American Cinematographer - March 2011 - 36

◗

Master Plans

Left: Harry has another clandestine meeting with David. Right: Damon and the filmmakers at work in Lower Manhattan.

do the timing in L.A. and periodically do simultaneous sessions with George, who could see real-time color corrections onscreen in New York. This also worked well when Mark wanted to check visual-effects shots against our work-in-progress; he could insert shots into scenes we had begun to time and see how things were blending before he

made final versions of those shots. That helped enormously in making adjustments to both the overall grade and the visual-effects shots.” Timing the Escher Stairs began with Toll’s pre-grade of the greenscreen plate and the two background plates (one for each rooftop shot). The Phosphene team then combined those

plates with a fourth, showing Adjustment Bureau agents coming up the stairs toward David and Elise at the end of the shot, and added CG stairs and CG floor tiles. “After many months of fine-tuning and clean-up, we arrived at a decent-looking composite that then needed to be dialed in to match the rest of the film,” says Russell. “To enable

36


http://www.kinoflo.com http://www.kinoflo.com

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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