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T H E
JUNE 2009
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On Our Cover: Mr. Spock (Zachary Quinto) beams onto the USS Enterprise in Star Trek, shot by Dan
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Features
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Departments
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40
Assessing Previs
Previsualization is the focus of a joint committee
formed by the ASC, the Art Directors Guild and the
Visual Effects Society
Editors Note
Short Takes: A 65mm Microsoft Installation
Production Slate: Drag Me to Hell
54
Downloading Nancy
Post Focus: Cinematographers, Colorists and the DI
V i s i t u s o n l i n e a t w w w. t h e a s c . c o m
J u n e
2 0 0 9
V o l .
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The International Journal of Film & Digital Production Techniques Since 1920
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Rebirth of an Icon
American Society of Cinematographers
OFFICERS - 2008/2009
Daryn Okada
President
Michael Goi
Vice President
Richard Crudo
Vice President
Owen Roizman
Vice President
Victor J. Kemper
Treasurer
Isidore Mankofsky
Secretary
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ALTERNATES
Matthew Leonetti
Steven Fierberg
James Chressanthis
Michael D. OShea
Sol Negrin
MUSEUM CURATOR
Steve Gainer
6
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Editors Note
s a longtime fan of the Star Trek franchise, I reacted to
news of the 2009 reboot with cautious optimism. I
spent many happy childhood hours glued to earlySeventies reruns of the original TV series, and Ive also
enjoyed some but not all of the subsequent series
and theatrical features. This time around, I became vaguely
concerned when director J.J. Abrams conceded in interviews that hes always been more of a Star Wars guy.
However, he also noted this preference made him more
willing to take a few bold risks with the familiar mythology.
A visit to the set last year with associate editor and
fellow Trek fiend Jon Witmer indicated Starfleet was in
good hands; an early preview of key sequences further reassured me; and an exhilarating
April screening on the Paramount lot proved that Abrams, cinematographer Dan Mindel,
ASC and the rest of their collaborators had hit the bulls eye with their phasers. In my
humble but studied opinion, this Trek film is the best yet and offers even the uninitiated a
fantastic summer-blockbuster ride.
As I write this column, Witmer is also feeling transported after seeing the
finished picture. His article about the production (A Bold, New Enterprise, page 28), which
offers in-depth analyses from Abrams, Mindel, production designer Scott Chambliss and
visual-effects supervisor/2nd-unit director Roger Guyett, is essential reading for anyone
who craves behind-the-scenes details. Heres hoping the latest iteration of the Trek universe
lives long and prospers.
Sci-fi enthusiasts can also look forward to Terminator Salvation, which teamed
cinematographer Shane Hurlbut, ASC with director McG. While a brief flurry of media
attention was devoted to some of the creative interplay that occurred on-set, Witmers thorough exploration of the project (Back to the Future, page 40) provides a substantial
account of Hurlbuts work and his crucial contributions to the films thrilling images.
John Schwartman, ASC is the new hero of my 3-year-old son, Nicholas, because
he got to man the camera on Night at the Museum: Battle of the Smithsonian, the sequel
to a movie that has delighted Nicholas more times than I can count. The further adventures
of Larry Daley (Ben Stiller) promise more fun for all ages, and Pat Thomsons piece (Making
History Fun, page 54) explains how Schwartzman achieved the tales whimsical illusions.
This issue also offers several topical articles that address key tools and techniques of the cinematographers trade. Stephanie Argy and Richard Edlund, ASC penned an
overview of the recent Camera-Assessment Series, which examined seven digital cameras
(Testing Digital Cameras, page 64), and also prepared a primer on previsualization
(Assessing Previs, page 70) that focuses on the goals of a joint committee formed by the
ASC, the Art Directors Guild and the Visual Effects Society. Valuable insights can also be
found in a Q&A that Jon Silberg and I conducted with John Bailey, ASC and colorist Stefan
Sonnenfeld about the benefits and perils cinematographers experience in the digital-intermediate suite (Post Focus, page 78). Baileys widely read Filmmakers Forum on this hotbutton topic (AC June 08) caused such a stir that we encouraged him to revisit the subject.
Stephen Pizzello
Executive Editor
8
Short Takes
A 65mm Microsoft Installation at JFK Airport
Visual
installations
serving as ads
for Microsoft
are on display
at John F.
Kennedy
Airport.
Presented
across five
high-definition
plasma screens,
the images
were shot on
65mm by
Christophe
Lanzenberg.
10 June 2009
Frame grabs courtesy of Crispin Porter + Bogusky/Brand New School. Photo by Stephen Sloan.
by David Heuring
Above: A set
comprising a
sand trap and
green allowed
Lanzenberg to
place the lens at
grass level for
some golf action.
Below: The
cinematographer
digs in for
the shot.
12 June 2009
to the challenge.
