American Cinematographer - January 2010 - 89
The way I work fast is to increase the number of cameras I’m carrying. On The Only Easy Day Was Yesterday, the feature I’m shooting now for directors Scott Waugh and Mike McCoy, we started with seven 5Ds, and that wasn’t enough. When we went up to 15 cameras, we became incredibly efficient. We keep a handful of cameras stripped down and ready for whatever unforeseeable mounting situation the day might call for, and all the rest are built in a different configuration at the beginning of the day, so there’s always a camera ready to go for any situation. We never have to waste time switching a camera from handheld mode to helmet-cam mode, Steadicam mode or whatever the situation requires. Carrying so many cameras does not increase our footprint, however. With the 5D, I go in with a crew of five to nine, and all of the cameras and their accessories fit in nine Pelican cases. Working like this requires an open mind and a back-to-film-school approach in which everyone is flexible enough to tackle multiple jobs. The projects I’ve mentioned wouldn’t have been possible without my elite team, which includes my longtime camera operators, Gary Hatfield and Rudy Harbon, and camera assistants Marc Margulies, Darin Necessary and Mike Svitak. When we go out on a shoot, I can give each of them his own camera, and we can knock out a huge number of setups in a very short time. Everyone has a great sense of framing, composition and light. We’ve also come up with kits for each camera that fit everything you need to shoot a movie inside one Pelican case: ND, memory cards, backup batteries, chargers, etc. Since the 5D is still new to moviemaking, the way I use it is continually evolving. For example, we made the Terminator Webisodes before Canon released the free, downloadable firmware upgrade for the 5D that enabled manual adjustment of ASA, shutter speed and f-stop; this marked a huge step forward in making the camera production-friendly. Prior to the firmware release, we used Nikon lenses so we could at least set the f-stop on the lens itself, but we then had to “trick” the camera into its other
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American Cinematographer - January 2010
Table of Contents for the Digital Edition of American Cinematographer - January 2010
American Cinematographer - January 2010
Contents
President’s Desk
Short Takes: Hyundai Sonata Campaign
Production Slate: The White Ribbon • The Imaginarium of Doctor Parnassus
Conquering New Worlds
Watchful Spirit
Super Sleuth
The Right Stuff
Editor’s Note
Post Focus: Technicolor Hollywood • HPA Awards
Filmmakers’ Forum: Shane Hurlbut, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Billy Dickson
American Cinematographer - January 2010 - American Cinematographer - January 2010
American Cinematographer - January 2010 - Cover2
American Cinematographer - January 2010 - 1
American Cinematographer - January 2010 - 2
American Cinematographer - January 2010 - Contents
American Cinematographer - January 2010 - 4
American Cinematographer - January 2010 - 5
American Cinematographer - January 2010 - 6
American Cinematographer - January 2010 - 7
American Cinematographer - January 2010 - 8
American Cinematographer - January 2010 - 9
American Cinematographer - January 2010 - President’s Desk
American Cinematographer - January 2010 - 11
American Cinematographer - January 2010 - Short Takes: Hyundai Sonata Campaign
American Cinematographer - January 2010 - 13
American Cinematographer - January 2010 - 14
American Cinematographer - January 2010 - 15
American Cinematographer - January 2010 - 16
American Cinematographer - January 2010 - 17
American Cinematographer - January 2010 - Production Slate: The White Ribbon • The Imaginarium of Doctor Parnassus
American Cinematographer - January 2010 - 19
American Cinematographer - January 2010 - 20
American Cinematographer - January 2010 - 21
American Cinematographer - January 2010 - 22
American Cinematographer - January 2010 - 23
American Cinematographer - January 2010 - 24
American Cinematographer - January 2010 - 25
American Cinematographer - January 2010 - 26
American Cinematographer - January 2010 - 27
American Cinematographer - January 2010 - 28
American Cinematographer - January 2010 - 29
American Cinematographer - January 2010 - 30
American Cinematographer - January 2010 - 31
American Cinematographer - January 2010 - Conquering New Worlds
American Cinematographer - January 2010 - 33
American Cinematographer - January 2010 - 34
American Cinematographer - January 2010 - 35
American Cinematographer - January 2010 - 36
American Cinematographer - January 2010 - 37
American Cinematographer - January 2010 - 38
American Cinematographer - January 2010 - 39
American Cinematographer - January 2010 - 40
American Cinematographer - January 2010 - 41
American Cinematographer - January 2010 - 42
American Cinematographer - January 2010 - 43
American Cinematographer - January 2010 - 44
American Cinematographer - January 2010 - 45
American Cinematographer - January 2010 - 46
American Cinematographer - January 2010 - 47
American Cinematographer - January 2010 - Watchful Spirit
American Cinematographer - January 2010 - 49
American Cinematographer - January 2010 - 50
American Cinematographer - January 2010 - 51
American Cinematographer - January 2010 - 52
American Cinematographer - January 2010 - 53
American Cinematographer - January 2010 - 54
American Cinematographer - January 2010 - 55
American Cinematographer - January 2010 - 56
American Cinematographer - January 2010 - 57
American Cinematographer - January 2010 - 58
American Cinematographer - January 2010 - 59
American Cinematographer - January 2010 - Super Sleuth
American Cinematographer - January 2010 - 61
American Cinematographer - January 2010 - 62
American Cinematographer - January 2010 - 63
American Cinematographer - January 2010 - 64
American Cinematographer - January 2010 - 65
American Cinematographer - January 2010 - 66
American Cinematographer - January 2010 - 67
American Cinematographer - January 2010 - 68
American Cinematographer - January 2010 - 69
American Cinematographer - January 2010 - The Right Stuff
American Cinematographer - January 2010 - 71
American Cinematographer - January 2010 - 72
American Cinematographer - January 2010 - 73
American Cinematographer - January 2010 - 74
American Cinematographer - January 2010 - 75
American Cinematographer - January 2010 - 76
American Cinematographer - January 2010 - 77
American Cinematographer - January 2010 - 78
American Cinematographer - January 2010 - 79
American Cinematographer - January 2010 - Editor’s Note
American Cinematographer - January 2010 - 81
American Cinematographer - January 2010 - 82
American Cinematographer - January 2010 - 83
American Cinematographer - January 2010 - Post Focus: Technicolor Hollywood • HPA Awards
American Cinematographer - January 2010 - 85
American Cinematographer - January 2010 - 86
American Cinematographer - January 2010 - 87
American Cinematographer - January 2010 - Filmmakers’ Forum: Shane Hurlbut, ASC
American Cinematographer - January 2010 - 89
American Cinematographer - January 2010 - 90
American Cinematographer - January 2010 - 91
American Cinematographer - January 2010 - 92
American Cinematographer - January 2010 - 93
American Cinematographer - January 2010 - New Products & Services
American Cinematographer - January 2010 - 95
American Cinematographer - January 2010 - 96
American Cinematographer - January 2010 - 97
American Cinematographer - January 2010 - International Marketplace
American Cinematographer - January 2010 - Classified Ads
American Cinematographer - January 2010 - Ad Index
American Cinematographer - January 2010 - 101
American Cinematographer - January 2010 - Clubhouse News
American Cinematographer - January 2010 - 103
American Cinematographer - January 2010 - ASC Close-Up: Billy Dickson
American Cinematographer - January 2010 - Cover3
American Cinematographer - January 2010 - Cover4
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