American Cinematographer - May 2008 - 18

Right: Sarah wrestles with her father’s history as a gangster in The Butcher’s Daughter. Below: Cinematographer Sean Stiegemeier surveys the landscape. 50D 5205 for day scenes and Vision 500T 5279 for night. The production was able to print select dailies at Deluxe Laboratories in Hollywood, providing Stiegemeier with the opportunity to properly evaluate his work. He notes, however, that the differences between the film stocks “didn’t really matter in the end because even though we were shooting Super 35, we were mastering to HD, where you can alter subtle differences in contrast. But we were able to see the difference in our film dailies, and that was a great learning process. It also gave us valuable data to bring back to the set.” Stiegemeier and his collaborators had almost a full year of prep for The Butcher’s Daughter because the film was scheduled to shoot late in the academic year. When the cameras started rolling, there was little deviance from the carefully planned schedule, though, inevitably, a few things went awry. In those cases, Stiegemeier was able to take advantage of some “happy accidents.” One such incident occurred when the production’s generator ran out of gas before a crucial day-interior setup. He recalls, “The plan was to light the bullet-ridden interior of Sarah’s living room with a pair of 6K HMIs from the outside — the location was an actual ranch house in Santa Clarita. When the generator died, I had all the gels and grippage blocking the window pulled down so that sunlight filled the room, providing us with the exact same look we’d been trying to effect with the lamps.” Stiegemeier is pleased with the final film, but he notes he is still “trying to wrap my mind around the main character. I found it difficult to relate to this girl, what she stands for, what her life has been up to this point, and how that would impact the kind of person she is. Those are things that shape how you shoot a movie like this. To this day, I can’t answer those questions fully. Maybe that’s just the pitfall of a 20minute film; it’s difficult to evolve a character in such a short amount of time.” I 18 May 2008

American Cinematographer - May 2008

Table of Contents for the Digital Edition of American Cinematographer - May 2008

American Cinematographer - May 2008
Contents
Editor’s Note
Global Village: The Fall
Short Takes: ASC Laszlo Kovacs
Short Takes: Heritage Award Winners
Production Slate: Anamorph
Production Slate: Fugitive Pieces
Heavy-Metal Hero
A Need for Speed
Kink and the City
Beautiful Minds
A Hollywood Homecoming
Post Focus: Paramount Restores The Godfather
Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Antonio Calvache
American Cinematographer - May 2008 - American Cinematographer - May 2008
American Cinematographer - May 2008 - Cover2
American Cinematographer - May 2008 - 1
American Cinematographer - May 2008 - 2
American Cinematographer - May 2008 - Contents
American Cinematographer - May 2008 - 4
American Cinematographer - May 2008 - 5
American Cinematographer - May 2008 - 6
American Cinematographer - May 2008 - 7
American Cinematographer - May 2008 - Editor’s Note
American Cinematographer - May 2008 - 9
American Cinematographer - May 2008 - Global Village: The Fall
American Cinematographer - May 2008 - 11
American Cinematographer - May 2008 - 12
American Cinematographer - May 2008 - 13
American Cinematographer - May 2008 - 14
American Cinematographer - May 2008 - 15
American Cinematographer - May 2008 - Short Takes: Heritage Award Winners
American Cinematographer - May 2008 - 17
American Cinematographer - May 2008 - Production Slate: Fugitive Pieces
American Cinematographer - May 2008 - 19
American Cinematographer - May 2008 - 20
American Cinematographer - May 2008 - 21
American Cinematographer - May 2008 - 22
American Cinematographer - May 2008 - 23
American Cinematographer - May 2008 - 24
American Cinematographer - May 2008 - 25
American Cinematographer - May 2008 - 26
American Cinematographer - May 2008 - 27
American Cinematographer - May 2008 - 28
American Cinematographer - May 2008 - 29
American Cinematographer - May 2008 - 30
American Cinematographer - May 2008 - 31
American Cinematographer - May 2008 - Heavy-Metal Hero
American Cinematographer - May 2008 - 33
American Cinematographer - May 2008 - 34
American Cinematographer - May 2008 - 35
American Cinematographer - May 2008 - 36
American Cinematographer - May 2008 - 37
American Cinematographer - May 2008 - 38
American Cinematographer - May 2008 - 39
American Cinematographer - May 2008 - 40
American Cinematographer - May 2008 - 41
American Cinematographer - May 2008 - 42
American Cinematographer - May 2008 - 43
American Cinematographer - May 2008 - A Need for Speed
American Cinematographer - May 2008 - 45
American Cinematographer - May 2008 - 46
American Cinematographer - May 2008 - 47
American Cinematographer - May 2008 - 48
American Cinematographer - May 2008 - 49
American Cinematographer - May 2008 - 50
American Cinematographer - May 2008 - 51
American Cinematographer - May 2008 - 52
American Cinematographer - May 2008 - 53
American Cinematographer - May 2008 - 54
American Cinematographer - May 2008 - 55
American Cinematographer - May 2008 - Kink and the City
American Cinematographer - May 2008 - 57
American Cinematographer - May 2008 - 58
American Cinematographer - May 2008 - 59
American Cinematographer - May 2008 - 60
American Cinematographer - May 2008 - 61
American Cinematographer - May 2008 - 62
American Cinematographer - May 2008 - 63
American Cinematographer - May 2008 - Beautiful Minds
American Cinematographer - May 2008 - 65
American Cinematographer - May 2008 - 66
American Cinematographer - May 2008 - 67
American Cinematographer - May 2008 - 68
American Cinematographer - May 2008 - A Hollywood Homecoming
American Cinematographer - May 2008 - 70
American Cinematographer - May 2008 - 71
American Cinematographer - May 2008 - 72
American Cinematographer - May 2008 - 73
American Cinematographer - May 2008 - 74
American Cinematographer - May 2008 - 75
American Cinematographer - May 2008 - 76
American Cinematographer - May 2008 - 77
American Cinematographer - May 2008 - Post Focus: Paramount Restores The Godfather
American Cinematographer - May 2008 - 79
American Cinematographer - May 2008 - 80
American Cinematographer - May 2008 - 81
American Cinematographer - May 2008 - 82
American Cinematographer - May 2008 - 83
American Cinematographer - May 2008 - Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies
American Cinematographer - May 2008 - 85
American Cinematographer - May 2008 - 86
American Cinematographer - May 2008 - 87
American Cinematographer - May 2008 - New Products & Services
American Cinematographer - May 2008 - 89
American Cinematographer - May 2008 - 90
American Cinematographer - May 2008 - 91
American Cinematographer - May 2008 - International Marketplace
American Cinematographer - May 2008 - Classified Ads
American Cinematographer - May 2008 - Ad Index
American Cinematographer - May 2008 - Clubhouse News
American Cinematographer - May 2008 - ASC Close-Up: Antonio Calvache
American Cinematographer - May 2008 - Cover3
American Cinematographer - May 2008 - Cover4
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