American Cinematographer - January 2013 - 26

Top: A farmer (Scoot McNairy) gives Butler the cold shoulder. Bottom: The salesman enjoys a warmer welcome from a local schoolteacher (Rosemarie DeWitt) in the town bar.

detailed, and blacks are deep yet dull. Faces get a beautiful shine. Our testing showed we couldn’t achieve this look any other way, even in the DI.” (The final digital grade was done at Technicolor Hollywood with colorist Mark Gethin.) The Hawk V-Lite 1.3x anamorphic lenses, which he teamed with Arricam Studio and Lite cameras, “are just great — very well manufactured, contrasty and beautiful — and they contributed significantly to the look as well,” he continues.
26 January 2013

“They have their own unique characteristics, like out-of-focus highlights in the background that are not quite circular. In combination with the rich detail of the negative, the lenses gave us an image that’s just amazing.” Sandgren notes that the pullprocessed material looks less grainy than the material that was processed normally, even at night, and he attributes that in part to the increased resolution of the 4-perf squeezed image. “I didn’t pull process the
American Cinematographer

first night exterior [a dialogue between Damon and John Krasinski in a parking lot] because I was afraid it was going to get too dark,” he says. “Later, we shot in a similar environment and did the pull processing, and it looked so crisp. It was very successful. The pull processing doesn’t bring up the grain; you can lift it up with the gamma curves in the DI. In the end, there were only two scenes that we didn’t pull process, and they were both from the first day of the shoot.” Van Sant values simplicity, and Sandgren’s in-camera techniques, as well as his lighting and framing, were in harmony with that aesthetic. “We could move fast and capture things quickly with confidence, and because we were already using the right technique, what was happening in front of the camera could give us some cool surprises,” says Sandgren. “That was nice.” Most mornings during the shoot, Van Sant spent the first hour or so devising the blocking for a scene. Then, the actors would retreat for wardrobe and makeup, and Sandgren’s crew would go to work. Lighting was minimal, and “clean” sets were encouraged — no cameras, dollies or lighting in the spaces until after blocking. Blocking and shot selection, like most of



American Cinematographer - January 2013

Table of Contents for the Digital Edition of American Cinematographer - January 2013