He spent a good chunk of the
two-month schedule carefully previsualizing every aspect of the project. For
something that looks so simple, there
was a lot of math involved: choosing
the right lenses, the right field of view
and the right distances, says the
director. Clairmont Camera made us a
special ground glass in the very wide
aspect ratio. We used Zeiss/Arriflex
lenses that utilize a 64mm Maxi-PL
mount; we used a 40mm for the motorcycle jump and used the 30mm extensively. The lenses were very sharp but
didnt have the distortion correction
that todays 35mm lenses have. We
chose wide-angle lenses partly to
make the backgrounds more prominent, and we found that the distortion
looked kind of interesting.
Lanzenberg notes that some
challenges were met with very simple
solutions. The boy with the bubble
was photographed with the widest
lens, the 30mm, he recalls. We
chose that focal length to get more
perspective on the forest and to
emphasize the light coming through
the woods in the background; we
would have lost a lot of that on a
longer lens. Once we started shooting,
we realized that in order to appear to
be running in a straight line, the boy
had to run in a half-circle.
In most of the situations,
Lanzenberg chose the best time of day
to shoot and relied on available light.
For the golf shot, a sand trap and
green were built, allowing him to
place the lens at grass level. The day
was cloudy, so the cinematographer
re-created harder sunlight using HMIs,
emphasizing the shadow of the ball
and the subtle movements of the
golfer. To add contrast to the scene
with the soap bubble, he built a wall of
soft light on the camera-right side,
using four 18Ks at a distance through
Production Slate
Fateful Encounters
Supernatural Wrath
by Iain Stasukevich
Sam Raimis Drag Me to Hell
begins by presenting its heroine, Christine Brown (Alison Lohman), with a
seemingly simple moral dilemma. An
ambitious loan officer eager for a promotion, Brown needs to prove to her superiors that shes capable of making tough
decisions; in this case, it means denying
an elderly woman (Lorna Raver) an
extension on her delinquent mortgage
payment. Unfortunately, the old woman
vows revenge and places a powerful
curse on Brown, literally transforming
her life into a living hell. Its the classic
tale of a girl in trouble, not a blood-andguts horror movie, says cinematographer Peter Deming, ASC. Id liken it to
14 June 2009
Drag Me to Hell photos by Melissa Moseley, SMPSP. Photos and frame grabs courtesy of Universal Pictures.
An evil hag
unleashes her
fury on bankloan officer
Christine
Brown (Alison
Lohman) in
Drag Me to
Hell, shot by
Peter Deming,
ASC.
Right:
Determined to
show her bosses
she can be
tough, Brown
resists the
pleading of an
elderly woman
(Lorna Raver)
who needs extra
time to pay her
mortgage. We
set up Christines
everyday world
in a palette of
gray and
desaturated
colors, notes
production
designer Steve
Saklad. Below: A
Turkish-style
mansion serves
as the setting for
a sance.
Deming and his
crew bounced
6K and 12K Pars
into thin Mylar to
fill the space
with a
shimmering,
organic light.
16 June 2009
style and perhaps even make it blackand-white, and it would still work.
In order to suggest Christine is
going insane, we made that scene very
high-key, with delicate shadow-play
rounding out the room a bit, explains
LaViolette. Chimeras were fitted over 2K
Blondes (for keylight) and 650-watt
Tweenies (backlight), which, along with
a softbox, were rigged to a pipe
suspended over the table. As Brown
descends into her nightmare, the doors
start rattling, cueing the introduction of
fantasy world sources, including Pars
and Fresnels employed in a hard, singlesource fashion. Dutch angles and
frenetic, handheld camerawork also
contribute to the tension of the scene.
As the story progresses, Browns
encounters with the demon become
more frequent, and the demon becomes
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Brown attempts
to exhume the
old womans
corpse in a
driving
rainstorm. The
sequence was
filmed on a
cemetery set
with an
elaborate
plumbing
system. When
shooting
something like
that, you should
be conscious of
the limitations
of such a
location so you
dont give away
the artifice of
the set by
shooting it too
wide, advises
Deming (bottom
photo).
18 June 2009
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A Dark Romance
by Rachael K. Bosley
A stark, wintry palette sets the
tone for the independent film Downloading Nancy, which follows a desperately
unhappy woman (Maria Bello) who hires
a man she meets on the Internet (Jason
Patric) to kill her, but soon discovers that
he could well be her soul mate. Rounding
out the four-character drama are Nancys
remote husband (Rufus Sewell) and her
therapist (Amy Brenneman).
20 June 2009
second-unit cinematographer. On
Nancy, both of them shouldered a
camera throughout the shoot, which
took place on location in Regina,
Saskatchewan. To get their perspectives
on the project, AC caught up with Doyle
in person on one of his recent visits to
Los Angeles, and with Li via e-mail as
she worked in London and Beijing.
