October 2013: $5.95 Canada $6.95
October 2013: $5.95 Canada $6.95
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Canada $6.95
This still frame was pulled from 5k RED EPIC motion footage from Elysium 2013 CTMG. All rights reserved.
www.red.com
2012 Red.com, Inc. All rights reserved.
The Red One was like getting our hands on the future for
District
9. The Epic is a fantastic evolutionary leap forward. Its
compact form, image quality and resolution were a perfect
t for both the grittiness of future Los Angeles and the
pristine offworld landscapes of Elysium.
Trent Opaloch
TRUE-STREAK
Choose from
a variety of
colors
On Our Cover: Formula 1 racers Niki Lauda (Daniel Brhl, left) and James Hunt
(Chris Hemsworth) go head-to-head for the 1976 Drivers Championship in Rush,
shot by Anthony Dod Mantle, ASC, BSC, DFF. (Photo by Jaap Buitendijk, courtesy
of NBC Universal.)
FEATURES
38
54
66
78
Full Throttle
Anthony Dod Mantle, ASC, BSC, DFF shifts Rush into
high gear
54
Naval Campaign
William Webb, ASC recounts his tour of duty on NCIS
Magic Touch
66
DEPARTMENTS
10
12
14
22
86
90
94
95
96
98
100
Editors Note
Presidents Desk
Short Takes: ASC Harris Savides Heritage Awards
Production Slate: After Tiller Don Jon
Post Focus: CSI
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Steve Gainer
VISIT WWW.THEASC.COM
78
John Bailey, ASC offers observations on the artistry of legendary Mexican cinematographer Gabriel Figueroa in the latest
installment of his blog, Johns Bailiwick. Stills, video clips and links to other resources enhance Baileys comments. Figueroa
is the subject of the Los Angeles County Museum of Art exhibit Under the Mexican Sky: Gabriel Figueroa, Art and Film, which
opened on Sept. 22 and will remain on view until Feb. 2, 2014.
THIS MONTHS ONLINE QUESTION: Which cinematographers body of work has influenced you the most, and why?
Andrew Rodger: For me, its Matthew Libatique [ASC]. He has such a wide palette, but his
work is always flawless and visually stunning.
Zebastian Boiardt: James Wong Howe [ASC].
Black-and-white never looked the same.
Camille Collazo Photography: Michael Slovis
[ASC]. His work on Breaking Bad is groundbreaking.
Figueroa photo by Manuel lvarez Bravo. Photo and frame grab courtesy of the Los Angeles County Museum of Art and American Cinematographer archives.
O c t o b e r
2 0 1 3
V o l .
9 4 ,
N o .
1 0
Visit us online at
www.theasc.com
EDITORIAL
EXECUTIVE EDITOR Stephen Pizzello
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Benjamin B, Douglas Bankston, Robert S. Birchard,
John Calhoun, Michael Goldman, Simon Gray,
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Patricia Thomson
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CREATIVE DIRECTOR Marion Kramer
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American Cinematographer (ISSN 0002-7928), established 1920 and in its 93rd year of publication, is published
monthly in Hollywood by ASC Holding Corp., 1782 N. Orange Dr., Hollywood, CA 90028, U.S.A.,
(800) 448-0145, (323) 969-4333, Fax (323) 876-4973, direct line for subscription inquiries (323) 969-4344.
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OFFICERS - 2012/2013
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President
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Vice President
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Vice President
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Treasurer
Frederic Goodich
Secretary
Isidore Mankofsky
Sergeant At Arms
MEMBERS OF THE
BOARD
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ALTERNATES
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Executive Editor
10
Editors Note
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12
October 2013
American Cinematographer
Presidents Desk
Short Takes
October 2013
tell the story, and we didnt have time to overshoot every scene. If the
camera moved, it was motivated by an action or a feeling. For the
most part, the filmmakers employed single-camera setups, reserving
a B camera mainly for inserts and establishing shots. One notable
exception is an emotional scene set in the rain; for that, two cameras
were used to simultaneously capture medium and close-up coverage
of the performances.
Broomberg shot the picture with Panavised Red One MX
cameras and Zeiss Super Speed prime lenses provided by Panavision
Hollywood. He captured in the 2.0:1 aspect ratio in 4K, recording in
Redcode 36 to Red CF Cards. He used a range of Schneider Black
Frost filters on the lens to bloom practical lights and soften skin tones
and textures, and he worked closely with production designer Rachel
Aguirre to make sure the sets could incorporate vintage lamps and
filament bulbs as much as possible. The filament bulbs looked
amazing with the Black Frost, he notes.