American Cinematographer - January 2013
Contents
Editor’s Note
President’s Desk
Short Takes: GE.com, “Juice Train”
Production Slate: Amour • Promised Land
Once Upon a Time in the South
An Unlikely Hero
An Unlikely Hero
A Musical Revolution
A Musical Revolution
An Auteur’s Angst
An Auteur’s Angst
Post Focus: Restoring Sunset Blvd. • 2012 HPA Awards
Post Focus: Restoring Sunset Blvd. • 2012 HPA Awards
New Products & Services
New Products & Services
International Marketplace
International Marketplace
Classified Ads
Classified Ads
Ad Index
Ad Index
In Memoriam: Ken Lamkin, ASC
In Memoriam: Ken Lamkin, ASC
Clubhouse News
Clubhouse News
ASC Close-Up: Newton Thomas Sigel
ASC Close-Up: Newton Thomas Sigel
American Cinematographer - January 2013 - American Cinematographer - January 2013
American Cinematographer - January 2013 - Cover2
American Cinematographer - January 2013 - 1
American Cinematographer - January 2013 - 2
American Cinematographer - January 2013 - 3
American Cinematographer - January 2013 - 4
American Cinematographer - January 2013 - Contents
American Cinematographer - January 2013 - 6
American Cinematographer - January 2013 - 7
American Cinematographer - January 2013 - Editor’s Note
American Cinematographer - January 2013 - 9
American Cinematographer - January 2013 - President’s Desk
American Cinematographer - January 2013 - 11
American Cinematographer - January 2013 - Short Takes: GE.com, “Juice Train”
American Cinematographer - January 2013 - 13
American Cinematographer - January 2013 - 14
American Cinematographer - January 2013 - 15
American Cinematographer - January 2013 - 16
American Cinematographer - January 2013 - 17
American Cinematographer - January 2013 - Production Slate: Amour • Promised Land
American Cinematographer - January 2013 - 19
American Cinematographer - January 2013 - 20
American Cinematographer - January 2013 - 21
American Cinematographer - January 2013 - 22
American Cinematographer - January 2013 - 23
American Cinematographer - January 2013 - 24
American Cinematographer - January 2013 - 25
American Cinematographer - January 2013 - 26
American Cinematographer - January 2013 - 27
American Cinematographer - January 2013 - 28
American Cinematographer - January 2013 - 29
American Cinematographer - January 2013 - 30
American Cinematographer - January 2013 - 31
American Cinematographer - January 2013 - Once Upon a Time in the South
American Cinematographer - January 2013 - 33
American Cinematographer - January 2013 - 34
American Cinematographer - January 2013 - 35
American Cinematographer - January 2013 - 36
American Cinematographer - January 2013 - 37
American Cinematographer - January 2013 - 38
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American Cinematographer - January 2013 - 45
American Cinematographer - January 2013 - 46
American Cinematographer - January 2013 - 47
American Cinematographer - January 2013 - 48
American Cinematographer - January 2013 - 49
American Cinematographer - January 2013 - An Unlikely Hero
American Cinematographer - January 2013 - 51
American Cinematographer - January 2013 - 52
American Cinematographer - January 2013 - 53
American Cinematographer - January 2013 - 54
American Cinematographer - January 2013 - 55
American Cinematographer - January 2013 - 56
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American Cinematographer - January 2013 - 61
American Cinematographer - January 2013 - 62
American Cinematographer - January 2013 - 63
American Cinematographer - January 2013 - 64
American Cinematographer - January 2013 - 65
American Cinematographer - January 2013 - A Musical Revolution
American Cinematographer - January 2013 - 67
American Cinematographer - January 2013 - 68
American Cinematographer - January 2013 - 69
American Cinematographer - January 2013 - 70
American Cinematographer - January 2013 - 71
American Cinematographer - January 2013 - 72
American Cinematographer - January 2013 - 73
American Cinematographer - January 2013 - 74
American Cinematographer - January 2013 - 75
American Cinematographer - January 2013 - 76
American Cinematographer - January 2013 - 77
American Cinematographer - January 2013 - An Auteur’s Angst
American Cinematographer - January 2013 - 79
American Cinematographer - January 2013 - 80
American Cinematographer - January 2013 - 81
American Cinematographer - January 2013 - 82
American Cinematographer - January 2013 - 83
American Cinematographer - January 2013 - 84
American Cinematographer - January 2013 - 85
American Cinematographer - January 2013 - 86
American Cinematographer - January 2013 - 87
American Cinematographer - January 2013 - 88
American Cinematographer - January 2013 - 89
American Cinematographer - January 2013 - Post Focus: Restoring Sunset Blvd. • 2012 HPA Awards
American Cinematographer - January 2013 - 91
American Cinematographer - January 2013 - 92
American Cinematographer - January 2013 - 93
American Cinematographer - January 2013 - 94
American Cinematographer - January 2013 - 95
American Cinematographer - January 2013 - New Products & Services
American Cinematographer - January 2013 - 97
American Cinematographer - January 2013 - 98
American Cinematographer - January 2013 - 99
American Cinematographer - January 2013 - 100
American Cinematographer - January 2013 - 101
American Cinematographer - January 2013 - International Marketplace
American Cinematographer - January 2013 - Classified Ads
American Cinematographer - January 2013 - Ad Index
American Cinematographer - January 2013 - In Memoriam: Ken Lamkin, ASC
American Cinematographer - January 2013 - Clubhouse News
American Cinematographer - January 2013 - 107
American Cinematographer - January 2013 - ASC Close-Up: Newton Thomas Sigel
American Cinematographer - January 2013 - Cover3
American Cinematographer - January 2013 - Cover4
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