American Cinematographer - January 2013 - 65

dappled effect of the sun penetrating through gaps in the forest canopy, so we ran 18Ks, 4K Molebeams, and 4K and 7K Xenons down one side of the set aimed back through camouflage netting, creating fractured beams of light.” Smoke, which is not ideal for either CG effects or 3-D, was also added. “The smoke, which was augmented by Weta Digital, was put in so the chase would repeatedly go through bright beams into quite deep shade, accentuating the impression of speed,” says the cinematographer. The second unit, under Richard Bluck with gaffer Giles Coburn, also undertook a large section of the chase sequence. Key grip Jay Munro mounted Flight Heads operated by Peter McCaffrey on Polaris six-wheelers and tracking vehicles. When AC visited Park Road Post, senior colorist David Hollingsworth explained, “SGO’s Mistika was

used for alignment, color grading and dual-stream playback for our tri-weekly 3-D 48-fps screenings. The Mistika has very strong stereoscopic tools, and we worked with SGO to expand the colorgrading toolset to give us maximum control of the image while operating in real time at dual-stream 48 fps.” Head of technology Phil Oatley added, “Removing the artifacts of 24 fps and shooting at 48 fps improves the viewing experience with more clarity and temporal resolution. There are only advantages to combining a higher frame rate and 3-D.” Throughout the shoot, Park Road Post received 6-8 TB of data each day; this was sent directly from Stone Street Studios via fiberoptic links. During the location period of principal photography, LTO tapes were the normal delivery method. Regarding the final color timing, Lesnie acknowledges that he has “a certain mandate to remain faithful to

the look of Middle Earth we created on film for Lord of the Rings. The 48-fps picture is so clear and sharp, I tended to light more gently.” To maintain the look he established on 35mm, he continues, he and the grading team have softened the curve of the Epic’s footage, rolling off the shadows and highlights as well as providing for a gentle, textural finish. ●

TECHNICAL SPECS
2.40:1 3-D Digital Capture Red Epic M Zeiss Ultra Prime, Angenieux Optimo

Cool White LED

LED Conversion Filter Con nversion Filte

Tungsten

622
One and One Eighth Digital LED CTO T

624
Full Digital LED CTO T

626
Seven Eighths Digital LED CTO

628
Three Quarter Digital LED CTO

www.leefilters.com
65


http://www.leefilters.com

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
American Cinematographer - January 2013 - 57
American Cinematographer - January 2013 - 58
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American Cinematographer - January 2013 - 60
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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