(including Fifth Street, also directed by Roddham).
While prepping Coward, Roddham and Murphy found particular inspiration in John Singer Sargents painting Gassed, which
16
March 2014
American Cinematographer
Photos by Aideen McCarthy. Photos and frame grabs courtesy of the filmmakers.
Andrew (Martin
McCann), an
Irish-born
soldier in the
British Army,
suffers the
conditions of
the First World
Wars trenches
in the short film
Coward.
Top to bottom: Andrew waits while his aunt (Charlotte Bradley) and her son, James (Sean Stewart), say
their goodbyes during the films opening sequence; James shares in the misery of the front line;
cinematographer Stephen Murphy utilized filtration to create different time-of-day looks in the trench;
Capt. Montague (Nick Moran) shouts orders during battle.
18
March 2014
American Cinematographer
Top: A military tribunal hears the case against Andrew, who is accused of desertion following
a heavy shelling on the front line. Bottom: Murphy (right) and director David Roddham discuss
a shot in the trench.
March 2014
Senator Corvus
(Kiefer
Sutherland)
declares the
gladiatorial
games open in a
scene from
Pompeii. The
film marks the
fourth
collaboration
between director
Paul W.S.
Anderson and
cinematographer
Glen
MacPherson,
ASC, CSC.
Opening in A.D. 62, the action feature Pompeii tells the story
of Milo (Dylan Schombing), who as a boy watches Roman soldiers
sack his North Britannia village and kill his parents by order of the
merciless Senator Corvus (Kiefer Sutherland). Milo is abducted and
trained as a gladiator-slave, and he grows to become an arena champion, landing in Pompeii as an adult (played by Kit Harrington). There,
he is forced to battle soldiers in a re-enactment of the attack on his
village. He befriends rival gladiator Atticus (Adewale AkinnuoyeAgbaje) and longs for the comely Cassia (Emily Browning), who has
also caught Corvus eye. In the middle of the epic fight, nearby
Mount Vesuvius erupts, threatening to obliterate the city and its
inhabitants.
Speaking to AC on the productions Toronto set in June 2013,
director Paul W.S. Anderson acknowledges a childhood fascination
with the Roman Empire and especially with Pompeii, the city buried
and preserved in ash. Its great subject matter, he observes. Our
storys structure is a combination of a sword-and-sandals epic and a
disaster movie Spartacus meets 2012.
Pompeii is Andersons fourth feature with director of photography Glen MacPherson, ASC, CSC, following Resident Evil: Afterlife,
The Three Musketeers (AC Nov. 11) and Resident Evil: Retribution.
24
March 2014
All four productions have been native 3-D. Glens 3-D work on The
Final Destination [2009] impressed me, and because hed already
worked in the format, I knew I could feel free to experiment, says
the British director. Hes also the fastest cinematographer Ive ever
worked with. The number of setups we do per day is usually in the
high 20s, and theyre complicated moves.
On this, the 39th day of the 59-day shoot, the production is
working in its amphitheater set, which comprises a practical portion
featuring seats for 500 extras and a large greenscreen for CG additions. Massive boulders in the center of the arena are incorporated
into the battle between 23 soldiers and Milo, Atticus and five other
gladiators.
MacPherson wears rubber boots because despite clear skies,
the previous days downpour has left puddles where the ground is
gravel and mud everywhere else. He relates that during his six weeks
of prep for the show, he and Anderson screened a number of
related movies and TV shows. One thing we took from them was
the importance of atmosphere, says MacPherson. Weve got lots
of smoke and flame and dark sets. If you look at Gladiator [AC May
00], theres atmosphere in every shot, and were going for something similar.
The production is shooting with four 3ality Technica Atom
3-D rigs modified by Cinesail 3D Systems, a company owned by
MacPherson and second-unit director of photography Vern Nobles,
American Cinematographer
Photos by Caitlin Cronenberg and George Kraychyk, courtesy of Sony Pictures Entertainment. Visual-effects images courtesy of Mr. X.
Production Slate
25
Right: The
Proclaimers
(center) tell the
story of the
battle that will
be reenacted in
the gladiatorial
arena. Below:
This sequence
of images
illustrates the
visual-effects
layers used to
create the
amphitheater
and its crowd.