American Cinematographer :
What made Nancy appealing to
you, and why did you think it was a
good project for both of you to do?
Rain Li: I liked the script a lot,
and it struck me as a female film, something that would affect female audiences more than male ones. Cinematography is about building mood and
atmosphere through composition,
camera moves and lighting, and this
story offered a lot of opportunities to do
that. Chris suggested we collaborate on
it because Johan wanted to allow the
actors a lot of physical freedom and
have the camera capture them as organically as possible, and they thought two
cameras would be the best way. Johan
was certainly very brave to let both of us
shoot his first film, and he was also very
encouraging.
Christopher Doyle, HKSC:
Johan and I had worked together on
commercials many times, and we knew
Right: In a
scene from
Downloading
Nancy, a pet
store serves as
the backdrop
for a brief
romantic
interlude
between Nancy
(Maria Bello)
and Louis
(Jason Patric),
whom she has
hired to kill her.
Below: The
camera adopts
a surreptitious
position as
Nancy waits to
meet Louis at
the bus station.
Andree Martin
VP Technical Services
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818-761-4440
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604-984-4563
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416-467-1700
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514-525-6556
On location at the
bus station,
Christopher Doyle,
HKSC (right) and
co-cinematographer
Rain Li discuss their
two-camera
strategy as 1st AD
John ORourke
(foreground) and
director Johan
Renck (with script
on his lap) listen.
22 June 2009
Above: In framing
Nancys distant
husband (Rufus
Sewell), we
wanted to feel
almost
extraneous to his
experience,
says Doyle. By
contrast, were
often almost
inside Nancy.
Below: Another
voyeuristic angle
is assumed for
Nancys session
with her
therapist (Amy
Brenneman).
24 June 2009
Louis helps Nancy choose a dress for her unusual special occasion.
Erratum
In last months ASC Awards
photo spread (Cinematographys
Summit), Tracy Fleischmans name
was accidentally omitted from a
caption on page 71. She was the guest
of nominee Kramer Morgenthau, ASC.
A Bold, New
Enterprise
With Star Trek, cinematographer Dan Mindel, ASC and director J.J.
Abrams update Gene Roddenberrys universe for a new generation of fans.
by Jon D. Witmer
Unit photography by Zade Rosenthal, SMPSP
n 1966, when audiences were
introduced to Capt. James T.
Kirk, he was already exploring
strange new worlds, seeking out
new life and new civilizations,
and boldly going (with his equally
enterprising crew) where no one had
I
28 June 2009
Photos courtesy of Paramount Pictures. Frame grabs courtesy of Paramount and ILM.
Opposite page:
Spock (Zachary
Quinto, left) and
James T. Kirk
(Chris Pine) face
the first of their
adventures
together in Star
Trek. This page,
top: The
villainous Nero
(Eric Bana) sets
his sights on the
young heroes.
Middle: Neros
ship, the Narada,
squares off
against the USS
Kelvin in the
films opening
sequence.
Below: Some 25
years after the
attack on the
Kelvin, the newly
constructed USS
Enterprise heads
into the final
frontier.
American Cinematographer 29
30 June 2009
In contrast to the
Kelvins hard
angles,
production
designer Scott
Chambliss
incorporated
smooth curves
into the
Enterprise.
Mindel worked
with Chambliss
to build as much
lighting into the
bridge (far left)
and corridors
(near left) as
possible, and
sections of a
brewery in Van
Nuys, Calif.,
stood in for the
engineering
sections
(below).
American Cinematographer 31
32 June 2009
Above: Spock
addresses an
assembly of
cadets at
Starfleet
Academy.
Below:
California State
UniversityNorthridge
stood in for
some of the
Academys
exteriors; visual
effects
transformed the
setting into
23rd-century
San Francisco.
Jon D. Witmer
American Cinematographer 33
Above: Capt.
Robau (Faran
Tahir, center)
faces off against
the Naradas
Romulan crew.
Below left: Nero
ponders his next
move. Below
right: Chambliss
designed the
interior of the
ship as an
assortment of
pieces that could
be rearranged
numerous ways
to suggest the
vessels
immense scale.
34 June 2009
American Cinematographer 35
36 June 2009
38
change the temperature of the ambient air very much before you mess up
all the beer.
We only used fluorescents to
key with, and we were able to light
backgrounds with conventional
lights and turn them off between
takes so they never got too hot, he
continues. We werent allowed to
bring dollies up there, so we shot
with the Steadicam. The filmmakers
also tapped some of the locations
existing mercury-vapor worklights.
We just wrapped them in a little
Rosco Scrim to control their level
and brought in our own lights to
augment that, says Prampin.