The cinematographer used the in-camera Redcolor LUT for
viewing images on set. The raw image looks very flat and dark, and
I wanted to view an image that was as close as possible to the look
we wanted to achieve and then make tweaks in the final color correction, he explains. The Redcolor LUT crushes the blacks and brings
up the highlights, which is what I intended to do in the timing. Also,
by using the LUT, I gave myself a little more latitude in the highlights
and the blacks in the raw file. During setups, I toggled between raw
and Redcolor preset to see the range I was working with.
American Cinematographer
The Bright Side photos by Joe Mackedanz. Photos and frame grab courtesy of the filmmakers.
Leo (Aric Chase Damm) spins Hazel (Aryn Wuthrich) during a musical number in this frame grab from the The Bright Side, shot by Ryan Broomberg.
Top: Crewmembers
prepare for a
song-and-dance
sequence. Bottom:
Broomberg eyes a
setup from behind
the camera.
October 2013
GO WHEREVER THE
STORY TAKES YOU.
Cinematographer Jeff Cronenweth used the EOS C500 to shoot Man
& Beast from the jungle to Manhattans concrete jungle. With a 4K/2K
workow, a 4:2:2 50 Mbps codec, RAW data output and full compatibility
with either EF or PL-mount lenses, he was able to tell the story with
incredible resolution and exibility. You can see how he shot it, and
watch the full movie, on our website. Made for a broad range of high-end
productions, the EOS C500 is ideal for everything from major motion
pictures to big budget TV shows. With it, the world truly is your stage.
2013 Canon U.S.A., Inc. All rights reserved. Canon and EOS are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries.
October 2013
RENT
CAMERAS
ARRI ALEXA
RED EPIC & SCARLET s SONY F55 / F5 / F3 / FS700 / PMW200 & PMW100 / EX3 & EX1R s CANON C500 / C300 / C100 / 1DC / XF105
A RRI ULTR A PRIME S
1DX / 5D MK III / 6D / 7D s NIKON D 4 / D 8 0 0 / D 6 0 0 s PH A SE ONE iQ 18 0 / iQ 16 0 / iQ 14 0 LENSE S
ARRI FUJINON ALURAS s ANGENIEUX OPTIMOS s CANON CINE PRIMES & ZOOMS s COOKE S4 & MINI S4 s ZEISS CP2 / LWZ2 / ZE / ZF.2
LEICA M s NIKON PRIMES & ZOOMS CAMER A ACCESSORIES
T V L O G I C , S M A L L H D, S O N Y a n d PA N A S O N I C M O N I T O R S
RONFORD-BAKER, OCONNOR, SACHTLER, GITZO and MANFROTTO TRIPODS & HEADS s CINEVATE ATLAS SLIDERS s JIBS & DOLLIES
A R R I , O C O N N O R , R E D R O C K M I C R O, E A S Y R I G a n d G E N U S M AT T E B OX E S , H A N D H E L D R I G S a n d F O L L O W F O C U S
CONVERGENT DESIGN, CODEX, AJA, SOUND DEVICES and ATOMOS VIDEO RECORDERS LIGHTING
ARRI / DEDOLIGHT
MAT THE WS,
LEKO / JOK ERS / K INO FLO / LITEPANELS / LOWEL / MOLE RICHARDSON / PROFOTO STROBES GRIP
MAC TOWERS & LAPTOPS / EIZO and APPLE MONITORS / LOCATION CARTS
AVENGER and MANFROTTO COMPUTERS
October 2013
We Are the Land photos courtesy of the filmmakers. Top right photo by Alex Lopez.
Production Slate
October 2013
American Cinematographer
The
documentary
After Tiller, shot
by Hillary Spera
and Emily
Topper, features
medical doctors
(clockwise from
top left) LeRoy
Carhart, Shelley
Sella, Warren
Hern and Susan
Robinson.
TM
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October 2013
October 2013
try to sense an individuals emotions without having to look her or him in the eye,
because I felt this would make me less
intimidating and more of a fly-on-the-wall.
Gradually, it became intuitive to be around
people in extreme grief and be sensitive to
both their privacy and their emotional
processes.
Patients faces never appear on
camera. Their emotions are conveyed by
voice and body language, often through
close-ups of their hands as they speak.
Those small gestures were so pronounced
to me it became almost a non-issue that we
couldnt show their faces, Spera says. The
50mm Zeiss prime was great for isolating
those details, she adds.