March 2014
American Cinematographer
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March 2014
TECHNICAL SPECS
2.40:1
3-D Digital Capture
Red Epic
Zeiss Ultra Prime
5-Star Service
Wes Andersons
The Grand Budapest Hotel,
shot by Robert Yeoman, ASC,
follows the whimsical
adventures of a legendary
concierge and his protg.
By Iain Stasukevich
|
30
March 2014
American Cinematographer
Unit photography by Martin Scali. Photos and frame grabs courtesy of Fox Searchlight Pictures.
Opposite: M.
Gustave (Ralph
Fiennes) is the
concierge at the
luxurious Grand
Budapest Hotel,
located in the
fictitious Eastern
European
province of
Zubrwka. This
page, top:
Gustave comforts
his lover,
Madame
Desgoffe-undTaxis (Tilda
Swinton), as she
concludes one of
her regular visits.
Bottom:
Cinematographer
Robert Yeoman,
ASC lines up a
shot in the
hotel lobby.
31
5-Star Service
Top: Gustave addresses the hotel staff from a podium in a utility hallway that also serves as
a dining area. Bottom: Years later, a writer (Jude Law) visits the faded hotel, where the propertys
owner, Monsieur Moustafa (F. Murray Abraham), recounts its colorful history.
March 2014
www.theasc.com
March 2014
33
5-Star Service
was a format Id never used before on a
movie, and it was a fun departure. You
can get accustomed to 1.85:1 or 2.40:1
to the point that the shots become more
predictable.
Sequences set in the late 1970s,
when the author addresses the camera
from behind a desk, were filmed in
1.85:1, and scenes set in the 1960s were
filmed in 2.40:1 anamorphic. Yeoman
shot the latter material using anamorphic Techno-Cooke prime and zoom
lenses from Technovision. They have a
very interesting quality theyre not
sharp and crisp like Panavision Primo
anamorphics, he notes. I was a little
nervous about how they fell off at the
edges. I think the 40mm was actually
pretty soft in the lower center.
Cameramen dont like seeing that, but
Wes embraced the imperfections of the
lenses because of their distinctive look.
Cooke S4 prime lenses and an
Angenieux Optimo 24-290mm zoom
were used for the rest of the film.
Principal photography was
strictly a single-camera affair, and
Yeoman used an Arricam Studio
provided by Arri Berlin. When youre
as compositionally specific as Wes and I
are, one camera is the only way to go,
the cinematographer muses.
Yeoman takes a low-tech
approach to accomplishing Andersons
trademark swish pans and dolly shots.
I generally prefer an Arri gear head, but
at times Ill opt for an OConnor
Ultimate fluid head, particularly for
swish pans that are more than 90
degrees, he explains. I can be more
accurate and move the camera faster
with the fluid head. We had several long
dolly moves, and we prefer a large dolly
like the Chapman Hybrid 3. Wes
prefers to ride with a handheld monitor
so he can be near the actors.
Anderson constantly encouraged
Yeoman and key grip Sanjay Sami to
find new ways to accomplish shots. A
new addition to their toolkit was the
Towercam, a telescoping camera platform from MAT in Berlin. The
Towercam was occasionally used in
place of a crane or to boom the camera
Top to bottom:
Gustave and his new
lobby boy, Zero (Tony
Revolori), are
roughed up by
military goons during
a train ride; Gustave
is threatened by
Madame Desgoffes
son, Dmitri (Adrien
Brody, second from
left), and his enforcer,
Jopling (Willem
Dafoe, left), after the
old lady leaves the
concierge a priceless
painting in her will;
Gustave and Zero go
on the lam.
34
March 2014
American Cinematographer
Top to bottom: Zero finds love with Agatha (Saoirse Ronan), the hotels baker; Ronan
retrieves items from a safe under Yeomans watchful eye; the crew uses a Towercam
to capture a shot of the young couple hanging on for dear life.
www.theasc.com
March 2014
35
5-Star Service
36
March 2014
American Cinematographer
days redressing the location for the transition to the resplendent Grand
Budapest of the 1930s. The lobbys drop
ceiling was taken out to reveal an additional three floors (cheated to six in the
film), chandeliers and an enormous
stained-glass skylight.
For day interiors in the lobby,
Yeoman placed 20 4K HMIs on the
department-store roof and used frames
of stretched muslin to bounce them
through the skylight. The downside of
working in Germany in winter is that its
light at 8 a.m. and dark at 4 p.m., he
explains. By creating our own daylight,
we were able to shoot as long as we
wanted.