With Kirk, Spock, Bones,
Scotty, Uhura, Sulu and Chekov all
finally aboard, the Enterprise boldly
enters dangers maw to conclude its
first adventure. Proud to have
enlisted for another voyage with
Abrams, Mindel reflects, J.J. enjoys
what he does immensely, and he
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39
Back
to the
Future
Shane Hurlbut,
ASC and director
McG envision the
post-Judgment Day
world of
Terminator
Salvation.
by Jon D. Witmer
Unit photography by
Richard Foreman, SMPSP
40 June 2009
Opposite page: A
T-700 rolls off the
assembly line in
Terminator
Salvation. This
page, top: John
Connor
(Christian Bale,
left) questions
the allegiance of
Marcus Wright
(Sam
Worthington), a
human/machine
hybrid. Middle:
Director McG
(left) gives
instructions to a
T-600. Bottom:
Shane Hurlbut,
ASC (right) preps
the next setup as
Worthington and
1st AD Bruce
Franklin look on.
Connor leads
members of
the resistance
in an assault
against a
Skynet
operations
center.
42 June 2009
American Cinematographer 43
Connor
interrogates
Wright after
discovering
Skynets
handiwork
beneath Wrights
skin. Hurlbuts
assistant, Po
Chan, drew up
the lighting plots
for the films sets
and locations.
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Top: Connor
transmits radio
messages with
the hope of
finding other
human
survivors.
Middle: Connor
and his wife,
Kate (Bryce
Dallas Howard),
share a quiet
moment in the
resistances
subterranean
outpost. Bottom:
Hurlbut checks
the light in the
outposts
corridors.
Judgment Day.)
American Cinematographer 45
Above: Skynet
uses flying
Transporters to
ferry humans
for a harvesting
program. We
built our
[Transporter]
set around
cattle cars,
says production
designer Martin
Laing. Humans
are now being
moved like
cattle, just
brutally pushed
from A to B.
Below left:
Reese is
caught in a
Transporter.
Below right:
The machines
unload their
human cargo in
a large
processing
facility.
46 June 2009
48 June 2009
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50 June 2009
appear as though a Pave Hawk helicopter is flying over Skynet as explosions erupt beneath the aircraft. To
sell the effect while the aircraft sat on
the stage floor, Hurlbut had the floor
covered with mirrors and set a line
of rocknroll truss fitted with gelled
Par cans above the helicopter, on
either side. With the overhead fixtures bouncing into the mirrors, the
fire source appeared to be below
the helicopter; to add a sense of
movement, a chase sequence was
52
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Kodak Vision2 50D 5201,
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53
Making History
Fun
John Schwartzman,
ASC captures a
cavalcade of famous
figures in the
madcap comedy
Night at the
Museum: Battle of
the Smithsonian.
by Patricia Thomson
Unit photography by
Doane Gregory
54 June 2009
Opposite page:
Smithsonian
Museum
security guard
Larry Daley
(Ben Stiller)
and aviatrix
Amelia Earhart
(Amy Adams)
check out a
female statues
reaction as
Rodins Thinker
flexes his
guns to
impress her.
This page, top:
Larry and his
new friend try
to contain the
mayhem
unleashed by a
magical
Egyptian tablet.
Middle: Evil
pharaoh Kah
Mun Rah (Hank
Azaria) uses an
hourglass to
torment
miniature
cowpoke
Jedediah
(Owen Wilson).
Bottom: Honest
Abe Lincoln
springs to life
in his memorial
chair.
American Cinematographer 55
56 June 2009
A Technocrane
hovers over
crewmembers as
they set up a
scene. You dont
want to call Cut
if the actors are
riffing, so we
used the
Technocrane like
a dolly and kept
shooting, says
cinematographer
John
Schwartzman,
ASC (below).
American Cinematographer 57
58 June 2009
LEDz has developed the latest in lighting instruments for lm, television, video and
still photography. Compared to traditional lighting technology, LEDz use a fraction of
the power with low radiant heat and provide dimming with virtually no color shift.
Los Angeles
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60 June 2009
The Capitol
Dome serves
as a scenic
nighttime
backdrop.
62
TECHNICAL SPECS
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Super 35mm
Panaflex Platinum,
Millennium XL;
Arri 435
Primo lenses
Kodak Vision2 Expression
500T 5229; Vision2 200T 5217
Digital Intermediate
Printed on
Kodak Vision Premier 2393
63
Testing
Digital Cameras
The ASC and the Producers Guild of America put 7 digital cameras
through their paces with the Camera-Assessment Series.
by Stephanie Argy and Richard Edlund, ASC
T
64 June 2009
Photos by Yousef Linjawi and Simon Wakelin, courtesy of the Producers Guild of America.
Top digital
cameras were
tested under a
variety of
conditions by a
group of
distinguished
cinematographers
during the recent
CameraAssessment
Series organized
by the ASC and
PGA. In the photo
on this page,
visible from left to
right in the front
row are ASC
members Shelly
Johnson, Nancy
Schreiber, Peter
Anderson and
Kramer
Morgenthau
(standing).