Hillary moved everything in a more
filmic direction, and Martha and Lana were
very pleased with the results, so my job was
to pick up where she left off when I came
back on, says Topper. Whatever parts of
her camera package she couldnt leave with
us we re-created with gear from local rental
houses. (Speras Zeiss lenses were also
adapted to a Canon mount so they could
be used for the DSLR material, which was
shot with a rented 5D or Speras own 7D.)
Negotiating the small spaces in the
clinics was a constant challenge for the
cinematographers. It was a matter of finding a spot in the room where I could stay
backed off and still choose the angles that
would best tell the story, says Spera.
Topper adds, It was always a judgment call
about the comfort level of doctor and
patient. On a couple of occasions, we were
Emily Topper photo by Djakhangir Zakhidov, courtesy of Topper. Hillary Spera photo by Michael Seta, courtesy of Alaska Film.
Cinematographers Emily Topper (left) and Hillary Spera at work on other projects.
TM
FILTERS
2013 The Tiffen Company. All trademarks or registered trademarks are property of their respective owners.
These images are from 42 Legendary Pictures Productions LLC. & Warner Bros Entertainment Inc.
30
October 2013
TECHNICAL SPECS
16:9
Digital Capture
Sony PMW-EX3, PMW-EX1;
Canon EOS 5D, 7D
Zeiss, Canon, Fujinon
American Cinematographer
October 2013
October 2013
TECHNICAL SPECS
2.40:1
4-perf Super 35mm
Panaflex Millennium, Lightweight
Panavision Primo, Angenieux Optimo
Kodak Vision3 500T 5219, 200T 5213
Digital Intermediate
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Full Throttle
38
October 2013
American Cinematographer
Unit photography by Jaap Buitendijk. Frame grabs and photos courtesy of NBC
Universal. Additional photos by Jakob Bonfils and Rupert Lloyd Parry, courtesy of
the filmmakers.
Opposite: Formula 1 racing rivals James Hunt (Chris Hemsworth, left) and Niki
Lauda (Daniel Brhl) go head-to-head for the 1976 Drivers Championship. This
page, left: Hunt poses for pictures with female admirers while a disciplined Lauda
keeps his eyes on the track. Top right: Anthony Dod Mantle, ASC, BSC, DFF
handholds a camera inside the replica Lauda car. Bottom: Lauda questions Hunts
priorities in a frame grab from the movie.
October 2013
39
Full Throttle
Top: The
filmmakers used a
wide selection of
archival photos,
such as this 1970s
image featuring
two grid start
girls, for
reference. Bottom:
These shots
served as look
references for
angles captured
by Indiecams
mounted directly
onto the racecars.
October 2013
entire Monza scene, continues the cinematographer. Out of that wed take
colors, costumes, buildings and other
elements, and simulate them in the
scenes wed shoot.
Aiming for a final aspect ratio of
2.40:1, Dod Mantle chose Arri Alexas
American Cinematographer
An Indiecam mounted to a rear wheel on one of the replica cars captured the perspective
shown in the bottom image.
www.theasc.com
October 2013
41
42
October 2013
|
He recognizes that
this strategy presented
editors Dan Henley and
Mike Hill with a huge
editorial challenge. Its
not just cutting the heads
and tails off the scenes
and putting them
together in the right
rhythm. They have to
really roll up their sleeves
and help create the sense
of reality. And given the
way were shooting the
movie, there are more
than a handful of ways
to approach [various
sequences]. I always have
a point of view, but I
dont tell them [right
away] because I always
want to see what they
discover with the footage first.
Howard reserves special praise
for Rushs art department, led by supervising art director Patrick Rolfe, for its
deep research on the movies era. The
team festooned production-office
corridors with a variety of images, and
those reinforced all our instincts as to
the look and feel not only photographically, but also atmospherically. [The
photos influenced] wardrobe, props,
our color palette, and even the body
language of characters and the feel of
the background actors. Those images
seeped in to create a unified aesthetic
that informed our choices in every
shot.
The director concludes that he,
Dod Mantle and their collaborators
sought to dimensionalize the drama
so that audiences feel really rewarded
that theyve experienced something,
and a little surprised by the journey
theyve gone through with the characters. Its not necessarily the journey they
expected.
Fred Schruers
www.theasc.com
October 2013
43
44
October 2013
An Indiecam,
shown here with
a Cmotion
Cvolution lenscontrol unit
provided by
Camadeus, was
just one of the
many cameras
contributing
images to the
productions
digital
workflow.