Daylight was supplemented
throughout the lobby with warm practicals. We liked the tungsten contrast
with the cool daylight, says the cinematographer. Whenever possible, we
wanted to work only with the artificial
A variety of fixtures
was used to light
1960s scenes in the
hotels dining room
(top and lower
left), where
Moustafa meets
with the writer, and
lobby (lower right).
daylight and practicals, plus the occasional fill light. Night interiors were lit
only with practicals and tungsten units.
The hotels servant quarters and
service areas, filmed in an empty building near the department-store location,
appear less inviting than the rest of the
hotel. Stockhausen incorporated fluorescent sources into his production
37
5-Star Service
the Desgoffe trophy room at Schloss
Lutz, where Deputy Vilmos Kovacs
( Jeff Goldblum) gathers the bereaved
for a reading of Madame D.s will. (The
rest of the house was filmed on location
at Germanys Schloss Waldenburg.)
Much of Andersons camera blocking
in this scene required a 360-degree
sightline, so Yeoman and gaffer Helmut
Prein floated two skirted Zasa 9'x9' 5K
tungsten helium balloons between the
rooms chandeliers. Two 2K tungsten
Fresnels were pointed at the large
painting of a boar on the wall behind
Kovacs, which is flanked by tungsten
candelabras on dimmers. Helmut was
a wonderful collaborator, and we
worked together to formulate the most
effective lighting solutions, says
Yeoman.
The Stadthalles main auditorium was converted into the Grand
Budapests dining room for the scene in
which the adult Moustafa tells the
Young Writer the story of how this
enchanting, old ruin fell into his
possession. The production brought in
tables and practical lights and repainted
the walls. An enormous painting in the
style of Caspar David Friedrich depicting a stag atop a craggy peak was hung
in the proscenium.
Yeoman floated three Zasa
20'x20' 30K tungsten helium balloons
over the tables for ambience. On the
floor, his keylights were 12-light Maxis
bounced off white card through a
12'x12' frame of Full Grid and
controlled with a 40-degree soft egg
crate. For the closer shots, we put an
additional layer of diffusion between
the bounce and the diffusion, says
Prein. A Keylite 5K tungsten Illico,
China balls ranging from 250 watts to
1K, and 1K and 2K tungsten Jem Balls
provided fill and additional sculpting.
The filmmakers experimented
with dynamic lighting cues, fading
down and up as Moustafa slips in and
out of his memories. We looked at One
from the Heart [AC Jan. 82] to see how
Vittorio Storaro [ASC, AIC] accomplished all those great lighting transitions, says Yeoman.
38
March 2014
American Cinematographer
5-Star Service
Jopling emerges from a ski locker at the start of a downhill ski-and-sled chase
that combines stop-motion animation, live action and in-camera effects.
40
TECHNICAL SPECS
2.40:1, 1.85:1, 1.37:1
35mm and Digital Capture
Arricam Studio, Red Epic and
Canon EOS 5D Mark II
Techno-Cooke, Cooke S4 and
Angenieux Optimo
Kodak Vision3 200T 5213
Digital Intermediate
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Reector
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A Fight to
44
the Death
March 2014
American Cinematographer
By Douglas Bankston
|
Unit photography by Gregory E. Peters. Photos and frame grabs courtesy of Universal Pictures.
www.theasc.com
March 2014
45
Top: The SEALs navigate after being dropped by helicopter in the mountains
of Afghanistan. Middle: Dietz keeps a watchful eye in the trees. Bottom: Lt. Cmdr. Erik
Kristensen (Eric Bana, standing) monitors the mission from the Bagram Air Base.
46
March 2014
American Cinematographer
Top: The
soldiers
traverse the
mountain after
their operation
is
compromised.
Schliessler
notes that lens
flares really
gave the image
realism and
energy.
Bottom:
Murphy and
Luttrell are
peppered with
gunfire.
March 2014
47
The SEALs try to evade heavy gunfire from Taliban fighters in these frame grabs.
March 2014
www.theasc.com
March 2014
49
Top (both pages): The crew sets up a dolly shot at the Afghan village set.
Bottom: A-camera operator Jacques Jouffret and 1st AC Jimmy Jensen
shoot a scene in which Gulab (Ali Suliman), a villager, helps Luttrell.
March 2014
Bottom: Luttrell says an emotional goodbye to Gulabs son (Rohan Chand) outside the village.
51
This frame grab shows the grounded helicopters on Bagram Air Base.
