American Cinematographer - March 2009 - (Page 43) “That helps us give the show a sense of reality. “On the first day, we did 65 setups,” he continues. “We were using EX3s to run with the characters, jump fences, all kinds of things we’d never do with big cameras. The stuntmen were actually jumping down and hitting the camera, which made it much more visceral.” The camera’s remote-control capability allows Wagner to operate it from the video cart, which is handy when the camera is in a hard-to-reach place. “We literally stick one to the ceiling about once a day,” says grip Brendan Quinlan. “Roy puts them everywhere.” “It’s not 4:4:4 color space,” notes Wagner. “We record 4:4:4 RGB with the [Sony CineAlta] F23; that provides the maximum amount of information for post. The EX3 uses 4:2:0 color sampling, which effectively means it’s recording color information at half the horizontal resolution and one-quarter the vertical resolution of the luminance. But the EX3s have a substantial processing capability that allows them to be side-by-side with the F23.” The EX3 captures images with three ½" Exmor CMOS sensors. Seen next to the F23’s output on the video cart, the difference is barely discernible. “There might be engineers who could spot the difference, but the audience won’t,” says Wagner. “We’re not using a digitalimaging technician, but the EX3 can be managed and manipulated with the same paintbox technology the F23 uses,” he continues. “However, we’re not painting on the set at all; all image manipulation is done in front of the sensor. This is not unlike oldschool film cinematography. Manipulation is created through exposure, lighting and filtration.” Wagner prefers to use multiple cameras, and he runs two to four at all times on The Unusuals. Two are F23s with Fujinon HA zooms (4.559mm cine-style, 7.3-110mm cine- Europe? Central ming in Fil Work, ts That ader! For Shoo arket Le many’s M Ger Contact B R O A D C A ST S E R V I C E S W E ’ V E G OT YO U R B AC K . THE VERY LATEST IN DIGITAL MOVIE-MAKING MULTI-LINGUAL STAFF 24/7 TECHNICAL SUPPORT CALL +49.30.230 989 0 VISIT www.camelot-berlin.de SEE YOU AT Digital Production in Film & TV / HFF Academy 2009 www.insightout-training.net 43 http://www.BenSemanoff.com http://www.BenSemanoff.com http://www.backstageweb.com http://www.backstageweb.com http://www.camelot-berlin.de http://www.camelot-berlin.de http://www.insightout-training.net
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