Full
Tungsten
Hair-light
Full
Daylight
Key-light
Tungsten
/Day Mix
Fill-light
Introducing
the Lowel BlenderTM
3 Light LED Kit
Unpredictable situation.
Predictably perfect lighting.
&ODVVLFSRLQWOLJKWLQJZLWKDGGHGFUHDWLYHYHUVDWLOLW\
7KUHHSRZHUIXOFRORUEOHQGLQJ/('VIRUIDVWUXQ JXQ
LQWHUYLHZVHWXSV
4XLFNO\ HDVLO\PL[WXQJVWHQDQGGD\OLJKWZLWK
DWZLVWRIWKHGLDO
3OXVVWDQGVGLIIXVHUVDQG$&DGDSWRUVLQDFRPSDFW
OLJKWZHLJKWFDVHZURRPIRU'&RSWLRQV
Full Throttle
Top: A close-up of
Hunts eye captures
his focused
intensity on the
racetrack. Middle:
Indiecams were
mounted on the
actors helmets to
capture such shots.
Bottom: This photo,
taken in prep,
inspired Dod
Mantle to employ
the helmet rigs.
October 2013
American Cinematographer
www.theasc.com
October 2013
47
Full Throttle
Top: Dod Mantle captures a scene from the cockpit of Laudas car as a driver speeds past
him. Bottom left: A remote-controlled, car-mounted slider rig was constructed so the
Indiecams could capture unusual onboard perspectives. Bottom right: Multiple Indiecams
mounted on Hunts vehicle.
October 2013
so I tried to educate myself and my operators about how and when to incorporate that idea. We didnt do it too much,
because if you do, you get this incessant
wobbling, but if there was an emotional
or story-based reason to have a camera
slightly struggling to shoot through a
fence, or doing a slightly unmotivated
push, then we did it. The unpredictabilAmerican Cinematographer
Full Throttle
50
October 2013
parts of the story, Hunt should be pushing the edge of the frame, almost like a
lion in a cage. We move with him, but
hes always pushing at the frame. And I
thought Lauda was much more linear,
so everything with him should be more
directional at the beginning. I could
sense that Ron wasnt used to talking to
a cinematographer about something like
this so long before shooting, but he took
it onboard straight away.
Working on the airfield sets in
England, trying to re-create exotic racetracks in far-off countries, Dod Mantle
was often at the mercy of the elements.
We had large lighting rigs on the main
sets cranes with three 18Ks on them,
for instance and I was constantly in
allegiance with God and the assistant
directors, trying to anticipate the
weather, he says. We were lucky with
our Brazil scenes because we had an
amazingly sunny afternoon very early in
the year, and we were lucky again with
the South Africa scene, which was basically a single day when we brought all
the South African paraphernalia to the
set.
It was impossible to light the
onboard racing shots, and the latitude of
the small HD cameras was restricting,
but Dod Mantle made great efforts to
hold exposure in the skies by using NDs
and graduated filters. He notes, I made
a pact with Ron that I was never, ever
going to put the focus of these small
lenses anywhere near infinity, because
American Cinematographer
Full Throttle
Marlene
exults as
Lauda takes
the checkered
flag in a
key race.
52
TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Studio, Plus;
Canon EOS C300;
Indiecam IndieGS2K, IndiePOV;
Phantom Flex; V.I.O. POV.HD;
Red Epic; Canon EOS-1D; GoPro
Bausch & Lomb Baltar, Cooke S2,
Arri Master Prime,
Century, Angenieux, Kowa,
Schneider, Canon
53
54
October 2013
American Cinematographer
Photos by Wilson Webb, courtesy of Alcon Entertainment and Warner Bros. Pictures.
Opposite: Det.
Loki (Jake
Gyllenhaal)
approaches the
RV of a
suspected
kidnapper in
Prisoners. This
page, top: Loki
mulls over the
facts of the case.
Bottom:
Cinematographer
Roger Deakins,
ASC, BSC on
location.
55
Top: Loki sits alone in a Chinese restaurant for Thanksgiving dinner; the scene was shot inside a re-dressed pancake house lit inside with 19" China balls.
Bottom left: Keller Dover (Hugh Jackman), the father of one of the two missing girls, questions Loki about the investigation. Bottom right: Loki speaks with
Nancy and Frank Birch (Viola Davis and Terrence Howard), the parents of the other missing girl.
