American Cinematographer - April 2013 - 39
Avid, but it’s a lot of work to get it
where you want it.”
When loaded with two Epics,
two lenses, the mirror box and a wireless
Cmotion Cvolution focus-control unit,
each rig weighed almost 85 pounds.
“We weren’t going to subject anyone to
handholding that thing,” quips key grip
Phil Sloan. The size and scope of the
sets mandated a 50' Technocrane as the
show’s main camera support. A-camera
operator Patrick Rousseau was assisted
on the Technocrane by dolly grip Tim
Collins and crane operator Derlin
Brynford-Jones.
Oz was shot in Pontiac, Mich.,
entirely onstage at Michigan Motion
Picture Studios (known at the time as
Raleigh Studios), where the production
occupied all seven stages. “Our stages
were literally wall-to-wall with set,” says
Deming. “Size wise, our sets were probably on par with those of The Wizard of
Oz!” During a round of additional
shooting in Culver City, a Yellow Brick
Road stage was set up at Sony Studios,
located on the former site of MGM, on
the same stage where cinematographers
Hal Rosson, ASC and Allen B. Davey,
ASC filmed the original Yellow Brick
Road. “That was a pretty cool coincidence,” says Deming.
At Raleigh, four of the produc-
Evanora offers Diggs a piece of the royal treasure of Oz, but questions whether he is the
powerful wizard everyone has been expecting.
tion’s seven stages were completely
encircled in bluescreen from floor to
perms (45'), and a fifth was three-quarters encircled. This facilitated the
construction of large practical sets that
the Imageworks team could then
extend in any direction with CGI. “We
chose bluescreen instead of greenscreen
because there’s a lot of greenery in this
movie, and there’s also an Emerald
City,” says Deming. “Plus, I think we
would have gone insane looking at all
that green for six months!”
Oz opens with a black-and-white
www.theasc.com
sequence in Kansas, where Diggs is
performing with the Baum Bros.
Circus. Tired of playing to hayseeds, he
longs for the life of a great man. For
these scenes, the stereo effect is
reduced, and the action is presented in a
pillar-boxed 1.33:1 aspect ratio within
the 2.40:1 frame. A few magical
moments burst through that matte,
however, including a fire-breather spitting flames into the audience. “Colors
don’t always have the same brightness,
tone or density in black-and-white, so
to give the other departments an idea of
April 2013
39
http://www.theasc.com
American Cinematographer - April 2013
Table of Contents for the Digital Edition of American Cinematographer - April 2013
American Cinematographer - April 2013
Table of Contents
Editor's Note
President's Desk
Short Takes: 7x6x2
Production Slate: War Witch • The Darkest Day
Hello, Yellow Brick Road
Hell on Wheels
All In
6 Sundance Standouts
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Christopher Baffa
American Cinematographer - April 2013 - American Cinematographer - April 2013
American Cinematographer - April 2013 - Cover2
American Cinematographer - April 2013 - 1
American Cinematographer - April 2013 - 2
American Cinematographer - April 2013 - Table of Contents
American Cinematographer - April 2013 - 4
American Cinematographer - April 2013 - 5
American Cinematographer - April 2013 - 6
American Cinematographer - April 2013 - 7
American Cinematographer - April 2013 - 8
American Cinematographer - April 2013 - 9
American Cinematographer - April 2013 - Editor's Note
American Cinematographer - April 2013 - 11
American Cinematographer - April 2013 - President's Desk
American Cinematographer - April 2013 - 13
American Cinematographer - April 2013 - Short Takes: 7x6x2
American Cinematographer - April 2013 - 15
American Cinematographer - April 2013 - 16
American Cinematographer - April 2013 - 17
American Cinematographer - April 2013 - 18
American Cinematographer - April 2013 - 19
American Cinematographer - April 2013 - Production Slate: War Witch • The Darkest Day
American Cinematographer - April 2013 - 21
American Cinematographer - April 2013 - 22
American Cinematographer - April 2013 - 23
American Cinematographer - April 2013 - 24
American Cinematographer - April 2013 - 25
American Cinematographer - April 2013 - 26
American Cinematographer - April 2013 - 27
American Cinematographer - April 2013 - 28
American Cinematographer - April 2013 - 29
American Cinematographer - April 2013 - 30
American Cinematographer - April 2013 - 31
American Cinematographer - April 2013 - 32
American Cinematographer - April 2013 - 33
American Cinematographer - April 2013 - 34