52
blue for the main Afghanistan operations center while the fluorescent
fixtures on the main actors were warmer.
Lone Survivor was the first feature
to employ the Company 3/EFilm EC3
Trailer, a 12-seat mobile dailies-grading
theater with a file-ingest room, 2K digital cinema projector and 7'-wide screen.
Dailies colorist Adrian DeLude used the
filmmakers custom gamma-curve
presets from Schliesslers initial camera
tests and matched the three cameras. It
was such a great luxury, Schliessler says.
It felt like the old film days, when Id
shoot film and then go to the lab the next
morning to look at printing lights.
Before lunch, we sent the Red cards to
the trailer, and at lunch Id come look at
dailies from the morning on the big
screen. I could talk to the dailies colorist
then and there to make adjustments, and
that could be carried into post, which
made for a very smooth and fast final
grade.
Nowadays, I think of the differ-
TECHNICAL SPECS
2.40:1
Digital Capture
Red Epic, Vision Research
Phantom Flex
Fujinon and Angenieux Optimo
53
Espionage, Payback
and Laughs
T
The cinematographers behind
The Americans, Revenge and the
Saturday Night Live Film Unit
discuss their work.
March 2014
his special focus on television production features directors of photography Richard Rutkowski (The Americans);
Cynthia M. Pusheck, ASC and John Smith (Revenge);
and Alex Buono (Saturday Night Live Film Unit).
The Americans (FX)
Cinematographer: Richard Rutkowski
American Cinematographer
The Americans photos by Craig Blankenhorn, courtesy of FX Network. Revenge photos by Karen Neal, Colleen Hayes, Vivian Zink and Richard Cartwright, courtesy of ABC.
Saturday Night Live photos by Dana Edelson, Lue Nemoto, Maria Traversa and Sam Nuttman, courtesy of NBC.
Opposite page
(clockwise from
top): Scenes from
The Americans,
Revenge and
Saturday Night
Live. This page,
top: Soviet agents
test the loyalty of
Elizabeth Jennings
(Kerri Russell) in a
scene from the
period drama The
Americans.
Bottom: Elizabeth
speaks with her
husband, Philip
(Matthew Rhys), in
their home.
55
Elizabeths role
as a Soviet spy is
unknown to her
children, Henry
(Keidrich Sellati)
and Paige (Holly
Taylor). We are
trying to exploit
the theme of
duality, that
these characters
are supposed to
be living normal
American lives
and enjoying the
American dream,
while in fact
theyre working
to undermine it,
says
cinematographer
Richard
Rutkowski.
March 2014
Top: Elizabeth
dons a disguise
to tail a CIA
agent. Bottom:
Rutowski eyes a
shot on set.
57
58
March 2014
Emily Thorne (a.k.a. Amanda Clarke, played by Emily VanCamp) conspires with
Nolan Ross (Gabriel Mann) in a scene from Revenge.
Revenge (ABC)
Cinematographers:
Cynthia M. Pusheck, ASC
and John Smith
Revenge has been a powerful
motivating force throughout human
history, a catalyst for countless crimes.
Amanda Clarke (Emily VanCamp) has
been harboring thoughts of retribution
since she was a child in Southampton,
N.Y., and her beloved father was
framed for a heinous crime and then
murdered in prison to make sure the
truth stayed buried. Convinced that the
rich and ruthless Conrad and Victoria
Grayson (Henry Czerny and
Madeleine Stowe) were behind her
fathers misfortunes, Amanda has been
plotting the couples downfall for 17
years. She set her plan in motion when
the primetime series Revenge debuted
on ABC. Passing herself off as one
Emily Thorne, Amanda rented a beach
house next door to the Graysons and
quickly insinuated herself into their
lives.
For me, Revenge is a show of
duality, says Cynthia M. Pusheck,
ASC, who served as the shows sole
American Cinematographer
www.theasc.com
March 2014
59
March 2014
Pusheck. It also helps save time whenever were shooting on Emilys porch
and need to get the camera up higher
without working off risers on the dolly.
The backyard patio at Grayson
Manor and the front deck at the
Stowaway (glimpsed mainly through
windows behind the bar) are also
soundstage sets, and both are pre-rigged
for day and night looks. One of the
changes we made this season was to use
Ohm Space Lights, which are LEDs,
instead of regular space lights outside
Grayson Manor, notes Smith. The
Ohm lights are dimmable from 10
American Cinematographer
62
March 2014
From left: Saturday Night Live Film Unit director Rhys Thomas, cast member Bill Hader and
director of photography Alex Buono pose on the set of Stefons Farewell.