October 2013
57
Top: Dover
confronts Alex
Jones (Paul
Dano), the man
he suspects of
kidnapping his
daughter,
outside the
police station.
Bottom: Director
Denis Villeneuve
plans a shot
with Deakins.
October 2013
October 2013
October 2013
American Cinematographer
64
Deakins eyes
a shot
through the
viewfinder. I
approached
the story as a
morality
tale, he says.
Its tough
material but
very
worthwhile.
TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa Studio, Plus
Arri Master Prime
65
Naval
Campaign
NCIS director of photography
William Webb, ASC invites AC to
the set as he begins shooting the
series 11th season.
By Jon D. Witmer
|
66
October 2013
American Cinematographer
Unit photography by Monty Brinton; Richard Cartwright; Sonja Flemming; Richard Foreman, SMPSP; Ron P. Jaffe; Cliff Lipson; and Adam Rose, courtesy of CBS Broadcasting, Inc.
Opposite, clockwise
from top left: NCIS
agents Gibbs (Mark
Harmon), DiNozzo
(Michael Weatherly),
David (Cote de Pablo)
and McGee (Sean
Murray) confer with
medical examiner
Mallard (David
McCallum) and his
assistant, Palmer (Brian
Dietzen), on the series
NCIS. This page, top:
Gibbs meets with NCIS
Director Vance (Rocky
Carroll). Middle: David
and DiNozzo step
outside with Senior FBI
Agent Fornell (Joe
Spano). Bottom:
Cinematographer
William Webb, ASC
(right) and B-camera
operator Christos
Bitsakos line up a shot
on location.
October 2013
67
Naval Campaign
Top: The team
stands in the
squad room, one
of the series
many standing
sets, which is
rigged so the
crew can quickly
dial in an array
of day and night
looks. Middle:
Vance and Gibbs
work into the
night. Bottom:
Webb
maneuvers the
Steadicam
around Murray
and Weatherly
while A-Camera
1st AC Chad
Erickson (left)
keeps the action
in focus.
October 2013
American Cinematographer
Top: Gibbs and DiNozzo follow a case remotely from MTAC, NCIS high-tech communications
theater. Middle: Images are projected onto MTACs main viewing screen from a projector outside
of the set. Bottom: The cast prepares for a scene inside the squad rooms elevator.
www.theasc.com
October 2013
69
Naval Campaign
October 2013
Top: Webb frames up Harmon for a scene inside the autopsy set. The practical surgical lamps are
fitted with 250-watt quartz globes to cast burned-out hot spots onto the tables below. Bottom:
A low-key night scene in the autopsy set.
71
Naval Campaign
with the Primo 19-90mm zoom
mounted on the Arri Alexa. Webb operates the Steadicam himself. I do it for
the creativity, he says. Well often
utilize [the Steadicam] in combination
with the dolly, and on location Ill take it
on a Titan crane. Well buzz along at 15
mph in motor mode, stop, go into electric, boom down into a close-up as someone gets out of a car, and continue
straight into a walk-and-talk.
This particular master isnt quite as
complicated, and when its finished, the
crew breaks for lunch. Over a plate of
broccoli and chicken, Webb notes that
after seven seasons of shooting NCIS on
film, CBS and Paramount mandated a
switch to digital acquisition. He recalls,
My producers were very supportive, as
they always are, and said, Pick any
camera you want. So I looked at everything available at that time. Because of
my long relationship with Panavision, we
started with the Genesis, which seemed
to have the least distance to go to achieve
the look wed been enjoying for seven
seasons.
After shooting season eight with
the Genesis, Webb was invited to Arris
Burbank facility to take a look at the
Alexa. He opted to switch to the Alexa
for season nine and has used the camera
ever since. Upon making the change, he
shot comparison tests, recording from
the Alexa in ProRes 4:4:4 and 4:2:2, and
studied the results at Encore with colorist
George Delaney. We determined that
the way our show is broadcast, we
couldnt see a difference, but the time and
cost differential is pretty significant, so
we chose ProRes 4:2:2. Then, I tested the
camera and studied the format until I felt
I knew it as well as the film stocks we
used to use. (The cameras record to
internally mounted SxS cards, which
loader Victoria Ketcham downloads and
QCs using 1 Beyonds Wrangler.)
Webb has collaborated with
Delaney since JAG. He describes how
their communication has evolved: I used
to send him microcassettes daily with my
notes about the light, and I even sent him
pieces of gel and diffusion I was using.
