American Cinematographer - June 2010 - 14
Sarfati takes a meter reading on location at a dry lakebed, where he worked with natural light.
segment, I would hold the zoom control all the way down so that the transitions would happen smoothly at the same constant rate. It was like being a human motion-control unit.” Sarfati worried that the changes in zoom speed would detract from the story, but he found that the variation was so minimal, even when the film was projected, that audiences didn’t appear to notice it. “It is amazing that some viewers are so drawn into the story they don’t even realize the frame has changed from the close-up to the wide shot,” he says. To keep the skies contrasty, Sarfati used a range of ND grad filters as well as a polarizer. “We didn’t know what the weather would do,” he says. “If a cloud came by in the middle of a shot, well, then a cloud came by. We wrote down the focal lengths at which each segment ended so that we could do another take if necessary. We ended up doing one scene three times because the dog caused a problem. There were two other segments we did twice, but the rest were single takes.” Land and Bread was shot on 1,400' of short ends of Kodak Vision2 250D 5205. “We knew shooting film was the right choice because so many of the other elements were uncontrollable,” notes Sarfati. “Clouds did come in and out, but when it’s overcast, you see great detail in the earth. Then, when the sun comes out,
14
Photo by Leny Iñiguez.
the film holds beautiful details in the sky.” The footage was developed at Laboratory Ormaco, and the rest of the project’s post was handled at Churubusco Studios in Mexico City. Armella assembled the shots in Apple Final Cut Pro using a one-light transfer. The negative was then scanned to match the EDL, graded and recorded out to 35mm. “Very little color correction was required,” notes Sarfati. “The idea was to color-correct to the color chart and see how it looked, and it looked and felt the way we intended from the beginning.” For his work on the picture, Sarfati won the Cecilio Paniagua prize at the Almeria en Corto short-film festival in Spain, and the jury prize for cinematography at Expresion en Corto in Mexico. He also won a cinematography award at the Miami International Film Festival. “Some projects require rigid technical control, and some require me to improvise as I go,” says Sarfati. “I can’t say which approach is better; it really depends on the project. On this film, we had one setup, one lens and usually one take. Because it was a good script and we made the right cinematographic choices, it turned out great. Sometimes simplicity is the best approach.” ●
http://www.pstechnik.de
American Cinematographer - June 2010
Table of Contents for the Digital Edition of American Cinematographer - June 2010
The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
Features
Slings and Arrows (Robin Hood)
Desert Storm (Prince of Persia)
Very French Revenge (Micmacs)
Painting Towns White (The White Stripes)
Departments
Editor’s Note
President’s Desk
Short Takes: Land and Bread
Production Slate: Winter’s Bone • Harry Brown
Post Focus: Enhancing Frozen
Tricks of the Trade: Using Red’s False Color
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover1
American Cinematographer - June 2010 - Cover2
American Cinematographer - June 2010 - The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
American Cinematographer - June 2010 - 2
American Cinematographer - June 2010 - 3
American Cinematographer - June 2010 - 4
American Cinematographer - June 2010 - 5
American Cinematographer - June 2010 - 6
American Cinematographer - June 2010 - 7
American Cinematographer - June 2010 - Editor’s Note
American Cinematographer - June 2010 - 9
American Cinematographer - June 2010 - President’s Desk
American Cinematographer - June 2010 - 11
American Cinematographer - June 2010 - Short Takes: Land and Bread
American Cinematographer - June 2010 - 13
American Cinematographer - June 2010 - 14
American Cinematographer - June 2010 - 15
American Cinematographer - June 2010 - Production Slate: Winter’s Bone • Harry Brown
American Cinematographer - June 2010 - 17
American Cinematographer - June 2010 - 18
American Cinematographer - June 2010 - 19
American Cinematographer - June 2010 - 20
American Cinematographer - June 2010 - 21
American Cinematographer - June 2010 - 22
American Cinematographer - June 2010 - 23
American Cinematographer - June 2010 - 24
American Cinematographer - June 2010 - 25
American Cinematographer - June 2010 - 26
American Cinematographer - June 2010 - 27
American Cinematographer - June 2010 - 28
American Cinematographer - June 2010 - 29
American Cinematographer - June 2010 - Slings and Arrows (Robin Hood)
American Cinematographer - June 2010 - 31
American Cinematographer - June 2010 - 32
American Cinematographer - June 2010 - 33
American Cinematographer - June 2010 - 34
American Cinematographer - June 2010 - 35
American Cinematographer - June 2010 - 36
American Cinematographer - June 2010 - 37
American Cinematographer - June 2010 - 38
American Cinematographer - June 2010 - 39
American Cinematographer - June 2010 - 40
American Cinematographer - June 2010 - 41
American Cinematographer - June 2010 - Desert Storm (Prince of Persia)
American Cinematographer - June 2010 - 43
American Cinematographer - June 2010 - 44
American Cinematographer - June 2010 - 45
American Cinematographer - June 2010 - 46
American Cinematographer - June 2010 - 47
American Cinematographer - June 2010 - 48
American Cinematographer - June 2010 - 49
American Cinematographer - June 2010 - 50
American Cinematographer - June 2010 - 51
American Cinematographer - June 2010 - Very French Revenge (Micmacs)
American Cinematographer - June 2010 - 53
American Cinematographer - June 2010 - 54
American Cinematographer - June 2010 - 55
American Cinematographer - June 2010 - 56
American Cinematographer - June 2010 - 57
American Cinematographer - June 2010 - 58
American Cinematographer - June 2010 - 59
American Cinematographer - June 2010 - 60
American Cinematographer - June 2010 - 61
American Cinematographer - June 2010 - 62
American Cinematographer - June 2010 - 63
American Cinematographer - June 2010 - Painting Towns White (The White Stripes)
American Cinematographer - June 2010 - 65
American Cinematographer - June 2010 - 66
American Cinematographer - June 2010 - 67
American Cinematographer - June 2010 - 68
American Cinematographer - June 2010 - 69
American Cinematographer - June 2010 - 70
American Cinematographer - June 2010 - 71
American Cinematographer - June 2010 - Post Focus: Enhancing Frozen
American Cinematographer - June 2010 - 73
American Cinematographer - June 2010 - 74
American Cinematographer - June 2010 - 75
American Cinematographer - June 2010 - 76
American Cinematographer - June 2010 - 77
American Cinematographer - June 2010 - Tricks of the Trade: Using Red’s False Color
American Cinematographer - June 2010 - 79
American Cinematographer - June 2010 - New Products & Services
American Cinematographer - June 2010 - 81
American Cinematographer - June 2010 - 82
American Cinematographer - June 2010 - 83
American Cinematographer - June 2010 - 84
American Cinematographer - June 2010 - 85
American Cinematographer - June 2010 - 86
American Cinematographer - June 2010 - 87
American Cinematographer - June 2010 - 88
American Cinematographer - June 2010 - 89
American Cinematographer - June 2010 - 90
American Cinematographer - June 2010 - 91
American Cinematographer - June 2010 - International Marketplace
American Cinematographer - June 2010 - 93
American Cinematographer - June 2010 - Classified Ads/Ad Index
American Cinematographer - June 2010 - 95
American Cinematographer - June 2010 - ASC Membership Roster
American Cinematographer - June 2010 - 97
American Cinematographer - June 2010 - Clubhouse News
American Cinematographer - June 2010 - 99
American Cinematographer - June 2010 - ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover3
American Cinematographer - June 2010 - Cover4
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