American Cinematographer - January 2009 - (Page 41)

Stamford, Conn. “Doing that at night and on weekends during the shoot was really tiring, but it was actually better than working at EFilm itself because we had a dedicated system to ourselves and didn’t have to wait as long as we normally would for stuff to render!” he says with a laugh. To make his intentions clear to Revolutionary Road’s dailies timer at DuArt, Steve Blakely, Deakins used his Leica M8 to take digital stills of his lighting setups with the stand-ins in place, “did a bit of work on them in Photoshop and then e-mailed them to Steve,” he says. “I’ve worked with him so many times he didn’t really need them, but it was quite a good reference.” Deakins was able to supervise Revolutionary Road’s 4K digital intermediate in person at EFilm, and the facility’s remote system was transported to New York so he and Mendes could view the results together. An enthusiastic proponent of the DI, Deakins notes the process was especially useful on this picture. “All the work in the house was a constant chase against the light, and the DI was the final tool I could use to make all those shots match a bit better and give the light an even feel. It was about giving the film as much reality as we could.” Marveling at Deakins’ ability to “elevate images without losing a sense of the real” both in the DI suite and on the set, Mendes emphasizes that such subtlety is just one characteristic of the cinematographer’s work that makes it unique. Beyond Deakins’ considerable skill with the tools of his trade lies something that is perhaps less obvious but, says the director, just as remarkable: selflessness. “It’s stating the obvious to say Roger is a great cinematographer, but his work is never self-advertising,” says Mendes. “He won’t ever stand between the picture and the audience and say, ‘Look at the way this is lit. Look at the way this is shot.’ The effect of the movie is therefore cumulative; you can’t pull any single shot out because it doesn’t mean anything taken out of context. It’s the whole film that is the statement.” I TECHNICAL SPECS 2.40:1 Super 35mm Arri 535B; Arricam Lite Arri Master Prime lenses Kodak Vision2 200T 5217, 500T 5218 Digital Intermediate Printed on Kodak Vision 2383 Samy’s DV & Edit WE ACCEPT MASTERCARD, VISA, AMERICAN EXPRESS & DISCOVER. SCHOOL, UNIVERSITY & CORPORATE P.O.’S WELCOME BEFORE YOU BUY YOUR DIGITAL CINEMA EQUIPMENT, TALK TO US! A Division of Samy’s Camera WE’VE MOVED - NEW ADDRESS! 12636 Beatrice St. Los Angeles, CA 90066 www.samysdv.com (310) 450-4365 FAX (310) 450-3079 PMW-EX3 XDCAMEX SEMI SHOULDER CAMCORDER • 1⁄2-inch interchangeable lens system •1/2” imagers with 1920x1080 pixels • Genlock in • Time Code in/out • 8-pin remote control for studio operation New! Three 2/3”CCD P2 HD Camcorder • Utilizes interchangeable lenses • Can shoot everything from 1080i to 720p variable frame rates •Features four XLR inputs, a chromaticaberration compensation function, and eight gamma modes AG-HPX500 AJ-HDX900 • Adds on support for 1080i and 720p • Three 2/3" 1 million pixels Progressive CCD imagers • 24P/30P/60i recording capability • Captures film-like 24-frame images using CineGamma Affordable Professional Hi-Definition Camera PMW-EX1 Flash Memory Capabilities 1/2” HD Camera • Record to ExpressCard high-speed flash media • Switchable between 1080/60i and 720/60P • Capable of recording 1080/50i/30P/25P/24P and 720/50P • MPEG-2 compression technology with three, 1/2” imagers Interchangeable Lens Professional HDV Camera New! Sony HVR-Z7U AJ-SDX900 Also Available PRODUCTION PACKAGE PROMOTIONS! Please call for our • Switch between 1080p, 1080i in the HDV format, DVCAM™, and DV recording • Down-convert material from HD to SD New! Sony Interchangeable Lens Pro Shoulder Mount HDV Camera • Native progressive recording • Increased sensitivity for low-light • Hybrid solid-state recording • 3 ClearVid CMOS Sensor system SONY IS A REGISTERED TRADEMARK Sony HVR-S270U Digital Camcorder Sony XDCAM HD PDW-F355 PDW-700 2/3” XDCAM HD Camcorder • Three 2/3-inch progressive CCD sensors, each with full 1920 x 1080 resolution • HD recording at a data rate of up to 50 Mb/s using the MPEG-2 4:2:2P@HL compression technology,“MPEG HD422” AG-HVX200A Longer record times are available by supporting the new dual-layer 50GB Professional Disc. XDCAM HD PDW-F335 ALSO AVAILABLE 1/3" 3-CCD 16:9 HD/DVCPRO/DV The next generation of P2 cameras • Solid-state handheld camcorder enables high definition and standard definition recording • Widest zoom lens in its class • HD-SDI interface • Lightweight 4.2-pound body AG-HPX170 New! • Cinema P2 Camera with CineSwitch™ • Technology, CineGamma™ Software and IEEE 1394 Interface PDW-F355 & PDW-F330 ALSO AVAILABLE AJ-SD93 Also Available NOT RESPONSIBLE FOR TYPOGRAPHICAL ERRORS. PRICES SUBJECT TO CHANGE WITHOUT NOTICE. 41 http://www.samysdv.com http://www.samysdv.com

Table of Contents Feed for the Digital Edition of American Cinematographer - January 2008

American Cinematographer - January 2009 Contents Editor’s Note Short Takes: Triangle of Need Production Slate: Frost/Nixon, The Wrestler Close Focus An Old Soul Brothers in Arms A Cut Above Post Focus: HPA Awards, Still Me New Products & Services International Marketplace Classified Ads Ad Index In Memoriam: Robert C. Jessup, ASC Clubhouse News ASC Close-Up: Gabriel Beristain

American Cinematographer - January 2008

For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.