We would also go through scene-by-
Top: DiNozzo
and McGee
monitor the
interrogation
room, visible
through the
glass and lit
with the
custom
Monster Light
that hangs
above the
table. Middle:
An overhead
practical and a
clip light on the
worktable
motivate the
lighting for a
night scene
inside Gibbs
basement.
Bottom: Webb
lights through
the sets
windows for a
day-interior in
the basement.
72
October 2013
American Cinematographer
A STUDY IN EXCELLENCE
Register NOW for the first in a quarterly series of
five-day seminars to be taught by the best cinematographers in the world.
Twenty individuals will enjoy close interaction with
ASC instructors, who will cover all aspects of cinematography.
The inaugural class will convene at the ASC Clubhouse
from October 21-25, 2013, and will be led by our most esteemed members.
LOG ON TO WWW.THEASC.COM
FOR TUITION AND COURSE INFORMATION
Naval Campaign
Top and middle: Webb says that NCIS is about a 40-percent-location show, with regular visits
to ships and Los Angeles-area exteriors that look appropriate for the shows Washington, D.C.
setting. Bottom: Webb confabs with gaffer Jim Krattiger (left) and key grip Bill Baker.
74
October 2013
American Cinematographer
Naval Campaign
With 10
seasons worth
of cases under
their belts,
McGee,
DiNozzo and
Gibbs not to
mention Webb
and his
collaborators
race into action
once again.
76
TECHNICAL SPECS
1.78:1
Digital Capture
Arri Alexa, Canon Cinema
EOS C300, GoPro HD Hero2
Panavision Primo,
Canon Cinema
77
Magic
Touch
78
October 2013
incredibly fast and accurate, and Louis believes that with the
right coaching, she could become the speed-typing champion
of the world.
Schiffman confesses a special affection for the storys
period. I think I am a modern guy, but my heart belongs to
American cinema from the 1950s to the 1970s, he says,
speaking to AC from Tbilisi, Georgia, where he is shooting a
feature about the Chechen War for Hazanavicius.
The cinematographer recalls his initial meeting with
Populaire director Rgis Roinsard, who had loved the look of
the OSS 117 Sixties spy-movie sendups Schiffman shot. We
got along the minute we met, relates the cameraman. We
both love old movies, and we talked about all these pictures
that few people know but we both like.
To get the look, tone and mood Roinsard desired,
Schiffman recommended shooting on film. Many romantic
comedies of that period were distinguished by deep focus and
a strong sharpness of color, even pastel tones, and Roinsard
wanted to replicate that. Rgis wanted depth-of-field and
CinemaScope, but we had neither the time nor the money to
do it. We preferred to save what money we had for the set
dressing, studio and extras. So, we shot spherical, choosing 3perf Super 35mm, for a final aspect ratio of 2.40:1.
American Cinematographer
Opposite: Rose
(Dborah Franois), a
secretary in 1958
France, finds herself
on a path to glory
after her new boss
pushes her to pursue
competitive speed
typing. This page,
top: Rose holds a
typewriter while
working in her
fathers shop.
Middle: Rose
impresses Louis
(Romain Duris), the
boss of a small
insurance company,
with her typing
skills. Bottom:
Cinematographer
Guillaume
Schiffman, AFC
surveys a shot
on set.
October 2013
79
Magic Touch
Right: Louis
reflects over a
cigarette outside
his office.
Bottom left: Rose
sits alone
outside. Bottom
right: Schiffman
lines up the shot
of Franois from
behind the
camera. Its very
important for
this kind of
movie to [make]
the women
beautiful, says
Schiffman, who
used a Tiffen
Soft/FX filter
whenever he
was filming the
female leads.
October 2013
Top: Louis and Rose drive into Paris in this frame grab. The boulevard, vehicles and Eiffel Tower were all
real, Schiffman says, but the surrounding scenery and the reflection in the cars windshield were added
digitally. Bottom: Louis times Rose to track her speed.
natural and more poetic with the lighting, he continues. You know you are in
a movie. The most obvious example of
this is what Schiffman calls the magic
shot of the movie. Rose, who by this
time has won the regional competition,
is practicing her typing at a small desk in
front of a window, and a tall stack of
papers sits next to the typewriter. Louis
is standing beside her with his stopwatch. All of a sudden, a gust of wind
October 2013
81
Magic Touch
Top: Rose searches the room before her first contest at the Regional Championship. Bottom: The typists
ready themselves for the start of the French Nationals. This competition was staged in a hotel ballroom
and lit with fluorescent practicals in the ceiling.
