American Cinematographer - June 2008 - (Page 55)

tional fixtures had to be used above and around the set to fill gaps and hide double shadows. “Our rigging crew was fantastic throughout the shoot, but especially in the castle set,” notes Cermak. Lindenlaub adds, “The castle had many nooks and crannies, and there was so much happening in the courtyard that it was hard to light in a way that had shape. Sometimes the light direction was not too clear, so we’re tweaking and adding shadows in the DI; normally, I wouldn’t do that, but in this case, the ability to make those changes is really a lifesaver.” The DI was carried out at Framestore CFC in London, where Lindenlaub worked with colorist Adam Glasman. Work on the final grade stretched over many months because of all the visual-effects shots and the need for early hi-def test screenings. Lindenlaub spent two weeks doing a “pre-grade” before the effects shots came in “to give everybody a clear idea of where we were going with the look,” he says. “This helped integrate the [digital] Narnian characters into the liveaction material.” (This CG work was shared by Framestore and The Moving Picture Co. in London, Scanline in Germany, Rising Sun Pictures in Australia, and Weta Digital in New Zealand. Miniatures were created at Weta Workshop.) Reflecting on the show’s post work, Lindenlaub concludes, “The DI gives you a lot of options, but I’d prefer working at a resolution higher than 2K. You still can’t beat the look of an anamorphic negative printed perfectly and projected on film, but for a film of this size and complexity, Super 35 was the better option, and the DI is a wonderful way to accomplish a lot of things. It also helps that the studio agreed to release Prince Caspian on Kodak Vision Premier [2393] printed only from the original ouput negs made at Technicolor [in London, Los Angeles and Rome]; that gave us really rich blacks and nice color.” I TECHNICAL SPECS 2.40.1 Super 35mm Arricam Studio, Lite; Arri 435, 235 Arri Master Prime, Angenieux lenses Kodak Vision2 50D 5201, 250D 5205, 500T 5218, Expression 500T 5229 Digital Intermediate Printed on Kodak Vision Premier 2393 55 http://www.mole.com http://www.mole.com

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

American Cinematographer - June 2008 Contents Editor's Note Short Takes: "100 Days, " Sharon Jones and the Dap-Kings Production Slate: Mongol Production Slate: Greensburg Vintage Indy A Prince in Peril Women's World 90 Years of Precision Post Focus: A 3-D Imax Work Flow for Wild Ocean Post Focus: 3cP Incorporates ASC CDL on State of Play Filmmakers' Forum: John Baily, ASC New Products & Services International Marketplace Classified Ads Ad Index ASC Membership Roster In Memoriam: Gayne Rescher, ASC Clubhouse News ASC Close-Up: Rob McLachlan

American Cinematographer - June 2008

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