Standing behind a
camera in the
second row at far
right is Karl
Walter
Lindenlaub, ASC,
BVK; visible
behind Schreiber
is Bill Bennett,
ASC (wearing
light-blue cap).
American Cinematographer 65
66 June 2009
passed through six different test scenarios, each of which had its own
cinematographer (or, in a couple of
instances, two cinematographers);
those cinematographers were ASC
members Charters, Richard Edlund,
Steven Fierberg, Michael Goi, Jacek
Laskus, Matthew Leonetti, Stephen
Lighthill, Lindenlaub, Robert Primes
and John Toll. Lighting was
absolutely left to the cinematographers discretion, notes Stump. The
following is an overview of the six
scenarios:
Day-Exterior Lock-Off:
Charters and Edlund
Our test was very simple,
says Edlund, the vice chairman of
the Camera Subcommittee. He notes
that a moving camera loses some
resolution because the shutter is
open while the camera is in motion,
but when the camera stops panning,
its possible to see the pattern of the
pixels, which he calls bathroom
tile. The shot had a complex subject
a house with bricks and shingles
and other tiny details and Edlund
thought it would be interesting to see
how the cameras dealt with that.
Day-Exterior Tracking Shot
of a Moving Bicycle:
Fierberg and Laskus
This scenario was meant to
reveal any strobing and movement
issues with the various cameras, but
Morgenthau
(sitting at far
right) surveys a
setup along with
Johnson and
Schreiber (at
left) and
Lindenlaub and
Lindenlaubs 1st
AC, Tommy
Klines (standing
behind
Morgenthau).
American Cinematographer 67
The
cinematographers
pose for a group
photo to
commemmorate
their participation
in the study.
68
The Lake:
Lindenlaub
The scene at the lake was also
shot by all the cameras at once at
sunrise. Its a wide shot of the lake
with the mechanical shark and a big
flame explosion, says Lindenlaub.
The information in the setup is
actually quite interesting. Behind
Lightbulb:
Primes
The main purpose of this scenario was to see latitude in a very
challenging situation. These days, if
you cant shoot under low-light conditions, youre at a competitive disadvantage, notes Primes. He decided to
start with a large close-up of a bare
lightbulb. Then, a mans face comes in
and the camera dollies back, revealing
a dark garage with lots of objects and
detail in the background shadows. As
the frame widens, the man walks over
to stand behind a workbench. We
made a mark for the actor that was
about 1 foot away from the bulb
he was 4 stops over incident light,
says Primes. At the bench, he was 1
stop underexposed. Meanwhile, the
background was about 4 stops under.
Although Primes considered
blacking out a window in the background, he decided instead to tent it
and put a light with a blue filter there
so that it would be a nice compositional element with the same tonality on every take. He also took care to
ensure that the lightbulb and voltage
would be the same from take to take,
and the face at the same distance.
The set never changed, the voltage
was brought up to a very tight tolerance, and the actor was very wellrehearsed, he says.
I think all the tests are going
to be valuable, but mine was kind of
brutal, and Im happy about that,
he adds.
Postproduction
Although every test was
designed to challenge the cameras in
various ways, the object was not to
break them. Clark notes that during post at LaserPacific, where color
correction was done on an Autodesk
Lustre by Mike Sowa, every effort
was made to give the cameras the
chance to look their best. If we have
69
Assessing
Previs
The ASC, the Art Directors Guild and the Visual Effects Society join
forces to explore the existing and potential uses of previsualization.
by Stephanie Argy and Richard Edlund, ASC
revisualization is the process
of using computer-generated
animation to explore scenes
and sequences before they are
shot, and it can significantly
impact the cinematographers job. It
can enable the director of photography to become even more involved
in shaping a movies narrative; conversely, there is a danger he or she
will end up merely executing shots
that were conceived and detailed by
someone else long before the cinematographer joined the production.
I can understand why cinematographers have been reluctant to
embrace previs: theyre often
excluded from the process, says
Chris Edwards of The Third Floor, a
company specializing in previsualization. But we have found their
involvement is really key.
To address some issues related
to previsualization, including how
best to integrate it into production,
the ASC Technology Committee
recently joined with the Art
Directors Guild and the Visual
Effects Society to form the
Previsualization Committee, the
first joint committee formed by the
three organizations. Co-chaired by
Ron Frankel, the owner of previs
company Proof, and David Morin, a
70 June 2009
becomes available.
American Cinematographer 71
Assessing Previs
Two of the
previs
schematics
prepared by
Pixel
Liberation Front
for The Matrix
Reloaded
detail key
moments from
the films
ambitious
freeway chase.