82
October 2013
American Cinematographer
Top: Louis coaches Rose before the International Championship begins. Bottom: The International
Championship was staged in an old movie theater in Lieges, Belgium; the location required a
three-day pre-light.
www.theasc.com
October 2013
83
Magic Touch
84
TECHNICAL SPECS
2.40:1
3-perf Super 35mm
Arricam Studio, Lite
Cooke S4, Angenieux Optimo
Kodak Vision3 200T 5213,
500T 5219
Digital Intermediate
Post Focus
Assistant supervisor Julie Finlay (Elisabeth Shue) and Al Robbins, M.D. (Robert David Hall), confer in the autopsy room in this
frame grab from CSI: Crime Scene Investigation.
Now in its 14th season, the CBS series CSI: Crime Scene Investigation is known for its character-driven plots, graphic violence and
polished visuals. For the past few seasons, the series has been shot
by ASC cinematographers Christian Sebalt and Crescenzo Notarile,
who take turns shooting episodes. Notarile, who joined the production in 2011, stresses the importance of integrating the cinematographers aesthetic into the post workflow starting in prep, as this will
carve the electronic path. The cinematographers job is not only
about choosing a camera. We must also consider the post house, in
this case Encore, and the workflow system set up with the editors
and the post supervisor.
The cinematographers input on CSIs workflow is even more
critical this season, the first to be digitally captured. My first AC,
Gary Muller, and my on-set data manager, Nate Lopez, are my crucial
conduits to our post supervisor, Kim Cybulski, says Notarile. Most of
the show is captured with Arri Alexas in Arri ProRes 4:4:4:4 Log C to
SxS cards, but the camera team also uses Canon 5D and 7D, GoPro
Hero Black and Canon XF105 cameras, all of which capture 24p
1080 to CF cards. Shooting uncompressed raw on a one-hour
86
October 2013
American Cinematographer
Photos by producer Frank Waldeck. Frame grabs courtesy of CBS Broadcasting, Inc. and Crescenzo Notarile, ASC.
Top: Supervisor
D.B. Russell
(Ted Danson)
oversees the
Las Vegas Crime
Lab. Middle:
Investigator
Nick Stokes
(George Eads)
interrogates a
suspect. Bottom:
Series cocinematographer
Crescenzo
Notarile, ASC
adjusts a
practical light on
the autopsy set.
www.theasc.com
October 2013
87
October 2013
October 2013
SUBMISSION INFORMATION
Please e-mail New Products/Services releases to
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.
American Cinematographer
Come visit our showroom or call for our latest Magliner product catalog
We
W
e are the largest retailer specializing in Magliner
Magline customized products and accessories for the Film
m and T
Television
elevision
e
Industry in the world
92
Barger-Lite Adapts
Chimera OctaPlus
Barger-Lite has introduced an adaptor to fit the
Chimera OctaPlus 5 and
OctaPlus 7 Lightbanks
onto the front of BargerLites 6-Lite V2, enabling
the full front-screen
coverage Barger-Lites are
known for.
Chimera OctaPlus
Lightbanks create lovely,
broad light while providing
versatility. Each covers a
large area and produces round catch lights
in a subjects eyes. The OctaPlus Lightbank 5
front screen is 150cm (59") in diameter and
45cm (17.7") deep; the OctaPlus Lightbank
7 front screen is 210cm (82.7") in diameter
and 68.5cm (27") deep. The Barger 6-Lite
V2 adds almost no depth.
For additional information, visit
www.bargerlite.com.
Manfrotto Highlights
Spectra LEDs
Manfrotto Distribution has released
the Manfrotto Spectra lineup, a professional
series of LED lights.
Our Spectra LED series is designed
for independent photographers and videographers to be the lightest and most
compact 1x1 panels available, says Will
Holowka, product manager for Manfrotto.
These LEDs are easily portable for any shot
you need and deliver superior image quality.
Spectra LEDs are designed to offer
optimal color and skin-tone rendition. The
smaller, on-camera units use AA batteries,
while the 1x1 panel features mains operation with an Anton/Bauer or V-lock battery
option. The panels are available in spot and
flood versions, as well as a bi-color unit to
accurately blend light for various shooting
conditions without
the need for gels.
For additional
information, visit
www.manfrotto.us.
Fotodiox Focuses on
LED Fresnels
Fotodiox, a manufacturer and
distributor of photography and videography accessories and equipment, has
unveiled a line of LED Fresnel lights for film,
television and studio-photography work.
