American Cinematographer - April 2008 - 84

Post Focus A Cofan chief shares his knowledge of hallucinogens in the History Channel documentary Peyote to LSD: A Psychedelic Odyssey, which also features musician Bob Weir and Andrew Weil, M.D. When I decided to make a documentary for A&E and the History Channel about one of the longest, strangest trips of the 20th century, it launched me on a two-year journey that spanned five countries and three native ceremonies. Peyote to LSD: A Psychedelic Odyssey presents a history of hallucinogens in the guise of a historical travel-adventure film. I followed Wade Davis, a National Geographic Explorer in Residence, across American deserts, through Mexican jungles and down the Amazon River, juxtaposing stories from the psychedelic ’60s with the research of Harvard professor Richard Evans Schultes, one of the greatest plant explorers of the 20th century. To make the project, I combined 84 April 2008 Peyote to LSD: A Psychedelic Odyssey images courtesy of Peter von Puttkamer. Digital Film Tree Journeys From Peyote to LSD by Peter von Puttkamer five video formats with 16mm film, did a laptop edit, and did a final finish in hi-def (HD) video. On my previous project, an HD travel-adventure documentary for the Discovery Channel called The Real Lost World (AC Dec. ’06), I was impressed with the HDCam format, but as Peyote entered preproduction, the History Channel encouraged me to shoot in 24p, 16:9 standard definition. Accordingly, I chose to use the Panasonic AJ-SDX900 as we began the shoot in New Mexico. However, when we went on to document an international LSD symposium in Basel, Switzerland, the trip coincided with another show I was working on that required HDCam acquisition in 1080/60i, so I took a Sony HDW-F900, which allowed me to switch between 1080i and 1080/24p. Pleased with the F900’s perfor- mance, and encouraged by what we had so far shot for Peyote, I felt I would be able to convince the History Channel to back an HD finish. So whenever possible, I shot HD, and when I went to Mexico and Ecuador with cinematographer Bill Mills, his camera package included a Panasonic AJ-HDC27F VariCam, which we used in its 720/24p mode. Over the course of the shoot, we also employed a Sony HVR-Z1U and a Panasonic AG-HVX200 for some B-roll, as well as a hand-wound, 16mm Bolex to achieve a period “newsreel” look. The History Channel ultimately agreed to finish the project in HD, but as I went shopping for an online post solution, Peyote’s mix of multiple video formats, greenscreen-backed interviews, still photographs, graphics and old stock footage seemed to scare more than a few editors and post houses.

American Cinematographer - April 2008

Table of Contents 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 - American Cinematographer - April 2008
American Cinematographer - April 2008 - Cover2
American Cinematographer - April 2008 - 1
American Cinematographer - April 2008 - 2
American Cinematographer - April 2008 - Contents
American Cinematographer - April 2008 - 4
American Cinematographer - April 2008 - 5
American Cinematographer - April 2008 - 6
American Cinematographer - April 2008 - 7
American Cinematographer - April 2008 - Editor's Note
American Cinematographer - April 2008 - 9
American Cinematographer - April 2008 - Global Village: The Counterfeiters
American Cinematographer - April 2008 - 11
American Cinematographer - April 2008 - 12
American Cinematographer - April 2008 - 13
American Cinematographer - April 2008 - Short Takes: Milia
American Cinematographer - April 2008 - 15
American Cinematographer - April 2008 - 16
American Cinematographer - April 2008 - 17
American Cinematographer - April 2008 - Production Slate: All the Boys Love Mandy Lane
American Cinematographer - April 2008 - 19
American Cinematographer - April 2008 - 20
American Cinematographer - April 2008 - 21
American Cinematographer - April 2008 - 22
American Cinematographer - April 2008 - 23
American Cinematographer - April 2008 - 24
American Cinematographer - April 2008 - 25
American Cinematographer - April 2008 - 26
American Cinematographer - April 2008 - 27
American Cinematographer - April 2008 - 28
American Cinematographer - April 2008 - 29
American Cinematographer - April 2008 - Card Sharks
American Cinematographer - April 2008 - 31
American Cinematographer - April 2008 - 32
American Cinematographer - April 2008 - 33
American Cinematographer - April 2008 - 34
American Cinematographer - April 2008 - 35
American Cinematographer - April 2008 - 36
American Cinematographer - April 2008 - 37
American Cinematographer - April 2008 - 38
American Cinematographer - April 2008 - 39
American Cinematographer - April 2008 - 40
American Cinematographer - April 2008 - 41
American Cinematographer - April 2008 - Temple of Doom
American Cinematographer - April 2008 - 43
American Cinematographer - April 2008 - 44
American Cinematographer - April 2008 - 45
American Cinematographer - April 2008 - 46
American Cinematographer - April 2008 - 47
American Cinematographer - April 2008 - 48
American Cinematographer - April 2008 - 49
American Cinematographer - April 2008 - 50
American Cinematographer - April 2008 - 51
American Cinematographer - April 2008 - 3-D Cinematography
American Cinematographer - April 2008 - 53
American Cinematographer - April 2008 - 54
American Cinematographer - April 2008 - 55
American Cinematographer - April 2008 - 56
American Cinematographer - April 2008 - 57
American Cinematographer - April 2008 - 58
American Cinematographer - April 2008 - 59
American Cinematographer - April 2008 - 60
American Cinematographer - April 2008 - 61
American Cinematographer - April 2008 - 62
American Cinematographer - April 2008 - 63
American Cinematographer - April 2008 - Sundance 2008: Mining for Movies
American Cinematographer - April 2008 - 65
American Cinematographer - April 2008 - 66
American Cinematographer - April 2008 - 67
American Cinematographer - April 2008 - 68
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American Cinematographer - April 2008 - 79
American Cinematographer - April 2008 - 80
American Cinematographer - April 2008 - 81
American Cinematographer - April 2008 - 82
American Cinematographer - April 2008 - 83
American Cinematographer - April 2008 - Post Focus: Technicolor Digs in at Pinewood
American Cinematographer - April 2008 - 85
American Cinematographer - April 2008 - 86
American Cinematographer - April 2008 - 87
American Cinematographer - April 2008 - 88
American Cinematographer - April 2008 - 89
American Cinematographer - April 2008 - Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
American Cinematographer - April 2008 - 91
American Cinematographer - April 2008 - 92
American Cinematographer - April 2008 - 93
American Cinematographer - April 2008 - New Products & Services
American Cinematographer - April 2008 - 95
American Cinematographer - April 2008 - 96
American Cinematographer - April 2008 - 97
American Cinematographer - April 2008 - 98
American Cinematographer - April 2008 - 99
American Cinematographer - April 2008 - 100
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American Cinematographer - April 2008 - 107
American Cinematographer - April 2008 - 108
American Cinematographer - April 2008 - 109
American Cinematographer - April 2008 - International Marketplace
American Cinematographer - April 2008 - 111
American Cinematographer - April 2008 - Ad Index
American Cinematographer - April 2008 - 113
American Cinematographer - April 2008 - Clubhouse News
American Cinematographer - April 2008 - 115
American Cinematographer - April 2008 - ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - Cover3
American Cinematographer - April 2008 - Cover4
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