Above: Thomas
and Buono
confer on the
set of Now
Thats What I
Call Christmas.
Right: Buono
frames cast
member Kate
McKinnon on a
New York City
street for the
shows title
sequence.
March 2014
From left:
Production
manager Justus
McLarty,
Thomas, key
grip Mort Korn
and Buono at
work on
location.
66
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TLCI 99, CRI 95, CQS 95, 0 100% dimming range, FLICKER
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67
March 2014
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.
American Cinematographer
www.digitalvision.se.
Telecine &
Color Grading
Jod is a true artist with
a great passion for his craft.
John W. Simmons, ASC
69
Blackmagic Enhances
UltraStudio 4K
Blackmagic Design has introduced an
updated model of UltraStudio 4K equipped
with Thunderbolt 2 technology. The rackmount capture and playback device features a
machined aluminum front panel with an integrated color LCD as well as fast-to-use video
and audio input buttons. The rear panel
includes virtually every type of video and audio
connection, including 6G-SDI, HDMI 4K,
analog component/s-video/composite, as well
as balanced analog and AES/EBU digital audio.
With the 20Gb/s speed of Thunderbolt
2, UltraStudio 4K boasts more bandwidth to
work with higher-quality video and frame
rates. Users can capture and play back Ultra
HD 4K YUV video at 60 fps and Ultra HD 4K
RGB video at 30 fps via the advanced 6G-SDI
video connections. The Thunderbolt loopthrough allows connection of up to six devices,
so users can connect fast disk arrays for
massive amounts of video storage with a
single Thunderbolt connection to their
computer.
The 6G-SDI connections enable UltraStudio 4K to support virtually every television
format; users can instantly switch between SD,
HD, Ultra HD and 4K, making UltraStudio 4K
an ideal solution for post and broadcast users
working on design, editing, paint, color correction and visual-effects tasks. UltraStudio 4K is
also suited to 3-D workflows, as it features
both interleaved/side-by-side and dual-stream
capture and playback.
UltraStudio 4K users can also take
advantage of Blackmagic Designs Desktop
Video 10, which has been optimized for highspeed computers and the emerging Ultra HD
television formats that require massive data
speeds. Additionally, users of Blackmagic
Design DaVinci Resolve 10 will benefit from
the simultaneous capture and playback
support that lets them capture directly from
cameras on set and grade the live video with
multiple nodes of color correction for live
onset monitoring.
The updated UltraStudio 4K replaces
the previous model and is available now for
$995.
For additional information, visit
www.blackmagicdesign.com.
70
March 2014
Dolby PRM
Integrates
LightSpace CMS
Light Illusion, a U.K.based color-management
specialist, has announced
the integration of its LightSpace CMS color-management system with
the Dolby Professional Reference Monitor.
With this integration, LightSpace CMS users
can perform automated calibration of the
Dolby monitor and build custom profiles
that can be loaded onto the monitor as 1-D
and 3-D look-up tables. With custom 3-D
LUT import capabilities, which allow for the
direct application of calibration LUTs via
LightSpace CMS, the system delivers a new
level of flexibility for users of the Dolby PRM.
In discussion with Dolby, we
proposed how LightSpace CMS could assist
American Cinematographer
International Marketplace
72
March 2014
American Cinematographer
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 capitals without extra charge. No agency commission or discounts on
classified advertising.PAYMENT MUST ACCOMPANY ORDER.
VISA, Mastercard, AmEx and Discover card are accepted. Send ad to Classified Advertising, American
Cinematographer, P.O. Box 2230, Hollywood, CA
90078. Or FAX (323) 876-4973. Deadline for payment
and copy must be in the office by 15th of second month
preceding publication. Subject matter is limited to items
and services pertaining to filmmaking and video production. Words used are subject to magazine style abbreviation. Minimum amount per ad: $45
CLASSIFIEDS ON-LINE
Ads may now also be placed in the on-line Classifieds at the ASC web site.
Internet ads are seen around the world at the
same great rate as in print, or for slightly more you
can appear both online and in print.
For
more
information
please
visit
www.theasc.com/advertiser, or e-mail: classifieds@theasc.com.