72 June 2009
Assessing Previs
Previs Glossary
A joint subcommittee comprising members of the American Society
of Cinematographers, the Art Directors
Guild and the Visual Effects Society has
agreed upon the following definitions:
Previsualization, or previs, is a
collaborative process that generates preliminary versions of shots or sequences
predominantly using 3D animation
tools and a virtual environment. It
enables filmmakers to visually explore
creative ideas, plan technical solutions,
and communicate a shared vision for
efficient production.
There are a number of types of
previs in current practice, including:
Pitchvis illustrates the potential
of a project before it has been fully
funded or greenlit. As part of development, these sequences are conceptual,
to be refined or replaced during preproduction.
Technical Previs incorporates
and generates accurate camera, lighting,
design and scene-layout information to
help define production requirements.
This often takes the form of dimensional diagrams that illustrate how particular shots can be accomplished using
real-world terms and measurements.
On-Set Previs creates real-time
(or near-real-time) visualizations on
location to help the director, cinematographer, visual-effects supervisor
and crew quickly evaluate captured
imagery. This includes the use of techniques that can synchronize and composite live photography with 2D or 3D
virtual elements for immediate visual
feedback.
Postvis combines digital elements and production photography to
validate footage selection, provide
placeholder shots for editorial, and
refine effects design. Edits incorporating postvis sequences are often shown
to test audiences for feedback, and to
producers and visual-effects vendors for
planning and budgeting.
74 June 2009
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75
Assessing Previs
previsualization work. What drives
me crazy is when the director does
previs and the studio says, Thats it,
thats what you have to do, or, worse,
the studio tries to take it over, says
Dozoretz. Its a bastardization of
the process when the director is not
allowed to think on his feet, or when
previs is used against him.
One of the most controversial aspects of the previsualization
process has been its use very early in
prep, in some cases to convince studios or investors to greenlight a
project. This work is sometimes
done even before a director is
attached, which raises thorny ethical issues for previs artists who see
themselves as part of the directors
team. In other cases, a director
might commission a previs to
demonstrate his vision for a project.
In one instance, this ploy failed to
get the director hired, but the previs
house that did the spec work was
76
77
Post Focus
Cinematographers, Colorists
and the DI
by Jon Silberg and
Stephen Pizzello
Early in 2008, National Public
Radios Morning Edition ran a
segment in which colorist and
Company 3 founder Stefan Sonnenfeld,
an associate member of the ASC, spoke
about the tools and skills colorists can
bring to feature films via the digitalintermediate process. One listener was
John Bailey, ASC, who believed that
the reporter, Susan Stamberg, and
Sonnenfeld were touting colorists as a
replacement for the director of photography. Shortly thereafter, Bailey
addressed this and other concerns
related to digital post and digital
capture in a Filmmakers Forum (AC
June 08), a piece that prompted much
discussion, including a Filmmakers
Forum by Roger Deakins, ASC, BSC (AC
Oct. 08) and a number of letters to the
editor.
After Baileys piece was
published, he and Sonnenfeld collaborated on a DI for the feature Hes Just
Not That Into You (AC Feb. 09). In the
process, each developed a better
understanding of the others perspective on a number of complex issues
related to digital post. AC recently sat
down with them to get some of the
details.
American Cinematographer :
John, what was your initial reaction to the NPR story?
John Bailey, ASC: It brought
into focus something Ive been thinking
about for some time: how has the role
of the cinematographer changed in the
world of digital finishing as opposed to
the world of photochemical finishing? It
hasnt been an evolution, its been a
qualitative change, and cinematographers are experiencing it all the time.
78 June 2009
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Kodak Introduces
Vision3 250D
Eastman Kodak Co. has unveiled
Vision3 250D 5207/7207 color-negative
film, the second emulsion in the Vision3
line. We introduced Vision3 technology
in response to our customers requests
for an expanded range of capabilities
from capture all the way through postproduction and distribution, says Ingrid
Goodyear, general manager of Worldwide Image Capture Products for
Kodaks Entertainment Imaging Division.
By extending the Vision3 portfolio, we
continue to give our customers more
workflow efficiencies combined with all
the existing advantages of film: image
quality, resolution, unrivaled dynamic
range, flexibility and archivability.
5207/7207 is designed to retain
the richness in colors and contrast that
are characteristic of Vision3 technology,
with more details in the extreme highlight areas. Like Vision3 500T
5219/7219, the new stock incorporates
proprietary Advanced Dye-Layering
Technology, which renders finer-grain
images in underexposed areas and
produces cleaner film-to-digital transfers for post. 5207/7207 also offers
exceptional imaging in natural daylight,
artificial daylight and a variety of mixedlighting situations while maintaining
pleasing flesh tones and color reproduction.
What I like about the 5207 is its
intense rendering of color, its strength
when it is underexposed, and its ability
84 June 2009
Helical Antennas
Go 12 Rounds
Although they have been on the
market for a number of years, Professional Wireless Systems proprietary
Helical antennas only recently made
the transition into feature-film production with 12 Rounds, directed by Renny
Harlin and shot by David Boyd, ASC.
