American Cinematographer - August 2010 - 60
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A Magical Manhattan
our many shots of explosions and fire. Once fire overexposes, it loses its color, and that’s very difficult to repair or restore in post.” During prep, Bazelli found inspiration in Orpheus Descending, a book of color stills taken by Clayton Burkhart that depict modern New York City, and Fantasy Art Now, a book of contemporary illustrations. “I’m a little obsessed with what these fantasy illustrators do in their pictures,” says Bazelli. “They’re very filmic. The photographs in Burkhart’s book make use of the city’s many lights and colors, and often play off of reflections and wet streets. The colors are strong, and the blacks are really pure. That fit with our desire to set this story in contemporary times.” Most of Sorcerer’s Apprentice was shot on stages in the New York area, including Steiner Studios. The remainder was filmed on location throughout the city. More than 1,200 visual-effects shots round out the magic with flying balls of plasma, a fire-breathing dragon, shape-shifting vehicles and many other illusions. The filmmakers chose to frame the story in 2.40:1, which they achieved by shooting 4-perf Super 35mm. “In New York City, you need [a more vertical frame] to capture the tall buildings, but because a majority of our film would be done in interior situations, we decided on 2.40:1, which gives you a grander scale,” says Bazelli. The filmmakers shot most of the material with four cameras; Arri CSC provided Arricam Lites and Studios and Arri 435s, two sets of Cooke S4 primes, and a complement of Arri Master Primes for low-light night situations, for which they were usually kept wide open. As many as 16 cameras were used on days when the first and second units both had extensive scenes to cover. Shooting on location in New York posed a number of challenges. The filmmakers spent 16 nights filming a climactic battle sequence in lower Manhattan, where all of their gear had to be set up at 7 p.m. and torn down every morning at dawn. Further compliAmerican Cinematographer
Top: The crew readies a flashback scene in the Arcana Cabana set. Middle: Cage demonstrates an LED system used to emulate the light from a plasma ball. Bottom: The finished visual effect.
60
August 2010
American Cinematographer - August 2010
Table of Contents for the Digital Edition of American Cinematographer - August 2010
The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
Features
Cat and Mouse (Salt)
Girl Trouble (Pilgrim vs. the World)
A Magical Manhattan (The Sorcerer’s Apprentice)
True Colors (Get Low)
Departments
Editor’s Note
President’s Desk
Short Takes: Quiksilver ad campaign
Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
Post Focus: True Blood Workflow
Filmmakers’ Forum: Steven Fierberg, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
American Cinematographer - August 2010 - Cover2
American Cinematographer - August 2010 - 1
American Cinematographer - August 2010 - 2
American Cinematographer - August 2010 - 3
American Cinematographer - August 2010 - 4
American Cinematographer - August 2010 - 5
American Cinematographer - August 2010 - 6
American Cinematographer - August 2010 - 7
American Cinematographer - August 2010 - Editor’s Note
American Cinematographer - August 2010 - 9
American Cinematographer - August 2010 - President’s Desk
American Cinematographer - August 2010 - 11
American Cinematographer - August 2010 - Short Takes: Quiksilver ad campaign
American Cinematographer - August 2010 - 13
American Cinematographer - August 2010 - 14
American Cinematographer - August 2010 - 15
American Cinematographer - August 2010 - Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
American Cinematographer - August 2010 - 17
American Cinematographer - August 2010 - 18
American Cinematographer - August 2010 - 19
American Cinematographer - August 2010 - 20
American Cinematographer - August 2010 - 21
American Cinematographer - August 2010 - 22
American Cinematographer - August 2010 - 23
American Cinematographer - August 2010 - 24
American Cinematographer - August 2010 - 25
American Cinematographer - August 2010 - 26
American Cinematographer - August 2010 - 27
American Cinematographer - August 2010 - Cat and Mouse (Salt)
American Cinematographer - August 2010 - 29
American Cinematographer - August 2010 - 30
American Cinematographer - August 2010 - 31
American Cinematographer - August 2010 - 32
American Cinematographer - August 2010 - 33
American Cinematographer - August 2010 - 34
American Cinematographer - August 2010 - 35
American Cinematographer - August 2010 - 36
American Cinematographer - August 2010 - 37
American Cinematographer - August 2010 - 38
American Cinematographer - August 2010 - 39
American Cinematographer - August 2010 - 40
American Cinematographer - August 2010 - 41
American Cinematographer - August 2010 - Girl Trouble (Pilgrim vs. the World)
American Cinematographer - August 2010 - 43
American Cinematographer - August 2010 - 44
American Cinematographer - August 2010 - 45
American Cinematographer - August 2010 - 46
American Cinematographer - August 2010 - 47
American Cinematographer - August 2010 - 48
American Cinematographer - August 2010 - 49
American Cinematographer - August 2010 - 50
American Cinematographer - August 2010 - 51
American Cinematographer - August 2010 - 52
American Cinematographer - August 2010 - 53
American Cinematographer - August 2010 - 54
American Cinematographer - August 2010 - 55
American Cinematographer - August 2010 - A Magical Manhattan (The Sorcerer’s Apprentice)
American Cinematographer - August 2010 - 57
American Cinematographer - August 2010 - 58
American Cinematographer - August 2010 - 59
American Cinematographer - August 2010 - 60
American Cinematographer - August 2010 - 61
American Cinematographer - August 2010 - 62
American Cinematographer - August 2010 - 63
American Cinematographer - August 2010 - 64
American Cinematographer - August 2010 - 65
American Cinematographer - August 2010 - 66
American Cinematographer - August 2010 - 67
American Cinematographer - August 2010 - True Colors (Get Low)
American Cinematographer - August 2010 - 69
American Cinematographer - August 2010 - 70
American Cinematographer - August 2010 - 71
American Cinematographer - August 2010 - 72
American Cinematographer - August 2010 - 73
American Cinematographer - August 2010 - 74
American Cinematographer - August 2010 - 75
American Cinematographer - August 2010 - Post Focus: True Blood Workflow
American Cinematographer - August 2010 - 77
American Cinematographer - August 2010 - 78
American Cinematographer - August 2010 - 79
American Cinematographer - August 2010 - Filmmakers’ Forum: Steven Fierberg, ASC
American Cinematographer - August 2010 - 81
American Cinematographer - August 2010 - New Products & Services
American Cinematographer - August 2010 - 83
American Cinematographer - August 2010 - 84
American Cinematographer - August 2010 - 85
American Cinematographer - August 2010 - 86
American Cinematographer - August 2010 - 87
American Cinematographer - August 2010 - 88
American Cinematographer - August 2010 - 89
American Cinematographer - August 2010 - International Marketplace
American Cinematographer - August 2010 - Classified Ads
American Cinematographer - August 2010 - Ad Index
American Cinematographer - August 2010 - 93
American Cinematographer - August 2010 - Clubhouse News
American Cinematographer - August 2010 - 95
American Cinematographer - August 2010 - ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - Cover3
American Cinematographer - August 2010 - Cover4
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