American Cinematographer - March 2010 - 42

◗ Mind Games crane. “I can use it any time because the cost to rent it is so minimal — there isn’t the cost of a remote head or added hands,” he explains. “Also, as I operate, I’m looking through the lens, not at a monitor. I react with a greater degree of accuracy and have a finer edge in how I analyze a sequence not only in terms of lighting and composition, but also because I’m able to see the actors’ eyes. I feel when something’s not working. Furthermore, I attempt to calculate the position in order to allow the camera to find numerous positions from one setup, such as a moving master plus a single, or whatever the situation might allow. “[Crane work] is a craft, and it takes a great deal of work to get to the level of proficiency I’m seeking,” he continues. “With a riding crane, I can respond very well to an actor’s movement, even if it’s improvisational, because I can sense the actor moving and can attempt to control [the crew] through my headset, asking them to dolly left or right, boom up or down, et cetera.” (Some crewmembers jokingly dub this one-way stream of communications “Radio KBOB.”) Most of the moves in Shutter Island were actually accomplished with either a dolly or a Steadicam, depending on the move at hand, notes Richardson. “Marty asks for precision with the camera, so whether we were on a crane, a dolly or Steadicam, the result was the same,” he says. The shoot was largely single-camera, though three were always on hand, with one dedicated to a Steadicam rig operated by Larry McConkey, SOC. Richardson’s interior lighting grows increasingly expressive as the storm intensifies and Teddy’s situation becomes direr. “As the storm hits its peak, lightning strikes violently cascade through a number of sequences, linking reality to Teddy’s dreams,” says Richardson. This is most evident in a scene set in Cawley’s office, where Teddy suffers an acute Richardson rides a crane while shooting the movie’s disturbing climax. Explaining his preference for this moving perch, he offers, “As I operate, I’m looking through the lens, not at a monitor. I react with a greater degree of accuracy and have a finer edge in how I analyze a sequence not only in terms of lighting and composition, but also because I’m able to see the actors’ eyes. I feel when something’s not working. Furthermore, I attempt to calculate the position in order to allow the camera to find numerous positions from one setup.” March 2010 American Cinematographer

American Cinematographer - March 2010

Table of Contents for the Digital Edition of American Cinematographer - March 2010

American Cinematographer - March 2010
Contents
Editor’s Note
President’s Desk
Short Takes: La Première
Production Slate: A Prophet • NY Export: Opus Jazz
Mind Games
Home-Screen Hits
A Passion for His Craft
Saluting an Industry Stalwart
Post Focus: EFilm’s Cinemascan System
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Salvatore Totino
American Cinematographer - March 2010 - American Cinematographer - March 2010
American Cinematographer - March 2010 - Cover2
American Cinematographer - March 2010 - 1
American Cinematographer - March 2010 - 2
American Cinematographer - March 2010 - Contents
American Cinematographer - March 2010 - 4
American Cinematographer - March 2010 - 5
American Cinematographer - March 2010 - 6
American Cinematographer - March 2010 - 7
American Cinematographer - March 2010 - Editor’s Note
American Cinematographer - March 2010 - 9
American Cinematographer - March 2010 - President’s Desk
American Cinematographer - March 2010 - 11
American Cinematographer - March 2010 - Short Takes: La Première
American Cinematographer - March 2010 - 13
American Cinematographer - March 2010 - 14
American Cinematographer - March 2010 - 15
American Cinematographer - March 2010 - 16
American Cinematographer - March 2010 - 17
American Cinematographer - March 2010 - Production Slate: A Prophet • NY Export: Opus Jazz
American Cinematographer - March 2010 - 19
American Cinematographer - March 2010 - 20
American Cinematographer - March 2010 - 21
American Cinematographer - March 2010 - 22
American Cinematographer - March 2010 - 23
American Cinematographer - March 2010 - 24
American Cinematographer - March 2010 - 25
American Cinematographer - March 2010 - 26
American Cinematographer - March 2010 - 27
American Cinematographer - March 2010 - 28
American Cinematographer - March 2010 - 29
American Cinematographer - March 2010 - Mind Games
American Cinematographer - March 2010 - 31
American Cinematographer - March 2010 - 32
American Cinematographer - March 2010 - 33
American Cinematographer - March 2010 - 34
American Cinematographer - March 2010 - 35
American Cinematographer - March 2010 - 36
American Cinematographer - March 2010 - 37
American Cinematographer - March 2010 - 38
American Cinematographer - March 2010 - 39
American Cinematographer - March 2010 - 40
American Cinematographer - March 2010 - 41
American Cinematographer - March 2010 - 42
American Cinematographer - March 2010 - 43
American Cinematographer - March 2010 - 44
American Cinematographer - March 2010 - 45
American Cinematographer - March 2010 - Home-Screen Hits
American Cinematographer - March 2010 - 47
American Cinematographer - March 2010 - 48
American Cinematographer - March 2010 - 49
American Cinematographer - March 2010 - 50
American Cinematographer - March 2010 - 51
American Cinematographer - March 2010 - 52
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American Cinematographer - March 2010 - 55
American Cinematographer - March 2010 - 56
American Cinematographer - March 2010 - 57
American Cinematographer - March 2010 - 58
American Cinematographer - March 2010 - 59
American Cinematographer - March 2010 - 60
American Cinematographer - March 2010 - 61
American Cinematographer - March 2010 - A Passion for His Craft
American Cinematographer - March 2010 - 63
American Cinematographer - March 2010 - 64
American Cinematographer - March 2010 - 65
American Cinematographer - March 2010 - 66
American Cinematographer - March 2010 - 67
American Cinematographer - March 2010 - 68
American Cinematographer - March 2010 - 69
American Cinematographer - March 2010 - 70
American Cinematographer - March 2010 - 71
American Cinematographer - March 2010 - Saluting an Industry Stalwart
American Cinematographer - March 2010 - 73
American Cinematographer - March 2010 - 74
American Cinematographer - March 2010 - 75
American Cinematographer - March 2010 - 76
American Cinematographer - March 2010 - 77
American Cinematographer - March 2010 - Post Focus: EFilm’s Cinemascan System
American Cinematographer - March 2010 - 79
American Cinematographer - March 2010 - 80
American Cinematographer - March 2010 - 81
American Cinematographer - March 2010 - New Products & Services
American Cinematographer - March 2010 - 83
American Cinematographer - March 2010 - 84
American Cinematographer - March 2010 - 85
American Cinematographer - March 2010 - 86
American Cinematographer - March 2010 - 87
American Cinematographer - March 2010 - International Marketplace
American Cinematographer - March 2010 - Classified Ads
American Cinematographer - March 2010 - Ad Index
American Cinematographer - March 2010 - 91
American Cinematographer - March 2010 - ASC Membership Roster
American Cinematographer - March 2010 - 93
American Cinematographer - March 2010 - Clubhouse News
American Cinematographer - March 2010 - 95
American Cinematographer - March 2010 - ASC Close-Up: Salvatore Totino
American Cinematographer - March 2010 - Cover3
American Cinematographer - March 2010 - Cover4
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