American Cinematographer - February 2013 - 35
Considering that the story covers
over a decade and unfolds in several
different countries, Bigelow was keen
to keep the aesthetic realistic and
“rigorous in terms of the journalistic
imperative,” she says. “I’m drawn to
material that tends to be journalistic,
anyway, but in this instance, we also
had the weight of reality imposed upon
us. So, Greig and I and [production
designer] Jeremy Hindle worked
closely to find or create environments
that were correct and respectful to story,
reality and authenticity. To service the
story and still maintain a kind of
aesthetic coherence was a pretty tall
order.”
To help accomplish that,
Bigelow and Fraser decided early on to
shoot with spherical lenses, mainly
Cooke S4 primes. Because the material
is so firmly rooted in reality, “it wouldn’t help,” says Fraser, if they went too
wide or epic with the frame. He notes,
“Anamorphic might have shown too
much at times. This movie isn’t just the
raid; there’s a narrative that leads up to
the raid, and our lensing decisions had
to consider both aspects of the story.”
Panavision U.K. supplied the Cookes
and an Optica Elite 150-520mm zoom
lens, and Fraser rounded out the package with his own Optica Elite primes
and Angenieux 25-250mm HP zoom.
Overall, says Fraser, his first digital feature was “less complicated than I
expected it to be. We had the wireless
system going all the time, Kathryn had
the video feed all the time, and there
was no recabling necessary. It was a
simple system: when I had a picture up
on the camera, so did the director.”
On the set, images were monitored in Rec 709 color space, and the
filmmakers decided against choosing or
creating look-up tables for the shoot.
“We had other fish to fry!” says Fraser.
“We had a lot of setups to get each day,
quite a few cameras going, and lots of
locations to tackle. Getting an image to
the monitor was the priority rather
than worrying about whether it was
perfect color. Rec 709 gave us a nice
image to broadcast, which was all we
Top: An informant leads to the apprehension of a key player. Middle: Director Kathryn Bigelow
(right) discusses a scene with Ehle and another actor. Bottom: Key grip Kurt Kornemann (second
from right) spots Fraser as the cinematographer captures a shot with 1st AC Jake Marcuson.
Fraser is wearing the running pack in this instance.
www.theasc.com
February 2013
35
http://www.theasc.com
American Cinematographer - February 2013
Table of Contents for the Digital Edition of American Cinematographer - February 2013
American Cinematographer - February 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
Production Slate: House of Cards • Caesar Must Die
The World’s Most Wanted Man
War on Crime
Crumbling Pillars
Vision and Verve
Postcards from Poland
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - American Cinematographer - February 2013
American Cinematographer - February 2013 - Cover2
American Cinematographer - February 2013 - 1
American Cinematographer - February 2013 - 2
American Cinematographer - February 2013 - Contents
American Cinematographer - February 2013 - 4
American Cinematographer - February 2013 - 5
American Cinematographer - February 2013 - 6
American Cinematographer - February 2013 - 7
American Cinematographer - February 2013 - Editor’s Note
American Cinematographer - February 2013 - 9
American Cinematographer - February 2013 - President’s Desk
American Cinematographer - February 2013 - 11
American Cinematographer - February 2013 - Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
American Cinematographer - February 2013 - 13
American Cinematographer - February 2013 - 14
American Cinematographer - February 2013 - 15
American Cinematographer - February 2013 - 16
American Cinematographer - February 2013 - 17
American Cinematographer - February 2013 - Production Slate: House of Cards • Caesar Must Die
American Cinematographer - February 2013 - 19
American Cinematographer - February 2013 - 20
American Cinematographer - February 2013 - 21
American Cinematographer - February 2013 - 22
American Cinematographer - February 2013 - 23
American Cinematographer - February 2013 - 24
American Cinematographer - February 2013 - 25
American Cinematographer - February 2013 - 26
American Cinematographer - February 2013 - 27
American Cinematographer - February 2013 - 28
American Cinematographer - February 2013 - 29
American Cinematographer - February 2013 - 30
American Cinematographer - February 2013 - 31
American Cinematographer - February 2013 - The World’s Most Wanted Man
American Cinematographer - February 2013 - 33
American Cinematographer - February 2013 - 34
American Cinematographer - February 2013 - 35
American Cinematographer - February 2013 - 36
American Cinematographer - February 2013 - 37
American Cinematographer - February 2013 - 38
American Cinematographer - February 2013 - 39
American Cinematographer - February 2013 - 40
American Cinematographer - February 2013 - 41
American Cinematographer - February 2013 - War on Crime
American Cinematographer - February 2013 - 43
American Cinematographer - February 2013 - 44
American Cinematographer - February 2013 - 45
American Cinematographer - February 2013 - 46
American Cinematographer - February 2013 - 47
American Cinematographer - February 2013 - 48
American Cinematographer - February 2013 - 49
American Cinematographer - February 2013 - 50
American Cinematographer - February 2013 - 51
American Cinematographer - February 2013 - 52
American Cinematographer - February 2013 - 53
American Cinematographer - February 2013 - Crumbling Pillars
American Cinematographer - February 2013 - 55
American Cinematographer - February 2013 - 56
American Cinematographer - February 2013 - 57
American Cinematographer - February 2013 - 58
American Cinematographer - February 2013 - 59
American Cinematographer - February 2013 - 60
American Cinematographer - February 2013 - 61
American Cinematographer - February 2013 - Vision and Verve
American Cinematographer - February 2013 - 63
American Cinematographer - February 2013 - 64
American Cinematographer - February 2013 - 65
American Cinematographer - February 2013 - 66
American Cinematographer - February 2013 - 67
American Cinematographer - February 2013 - 68
American Cinematographer - February 2013 - 69
American Cinematographer - February 2013 - 70
American Cinematographer - February 2013 - 71
American Cinematographer - February 2013 - Postcards from Poland
American Cinematographer - February 2013 - 73
American Cinematographer - February 2013 - 74
American Cinematographer - February 2013 - 75
American Cinematographer - February 2013 - New Products & Services
American Cinematographer - February 2013 - 77
American Cinematographer - February 2013 - 78
American Cinematographer - February 2013 - 79
American Cinematographer - February 2013 - 80
American Cinematographer - February 2013 - 81
American Cinematographer - February 2013 - International Marketplace
American Cinematographer - February 2013 - Classified Ads
American Cinematographer - February 2013 - Ad Index
American Cinematographer - February 2013 - 85
American Cinematographer - February 2013 - Clubhouse News
American Cinematographer - February 2013 - 87
American Cinematographer - February 2013 - ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - Cover3
American Cinematographer - February 2013 - Cover4
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