American Cinematographer - February 2011 - 31
dimmers, and white bobbinet was used outside the windows to diffuse the backing and keep “exterior” light from entering the set when an overcast look was desired. One of the limitations of using a photo backing is the lack of a perspective change when the camera moves. So when Schwartzman moved the camera, he had a team of grips shift the photo backing in small increments to create the illusion of parallax. “I don’t know if you’ll notice it,” he says, “but we moved it as much as we could until we almost pulled the rivets out!” An interesting quirk of the newsroom set is that only one of the two main elevators is functional — the production couldn’t afford to build two working elevators. Gondry realized that from a certain angle and position, the bullpen was perfectly symmetrical. A mirror version of the set was created, including all of the signage and TV graphics, and the actors’ hair and wardrobe was designed to be perfectly reversible when they were in the mirror set. The same elevator was always used, and the image was flipped in post to make it look as if both elevators were operational. Reid’s father preferred to tackle crime and corruption with the power of the press, but the Green Hornet quickly realizes how persuasive a turbo-charged supercar and a little kung fu can be. When he tells Kato (Jay Chou), “You’re a human Swiss Army knife,” he’s not just talking about all the high-tech weapons Kato engineers—he’s also referring to Kato’s calm, ninja-like physical prowess. To illustrate this ability, Schwartzman and Gondry came up with “Kato Vision.” Schwartzman explains, “It’s Kato’s point of view. In the middle of a fight, he can look at five different bad guys at once and focus on each of them.” Kato Vision shots were captured at 500 fps with a Vision Research Phantom HD “because that’s the only high-speed digital camera that can take anamorphic lenses,” Schwartzman notes. A Source Four Leko was focused on each of the villains
ww.theasc.com w
Top: One of Gondry’s storyboards for the “Chase the Hornet” sequence, in which the screen splits as the order to kill the Green Hornet spreads through the underworld. Middle: Gondry (left) positions Rogen for an incamera flashback effect that reveals a young Britt Reid (Joshua Erenberg). Bottom: Reid’s mental reconstruction of his father’s murder includes a cardboard mansion engulfed in flames created with backlit strands of hair from a blonde wig.
February 2011
31
http://ww.theasc.com
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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