American Cinematographer - March 2011 - 30

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Master Plans
moving through the city and looking at things.” The filmmakers also spent prep time storyboarding key action sequences, including a daytime chase that starts at Madison Square Park and ends at Union Square. The scene begins when David boards a bus at 23rd and Broadway and encounters Elise for the second time. Harry, who was supposed to prevent David from getting on the bus, gives chase on foot as the vehicle heads down Broadway. The scene ends when Elise disembarks at Union Square. “George and I walked that [nine-block] stretch of Broadway several times in prep, and all the various beats within the sequence were very carefully boarded, which helped us enormously when we shot it,” says Toll. “We filmed it in December, when days are very short, and it involved a lot of traffic control. We did it pretty much as boarded and even had time to expand on the boards. We never would have been able to do that without careful preparation, or without the very experienced New York crew we were very fortunate to have.” David and Elise’s dialogue on the bus was shot in a 360-degree greenscreen environment at Steiner Studios. Toll explains, “Working with gaffer Jim Plannette and key grip Mitch Lillian, rigging grip Jim Bonice built the greenscreen and, with rigging gaffer Clay Liversidge, built lightboxesthat stretched the entire length of both sides of the bus onstage. There were 30 units on each side of the bus, all on a dimmer board, and they held 1K nook lights. They were on truss and could be raised and lowered, depending on the shot. We primarily lit through the windows, adding interior bounce fill as needed with a variety of small Fresnels. “In the story, this scene takes place in winter, and we waited to shoot the exterior part of it until the end of our schedule in December, after the leaves had dropped from the trees — we were hoping for overcast skies to help the winter look,” he continues. “So when we shot the bus interiors, I lit for
American Cinematographer

Top: Steadicam operator Stephen Consentino films an exchange between David and Bureau agents Richardson and McCrady (Anthony Ruivivar, behind Damon). Middle: Upper-echelon Bureau agent Thompson (Terence Stamp) takes charge when David proves difficult. Bottom: Toll and director George Nolfi plan a shot on location.

30

March 2011



American Cinematographer - March 2011

Table of Contents for the Digital Edition of American Cinematographer - March 2011

American Cinematographer - March 2011
Contents
Editor’s Note
President’s Desk
Short Takes: Nowhere Near Here
Production Slate: Image Interchange Framework • The Imperialists Are Still Alive!
Master Plans
Weekly Wonders
Lessons Well Learned
Photographing Movie History
Filmmakers’ Forum: Lisa Wiegand
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Gene Polito, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Crescenzo Notarile
American Cinematographer - March 2011 - American Cinematographer - March 2011
American Cinematographer - March 2011 - Cover2
American Cinematographer - March 2011 - 1
American Cinematographer - March 2011 - 2
American Cinematographer - March 2011 - Contents
American Cinematographer - March 2011 - 4
American Cinematographer - March 2011 - 5
American Cinematographer - March 2011 - 6
American Cinematographer - March 2011 - 7
American Cinematographer - March 2011 - Editor’s Note
American Cinematographer - March 2011 - 9
American Cinematographer - March 2011 - President’s Desk
American Cinematographer - March 2011 - 11
American Cinematographer - March 2011 - Short Takes: Nowhere Near Here
American Cinematographer - March 2011 - 13
American Cinematographer - March 2011 - 14
American Cinematographer - March 2011 - 15
American Cinematographer - March 2011 - Production Slate: Image Interchange Framework • The Imperialists Are Still Alive!
American Cinematographer - March 2011 - 17
American Cinematographer - March 2011 - 18
American Cinematographer - March 2011 - 19
American Cinematographer - March 2011 - 20
American Cinematographer - March 2011 - 21
American Cinematographer - March 2011 - 22
American Cinematographer - March 2011 - 23
American Cinematographer - March 2011 - 24
American Cinematographer - March 2011 - 25
American Cinematographer - March 2011 - Master Plans
American Cinematographer - March 2011 - 27
American Cinematographer - March 2011 - 28
American Cinematographer - March 2011 - 29
American Cinematographer - March 2011 - 30
American Cinematographer - March 2011 - 31
American Cinematographer - March 2011 - 32
American Cinematographer - March 2011 - 33
American Cinematographer - March 2011 - 34
American Cinematographer - March 2011 - 35
American Cinematographer - March 2011 - 36
American Cinematographer - March 2011 - 37
American Cinematographer - March 2011 - Weekly Wonders
American Cinematographer - March 2011 - 39
American Cinematographer - March 2011 - 40
American Cinematographer - March 2011 - 41
American Cinematographer - March 2011 - 42
American Cinematographer - March 2011 - 43
American Cinematographer - March 2011 - 44
American Cinematographer - March 2011 - 45
American Cinematographer - March 2011 - 46
American Cinematographer - March 2011 - 47
American Cinematographer - March 2011 - 48
American Cinematographer - March 2011 - 49
American Cinematographer - March 2011 - Lessons Well Learned
American Cinematographer - March 2011 - 51
American Cinematographer - March 2011 - 52
American Cinematographer - March 2011 - 53
American Cinematographer - March 2011 - 54
American Cinematographer - March 2011 - 55
American Cinematographer - March 2011 - 56
American Cinematographer - March 2011 - 57
American Cinematographer - March 2011 - Photographing Movie History
American Cinematographer - March 2011 - 59
American Cinematographer - March 2011 - 60
American Cinematographer - March 2011 - 61
American Cinematographer - March 2011 - 62
American Cinematographer - March 2011 - 63
American Cinematographer - March 2011 - 64
American Cinematographer - March 2011 - 65
American Cinematographer - March 2011 - Filmmakers’ Forum: Lisa Wiegand
American Cinematographer - March 2011 - 67
American Cinematographer - March 2011 - New Products & Services
American Cinematographer - March 2011 - 69
American Cinematographer - March 2011 - 70
American Cinematographer - March 2011 - 71
American Cinematographer - March 2011 - 72
American Cinematographer - March 2011 - 73
American Cinematographer - March 2011 - International Marketplace
American Cinematographer - March 2011 - Classified Ads
American Cinematographer - March 2011 - Ad Index
American Cinematographer - March 2011 - 77
American Cinematographer - March 2011 - In Memoriam: Gene Polito, ASC
American Cinematographer - March 2011 - 79
American Cinematographer - March 2011 - ASC Membership Roster
American Cinematographer - March 2011 - 81
American Cinematographer - March 2011 - Clubhouse News
American Cinematographer - March 2011 - 83
American Cinematographer - March 2011 - ASC Close-Up: Crescenzo Notarile
American Cinematographer - March 2011 - Cover3
American Cinematographer - March 2011 - Cover4
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