Classifieds
EQUIPMENT FOR SALE
SERVICES AVAILABLE
www.theasc.com
March 2014
73
Advertisers Index
AC 65, 73
Adorama 11, 29
AFI 71
AJA Video Systems, Inc. 17
Alan Gordon 73
Arri 7
Backstage Equipment, Inc. 8
Birns & Sawyer 72
Blackmagic Design, Inc. 9
Canon USA Video 14-15
Carl Zeiss SBE, LLC 13
Cavision Enterprises 72
Chapman/Leonard Studio
Equipment Inc. 27
Cinebags Inc. 73
Cine Gear 63
Cinematography
Electronics 8
Cinekinetic 72
Cooke Optics 42-43
Eastman Kodak C4
Film Gear (International), Ltd.
39
Filmotechnic USA 40
Filmtools 69
Glidecam Industries C3
Grip Factory Munich 65
Jod Soraci 69
K5600 19
Kino Flo 52
Technocrane 21
TV Logic/Preco, Inc. 66
Lee Filters 41
Lights! Action! Co. 72
Lighttools 53
Willys Widgets 72
www.theasc.com 6, 8, 73,
74
Maccam 67
Mac Tech LED 61
Matthews Studio
Equipment/MSE 72
M.M. Mukhi & Sons 73
Movie Tech AG 72, 73
NAB 75
Next Shot 39
74
Panavision, Inc. 5
Pille Filmgeraeteverleih
Gmbh 72
Pro8mm 72
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goals and play to win is here. Global to mobile, live to archive, sound and picture from
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76
March 2014
ACTIVE MEMBERS
Thomas Ackerman
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American Cinematographer
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M A R C H
Wally Pfister
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2 0 1 4
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William Wages
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Michael Weaver
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Jack Whitman
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Dariusz Wolski
Ralph Woolsey
Peter Wunstorf
Robert Yeoman
Richard Yuricich
Jerzy Zielinski
Vilmos Zsigmond
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ASSOCIATE MEMBERS
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HONORARY MEMBERS
Col. Edwin E. Aldrin Jr.
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Marek Zydowicz
March 2014
77
Clubhouse News
78
March 2014
American Cinematographer
1.
Lachmans Photos Displayed
in Paris
The Galerie Cinma in Paris
recently
hosted
Ed
Lachman:
Photos/Montage, a show that presented a
collection of Ed Lachman, ASCs still
photos and collages, as well as frames
from a number of the features hes
photographed over the course of his
career. Highlights of the collection
included Polaroid photos Lachman took
during the production of Im Not There
(AC Nov. 07), as well as a frame from the
last shot actor River Phoenix completed
on the film Dark Blood. Lachman was on
hand in Paris for the shows opening.
Woolsey Celebrates Centennial
Ralph Woolsey, ASC recently
celebrated his 100th birthday with a party
at the Clubhouse. Woolsey was joined by
family, friends and fellow members, many
of whom stepped to the microphone to
share recollections from Woolseys
decades-spanning, storied career, during
which he earned Emmy nominations for
his work on the series Maverick, 77
Sunset Strip and It Takes a Thief (he won
for the latter). Woolseys credits also
include episodes of the series Lawman
and Batman, as well as the features The
New Centurions, The Iceman Cometh,
Mother, Jugs and Speed and The Great
Santini.
2.
3.
4.
5.
7.
6.
1. Ralph Woolsey, ASCs 100th birthday was celebrated
at the Clubhouse; 2. revelers turn their attention to
the man of the hour; 3. Robert Primes, ASC signs the
guest book; 4. Woolsey admires his cake; 5. Richard
Crudo, ASC congratulates Woolsey; 6. ASC members
Owen Roizman (second from left) and Bill Roe enjoy
the party with their wives, Mona and Kathy;
7. Woolsey thanks the attendees.
Errata
A caption on page 52 in last
months profile of Dean Cundey, ASC
(Cool, Calm, Creative), incorrectly
identified a subject as Cundeys wife,
Tisha. Dean and Tisha are pictured at
right.
In the same issue, the photos
from the ASC Master Class (Learning
from the Masters) were all taken by Alex
Lopez, whose credit was omitted.
www.theasc.com
March 2014
79
When you were a child, what film made the strongest impression on you?
Joan of Arc (1948). I was 11, and I watched Ingrid Bergman in a Long
Beach theater twice a weekend for a month. I also loved the Buck
Rogers serials.
80
March 2014
American Cinematographer
Close-up