American Cinematographer - April 2013 - 35
American Cinematographer - April 2013 - Hello, Yellow Brick Road
American Cinematographer - April 2013 - 37
American Cinematographer - April 2013 - 38
American Cinematographer - April 2013 - 39
American Cinematographer - April 2013 - 40
American Cinematographer - April 2013 - 41
American Cinematographer - April 2013 - 42
American Cinematographer - April 2013 - 43
American Cinematographer - April 2013 - 44
American Cinematographer - April 2013 - 45
American Cinematographer - April 2013 - 46
American Cinematographer - April 2013 - 47
American Cinematographer - April 2013 - 48
American Cinematographer - April 2013 - 49
American Cinematographer - April 2013 - 50
American Cinematographer - April 2013 - 51
American Cinematographer - April 2013 - Hell on Wheels
American Cinematographer - April 2013 - 53
American Cinematographer - April 2013 - 54
American Cinematographer - April 2013 - 55
American Cinematographer - April 2013 - 56
American Cinematographer - April 2013 - 57
American Cinematographer - April 2013 - 58
American Cinematographer - April 2013 - 59
American Cinematographer - April 2013 - 60
American Cinematographer - April 2013 - 61
American Cinematographer - April 2013 - 62
American Cinematographer - April 2013 - 63
American Cinematographer - April 2013 - All In
American Cinematographer - April 2013 - 65
American Cinematographer - April 2013 - 66
American Cinematographer - April 2013 - 67
American Cinematographer - April 2013 - 68
American Cinematographer - April 2013 - 69
American Cinematographer - April 2013 - 70
American Cinematographer - April 2013 - 71
American Cinematographer - April 2013 - 72
American Cinematographer - April 2013 - 73
American Cinematographer - April 2013 - 74
American Cinematographer - April 2013 - 75
American Cinematographer - April 2013 - 76
American Cinematographer - April 2013 - 77
American Cinematographer - April 2013 - 78
American Cinematographer - April 2013 - 79
American Cinematographer - April 2013 - 6 Sundance Standouts
American Cinematographer - April 2013 - K1
American Cinematographer - April 2013 - K2
American Cinematographer - April 2013 - K3
American Cinematographer - April 2013 - K4
American Cinematographer - April 2013 - K5
American Cinematographer - April 2013 - K6
American Cinematographer - April 2013 - K7
American Cinematographer - April 2013 - K8
American Cinematographer - April 2013 - K9
American Cinematographer - April 2013 - K10
American Cinematographer - April 2013 - K11
American Cinematographer - April 2013 - K12
American Cinematographer - April 2013 - 81
American Cinematographer - April 2013 - 82
American Cinematographer - April 2013 - 83
American Cinematographer - April 2013 - 84
American Cinematographer - April 2013 - 85
American Cinematographer - April 2013 - 86
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American Cinematographer - April 2013 - 88
American Cinematographer - April 2013 - 89
American Cinematographer - April 2013 - 90
American Cinematographer - April 2013 - 91
American Cinematographer - April 2013 - 92
American Cinematographer - April 2013 - 93
American Cinematographer - April 2013 - 94
American Cinematographer - April 2013 - 95
American Cinematographer - April 2013 - 96
American Cinematographer - April 2013 - 97
American Cinematographer - April 2013 - 98
American Cinematographer - April 2013 - 99
American Cinematographer - April 2013 - 100
American Cinematographer - April 2013 - 101
American Cinematographer - April 2013 - 102
American Cinematographer - April 2013 - 103
American Cinematographer - April 2013 - New Products & Services
American Cinematographer - April 2013 - 105
American Cinematographer - April 2013 - 106
American Cinematographer - April 2013 - 107
American Cinematographer - April 2013 - 108
American Cinematographer - April 2013 - 109
American Cinematographer - April 2013 - 110
American Cinematographer - April 2013 - 111
American Cinematographer - April 2013 - 112
American Cinematographer - April 2013 - 113
American Cinematographer - April 2013 - International Marketplace
American Cinematographer - April 2013 - Classified Ads
American Cinematographer - April 2013 - Ad Index
American Cinematographer - April 2013 - 117
American Cinematographer - April 2013 - Clubhouse News
American Cinematographer - April 2013 - 119
American Cinematographer - April 2013 - ASC Close-Up: Christopher Baffa
American Cinematographer - April 2013 - Cover3
American Cinematographer - April 2013 - Cover4
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