American Cinematographer - February 2011 - 25
an avalanche of data. With the Panasonic P2, Joubert worked in AVC-Intra 100 mode, recording 1 minute of 1920x1080 4:2:2 footage per gigabyte. This went onto P2 memory cards that ranged from 16GB to 64GB. The Phantom was even more memory-expensive, consuming half a terabyte a day, sometimes every hour. So every night, the Jouberts faced an arduous download. “In the days of film, we’d unload a magazine, label it and throw it in the back of the vehicle. N ow there’s an entire media-management process that gobbles up a huge amount of time and energy — as well as power — every evening,” Dereck says. “We’ve got solar power in camp, which is great but limited. Downloading a magazine of Phantom images, for instance, takes eight hours.” Two months in the field typically produced 16-20 TBof material. In Johannesburg, where the Jouberts do their editing, they initially rented memory space. “We soon realized we were going to overstay our welcome,” says Dereck. So they bought a SAN. “It’s now 180 TB, probably
the largest storage in Africa.” Because of data-management requirements, Dereck has come to enforce a film-like discipline when shooting. Discipline is also needed to maintain the ethical standards the Jouberts have set for themselves: N ever intervene, even if your subject is about to be slaughtered by another animal. (They will, however, rescue an animal that’s been snared by a human or wounded by gunfire.) Offer psychological insights, but don’t anthropomorphize. Never influence the action or handicap prey with lights. (“If some impala were bouncing around, confused by the lights and making themselves easy prey, we wouldn’t film that,” Dereck says.) And never prompt aggression to get an action shot. In the bush, patience is a virtue, and time is knowledge. “We live the life,” says Dereck. “I think we’re qualified to give greater insight simply because we’ve done the time.” The digital intermediate and release printing for The Last Lions were handled by Technicolor in Los Angeles.
TECHNICAL SPECS
1.85:1 (16x9 Original) Digital Capture Panasonic VariCam, AJ-HPX3000; Vision Research Phantom HD Canon, Fujinon and Angenieux lenses Printed on Kodak Vision Premier 2393
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25
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American Cinematographer - February 2011
Table of Contents for the Digital Edition of American Cinematographer - February 2011
American Cinematographer - February 2011
Contents
Editor’s Note
President’s Desk
Short Takes: God of Love
Production Slate: The Way Back • The Last Lions
Masked Men
Total Immersion
Behind the Music
A Cinematic Passport
Post Focus: MTI Films
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Robert Steadman, ASC
Clubhouse News
ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - American Cinematographer - February 2011
American Cinematographer - February 2011 - Cover2
American Cinematographer - February 2011 - 1
American Cinematographer - February 2011 - 2
American Cinematographer - February 2011 - Contents
American Cinematographer - February 2011 - 4
American Cinematographer - February 2011 - 5
American Cinematographer - February 2011 - 6
American Cinematographer - February 2011 - 7
American Cinematographer - February 2011 - Editor’s Note
American Cinematographer - February 2011 - 9
American Cinematographer - February 2011 - President’s Desk
American Cinematographer - February 2011 - 11
American Cinematographer - February 2011 - Short Takes: God of Love
American Cinematographer - February 2011 - 13
American Cinematographer - February 2011 - 14
American Cinematographer - February 2011 - 15
American Cinematographer - February 2011 - Production Slate: The Way Back • The Last Lions
American Cinematographer - February 2011 - 17
American Cinematographer - February 2011 - 18
American Cinematographer - February 2011 - 19
American Cinematographer - February 2011 - 20
American Cinematographer - February 2011 - 21
American Cinematographer - February 2011 - 22
American Cinematographer - February 2011 - 23
American Cinematographer - February 2011 - 24
American Cinematographer - February 2011 - 25
American Cinematographer - February 2011 - Masked Men
American Cinematographer - February 2011 - 27
American Cinematographer - February 2011 - 28
American Cinematographer - February 2011 - 29
American Cinematographer - February 2011 - 30
American Cinematographer - February 2011 - 31
American Cinematographer - February 2011 - 32
American Cinematographer - February 2011 - 33
American Cinematographer - February 2011 - 34
American Cinematographer - February 2011 - 35
American Cinematographer - February 2011 - Total Immersion
American Cinematographer - February 2011 - 37
American Cinematographer - February 2011 - 38
American Cinematographer - February 2011 - 39
American Cinematographer - February 2011 - 40
American Cinematographer - February 2011 - 41
American Cinematographer - February 2011 - 42
American Cinematographer - February 2011 - 43
American Cinematographer - February 2011 - 44
American Cinematographer - February 2011 - 45
American Cinematographer - February 2011 - Behind the Music
American Cinematographer - February 2011 - 47
American Cinematographer - February 2011 - 48
American Cinematographer - February 2011 - 49
American Cinematographer - February 2011 - 50
American Cinematographer - February 2011 - 51
American Cinematographer - February 2011 - 52
American Cinematographer - February 2011 - 53
American Cinematographer - February 2011 - A Cinematic Passport
American Cinematographer - February 2011 - 55
American Cinematographer - February 2011 - 56
American Cinematographer - February 2011 - 57
American Cinematographer - February 2011 - 58
American Cinematographer - February 2011 - 59
American Cinematographer - February 2011 - 60
American Cinematographer - February 2011 - 61
American Cinematographer - February 2011 - 62
American Cinematographer - February 2011 - 63
American Cinematographer - February 2011 - Post Focus: MTI Films
American Cinematographer - February 2011 - 65
American Cinematographer - February 2011 - 66
American Cinematographer - February 2011 - 67
American Cinematographer - February 2011 - New Products & Services
American Cinematographer - February 2011 - 69
American Cinematographer - February 2011 - 70
American Cinematographer - February 2011 - 71
American Cinematographer - February 2011 - 72
American Cinematographer - February 2011 - 73
American Cinematographer - February 2011 - 74
American Cinematographer - February 2011 - 75
American Cinematographer - February 2011 - International Marketplace
American Cinematographer - February 2011 - Classified Ads
American Cinematographer - February 2011 - Ad Index
American Cinematographer - February 2011 - 79
American Cinematographer - February 2011 - In Memoriam: Robert Steadman, ASC
American Cinematographer - February 2011 - 81
American Cinematographer - February 2011 - Clubhouse News
American Cinematographer - February 2011 - 83
American Cinematographer - February 2011 - ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - Cover3
American Cinematographer - February 2011 - Cover4
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