American Cinematographer - April 2008 - (Page 14)

Short Takes Milia Showcases Arri’s D-20 by Iain Stasukevich learned Arri CSC was willing to loan the production an Arri D-20 at no cost. He immediately called Friesenbichler and asked him to shoot the picture. “I arrived in New York less than 30 hours before we set up the first shot,” recalls the cinematographer. Friesenbichler’s experience with hi-def video up to that point was limited to ENG-style cameras. He researched the D-20 as much as he could, but “we started the shoot in May 2006, and at that time, people hadn’t had much field experience with it,” he says. “In fact, I believe Milia was the first narrative project shot with it in the United States. We didn’t have time to test the camera or really get to know it before the shoot, but fortunately, it handles like a film camera — that’s what I came to love about it.” Throughout the shoot, Andreas Weeber, head of Arri CSC’s digital-imaging department, worked as a camera operator and go-to guy for all things related to the D-20. The fact that he and Friesenbichler both spoke German — Weeber is German and Friesenbichler is Austrian — “enabled a more efficient stream of communication between us from a creative standpoint,” says the cinematographer. Valdes-Iga wanted to take an improvisational approach, allowing actors to adjust their performances from take to take. “What I liked about Milia was it required me to constantly adapt,” says Friesenbichler. “There’s a different energy level on set when you take an approach like that. Everyone’s got to be really alert and ready to capture those few moments that end up on screen.” He singles out the D-20’s optical viewfinder system as a key element in facilitating Valdes-Iga’s directorial style, Above: A New York fashion photographer (Rufus Collins) learns that a new model, Milia (Cecile Raubenheimer), is linked to his past. Below: Cinematographer Philipp Friesenbichler (far left) studies his notes while director Jorge Valdes-Iga rehearses the actors. inematographer Philipp Friesenbichler didn’t need much convincing when director and friend Jorge Valdes-Iga invited him to New York to shoot the short film Milia. The pair had been close collaborators while studying film at the University of Miami. “Philipp is very methodical and I tend to be more spontaneous, which creates a good balance,” notes Valdes-Iga. In addition to that, says Friesenbichler, “Jorge and I C share an interest in the same kinds of stories.” Milia tells the story of Nathaniel (Rufus Collins), a gruff and charismatic fashion photographer living in New York City who encounters a model with a link to his past, Milia (Cecile Raubenheimer). Limited to a tiny budget, Valdes-Iga originally intended to use Panasonic’s DVX100, but about a week before the shoot was scheduled to begin, he 14 April 2008 Frame grab and photos courtesy of Jorge Valdez-Iga and Philipp Friesenbichler. Photo on page 14 by Peter Hagen.

Table of Contents Feed for the Digital Edition of American Cinematographer - April 2008

American Cinematographer - April 2008 Contents Editor's Note Global Village: The Counterfeiters Short Takes: Milia Production Slate: Paranoid Park Production Slate: All the Boys Love Mandy Lane Card Sharks Temple of Doom 3-D Cinematography Sundance 2008: Mining for Movies Post Focus: Digital Film Tree Gets into Peyote Post Focus: FotoKem’s 3-D Workflow Post Focus: Technicolor Digs in at Pinewood Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0 New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Rodney Taylor

American Cinematographer - April 2008

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