Production mixer Paul Ledford
employed the Helical antennas to
capture dialogue in the midst of a highspeed chase.
Inspired by the use of Helical
antennas for Super Bowl broadcasts,
Ledford spoke with Carl Cordes, PWSs
general manager, who indicated that
Helicals would be equally effective on
car-chase and foot-chase sequences for
movies, says Ledford. Prior to buying
the antennas, Ledford experimented
with a rental kit. He notes, Our test van
consistently monitored transmissions
from a car moving in the same traffic
direction a couple of blocks away.
The advantages of the Helical
system were especially appreciated by
12 Rounds stunt drivers, who could put
more distance between themselves and
the audio van. We were able to maintain continuous contact with the talent
while keeping well away from the
driving action, says Ledford. Everyone
could see and hear everything. The
units functioned flawlessly throughout
our 52-day location shoot, even when
we were driving across bridges. They
were particularly helpful during a
streetcar sequence shot on Canal
Street. They picked up transmissions
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Vinten Supports
Videographers
Vinten has responded to
demands from DV-camera users by
introducing an addition to its Protouch
lightweight camera-support range. The
new Pro-5Plus pan-and-tilt head boasts
a switchable counterbalance spring for
smoother, controllable tilt movements,
separate pan-and-tilt locks, continuously variable pan-and-tilt drag for
smoother panning, a 75mm spherical
base, a leveling bubble, a quick-release
side-load camera attachment system for
convenient attachment and release
from the head, and a fixed-length pan
bar that can be positioned to suit any
preference.
Despite its lightweight construction, no compromises have been made
regarding camera stability. With a
solidly engineered single-stage Pozi-Loc
aluminum tripod and lightweight floor
spreader, the Pro-5Plus offers class-
87
of the bag
from a shelf or
back compartment of
a car. Other features
include Petrols U-Grip
ergonomic interlocking carrying handle
and a smooth-gliding inline skate-wheel
assembly for convenient rollaway
toting. The bag is constructed of
durable, water-resistant, black ballistic
nylon.
The C-Stand Rolling Bag has a
recommended price of $175. For more
information, visit www.petrolbags.com.
CineBags Redesigns
Laptop Bag
CineBags has redesigned its CB17 Laptop Bag. Designed to hold laptops
of up to 17", the CB-17 includes a
removable laptop sleeve, a shoulder
strap and CineBags Remove Before
Filming key chain. The bag can also
expand to accommodate large production binders.
The CB-17 is available in gray
and orange or a limited-edition digital
camo version. For more information,
visit www.cinebags.com.
Editing Magic with
Magix Software
Magix has introduced two videoediting software packages, Video Pro X
and Movie Edit Pro 15.
Features of Video Pro X, the
companys professional video-editing
solution, include Source and Program
Monitor, allowing for direct comparison
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of people that are committed to delivering superior sales and support services
and innovative technology and products, says Stefan Kramper, managing
director of DFT. By building on our
history and leadership in the post industry and opening our internal and external
communication channels, we are able to
more effectively facilitate customer
requirements.
For more information, visit
www.dft-film.com.
Band Pro Offers
Financial Services
Band Pro Film & Digital, Inc.,
recently unveiled a customer-focused
financing program, offering a number of
customized financing options designed
for the needs of the broadcast- and
cinema-production industries. A team of
finance professionals will be available
to help secure flexible and competitive
financing options for new and existing
Band Pro customers.
The new service aims to serve
customers requesting financing options
from 12 to 60 months. Most applicants
will be approved within 24 hours.
For more information, call
(818) 841-9655, e-mail finance@band
pro.com, or visit www.bandpro.com.
Epson Unveils Home
Cinema Projector
Epson has added the PowerLite
Home Cinema 6500 UB to its awardwinning line of 3LCD 1080p front projectors. Offering true 1080p (1920x1080
pixels) resolution with the latest 3LCD
D7 chip set for significantly higher
contrast, a built-in HQV Reon-VX processor by Silicon Optix, and a wide range of
new performance advantages, the 6500
UB delivers an outstanding viewing
experience for home entertainment.
3LCD technology enables the
projector to deliver vibrant colors without the possibility of color break-up,
unlike single-chip projectors, which use
a spinning color wheel to create colors.
It also allows the 6500 UB to provide a
significantly enhanced contrast ratio (up
to 75,000:1) to deliver darker blacks and
brighter whites.
SUBMISSION INFORMATION
Please e-mail New Products/Services
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include full contact information and product
images. Photos must be TIFF or JPEG files of at
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Join some of the worlds nest players at SIGGRAPH 2009 in New Orleans.