The compact DY-200 and DY-200w
LED Fresnels offer focusable, dimmable
light and remain cool-to-the-touch while
providing powerful output. Available in
5,600K daylight and 3,200K tungsten
color temperatures, the units feature accurate, flicker-free light; low power draw;
and remote-controlled power and focus. A
separate ballast unit and an adjustable
yoke can either mount on a floor stand or
hang from a lighting grid.
The lights feature on-board controls
for a full range of light levels, as well as
control over the motorized focus to create
a wide floodlight or a powerful spotlight.
Each units intensity and focus can be
adjusted through a ballast control box with
an integrated LED display, a wireless
remote, or through connection to any
DMX-compatible lighting-control system.
Additional features of the DY-200
and DY-200w include a focusable beam
spread of 12-75 degrees, 9,100-60,000
lux-per-meter luminance, a removable and
collapsible barn door with gel holder clips,
a U-shape light stand and hanging
bracket, and a silent and flicker-free fan.
The DY-200 and DY-200w lights include
either the daylight or tungsten light unit,
power-supply ballast with cables, DMX
cables, handheld wireless remote control
and safety cable wire. The lights are available on the Fotodiox website for
$1,199.95.
For additional information, visit
www.fotodioxpro.com.
www.danadolly.com
International Marketplace
((623)
623) 5561-6490
61-66490
INTRODUCING THE GR-2,
AN AFFORDABLE
MASTER CLOCK
DENECKE, INC.
25209 Avenue Tibbitts
Valencia, CA 91355
Phone (661) 607-0206 Fax (661) 257-2236
www.denecke.com Email: info@denecke.com
94
October 2013
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
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.
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
www.theasc.com
SERVICES AVAILABLE
STUCK? BLOCKED?
Give me 30 minutes (at no cost to you):
212.560.2333. www.laurienadel.com
STEADICAM ARM QUALITY SERVICE OVERHAUL
AND UPDATES. QUICK TURNAROUND. ROBERT
LUNA (323) 938-5659.
MISCELLANEOUS
HIRING manager for Red, Epic, Scarlet rental house,
Burbank area
Call: 626-674-7999 e-mail: 37887392@qq.com
October 2013
95
Advertisers Index
AC 94, 95
Adorama 19, 59
AJA Video Systems, Inc. 33
Arri 9
ASC 73, 97
AZGrip 94
Eastman Kodak C4
EFD USA, Inc. 13, C3
Glidecam Industries 25
Grip Factory Munich/GFM 91
Camerimage 89
Canon USA Video 17
Carl Zeiss SBE, LLC 21
Cavision Enterprises 31
Chapman/Leonard Studio
Equipment Inc. 35
Cinebags Inc. 95
Cinematography
Electronics 8
Cinekinetic 94
Cineo Lighting 52
Codex Digital Ltd. 49
Cooke Optics 7
J.L. Fisher 53
K5600 15
Kino Flo 65
Visionary Forces 92
Visual Products 8
Lee Filters 77
Lights! Action! Co. 95
Lowel 45
Willys Widgets 94
Welch Integrated 76
www.theasc.com 84, 92,
95
Denecke 94
Duclos Lenses 8
Maccam 6
Matthews Studio
Equipment/MSE 75
M.M. Mukhi & Sons 95
Movie Tech AG 94, 95
NBC Universal 63
Next Shot 91
Nila, Inc. 51
Ovide Broadcast Services 96
96
Panther Gmbh 85
Pille Filmgeraeteverleih
Gmbh 94
Powermills 94
Pro8mm 94
Red Digital Cinema C2-1
Schneider Optics 2,
Slamdance 99
Sony Electronics, Inc. 28-29
Super16, Inc. 95
www.theasc.com
Clubhouse News
October 2013
TODAY!
EXTENDED DEADLINE:
OCTOBER 18TH
WWW.SLAMDANCE.COM
When you were a child, what film made the strongest impression on you?
Song of the South (1946). When I was 6, I saw this projected in the
Alabama Theatre in downtown Birmingham, Alabama. Gregg
Tolands [ASC] spectacular color cinematography started the ball
rolling.
Which cinematographers,
past or present, do you
most admire, and why?
Roger Deakins, ASC, BSC is
my all-time favorite. His work
is beyond compare. Early on, I
asked him how he lit a [particular] scene, and he said, Go
back and look. You can see
the light. I thought he was
being mystical remember, I
worshiped him but then I
watched again, and he was
right: I could see the lighting
unit reflected in a table!
100
October 2013
American Cinematographer
Close-up