Exchange insight and inspiration with the animators, artists, researchers, developers, and producers
who are creating this years most amazing experiences. In the city that has been inspiring musical
innovation, culinary excellence, visual splendor, and architectural wonder for 300 years. Youll return
from SIGGRAPH 2009 with re-energized imagination, renewed skills, and insider information to
spark your creativity and surpass your goals for the coming year.
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American Cinematographer 93
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Advertisers Index
16x9, Inc. 92
Abel Cine Tech 19
AC 79
Alamar Productions, Inc. 92
Alan Gordon Enterprises
92
Arri 47
Backstage Equipment, Inc.
81
Bardwell McAlister 68
Band Pro 5
Bron Kobold 77
Burrell Enterprises 92
Filmtools 6
Filmotechnic 73
Five Towns College 75
Focal Press 52
FTC/West 92
Fuji Motion Picture 15
Gamma & Density 62
Glidecam Industries 13
Golden Animations 93
Hines Lab 93
Hollywood Post Alliance 85
Hollywood Rentals 59
Hydroflex 86
Innoventive 87
Innovision 92
Debbie Clifton 93
Deluxe 37
Denecke 93
Eastman Kodak 9, C4
Entertainment Lighting
Service 93
Nalpak, Inc 94
New York Film Academy 25
P+S Technik 89
Panasonic Broadcast 7
Panther Gmbh 39
Photon Beard 93
Photo-sonics 69
Pille Film Gmbh 92
Powermills 93
Professional Sound 85
Pro8mm 92
Rag Place, The 87
Reel FX 81
SAE Institute 61
Schneider Optics 2
Service Vision 76
Siggraph 91
Sony Electronics, Inc. C2-1
Spectra Film & Video 93
Stanton Video Services 88
Super16 Inc. 93
Thales Angenieux 17
Tiffen C3
VF Gadgets, Inc. 92
Videocraft Equipment Pty
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Visual Products 73
Walter Klassen FX 53
Welch Integrated 95
Willys Widgets 92
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96 June 2009
ACTIVE MEMBERS
Thomas Ackerman
Lance Acord
Lloyd Ahern II
Herbert Alpert
Russ Alsobrook
Howard A. Anderson III
Howard A. Anderson Jr.
James Anderson
Peter Anderson
Tony Askins
Charles Austin
Christopher Baffa
James Bagdonas
King Baggot
John Bailey
Michael Ballhaus
Andrzej Bartkowiak
John Bartley
Bojan Bazelli
Frank Beascoechea
Affonso Beato
Mat Beck
Dion Beebe
Bill Bennett
Andres Berenguer
Carl Berger
Gabriel Beristain
Steven Bernstein
Ross Berryman
Michael Bonvillain
Richard Bowen
David Boyd
Russell Boyd
Jonathan Brown
Don Burgess
Stephen H. Burum
Bill Butler
Frank B. Byers
Bobby Byrne
Antonio Calvache
Paul Cameron
Russell P. Carpenter
James L. Carter
Alan Caso
Michael Chapman
Rodney Charters
James A. Chressanthis
Joan Churchill
Curtis Clark
Peter L. Collister
Jack Cooperman
Jack Couffer
Vincent G. Cox
Jeff Cronenweth
Richard Crudo
Dean R. Cundey
Stefan Czapsky
David Darby
Allen Daviau
Roger Deakins
Jan DeBont
Thomas Del Ruth
Peter Deming
Caleb Deschanel
Ron Dexter
George Spiro Dibie
Craig Di Bona
Ernest Dickerson
Billy Dickson
Bill Dill
Bert Dunk
John Dykstra
Richard Edlund
Frederick Elmes
Robert Elswit
Geoffrey Erb
Scott Farrar
Jon Fauer
Don E. FauntLeRoy
Gerald Feil
Steven Fierberg
Gerald Perry Finnerman
Mauro Fiore
John C. Flinn III
Ron Fortunato
William A. Fraker
Tak Fujimoto
Alex Funke
Steve Gainer
Ron Garcia
Dejan Georgevich
Michael Goi
Stephen Goldblatt
Paul Goldsmith
Frederic Goodich
Victor Goss
Jack Green
Adam Greenberg
Robbie Greenberg
Alexander Gruszynski
Changwei Gu
Rick Gunter
Rob Hahn
Gerald Hirschfeld
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Cine Gear
June 5th- 6th
97
Clubhouse News
Photo of Vilmos Zsigmond and Jack Cooperman by Linda Silverstein, courtesy of the Lake Arrowhead Film Festival.
he has pushed to develop CG tools similar to the flags, nets, shiny boards and
barn doors found on live-action sets.
ANNOUNCING NEW!
Contact us @
310/472-0809 info@cinegearexpo.com
For more information and updates, visit us at:
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ASC CLOSE-UP
Alan Caso, ASC
Photo by Kodak.
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