American Cinematographer - August 2012 - 49

delay,
could record to a card [160 RedMag
128GB SSD cards at 5:1 compression]
that was about the size of a chocolate
bar. I saw light at the end of the tunnel,
but we didn’t know if Red could build
them for us on time.”
When The Hobbit experienced a
Jackson’s cinematographer,
Andrew Lesnie, ASC, ACS, gave
Schwartzman his blessing to use the
cameras first, “as long as we gave him
our R&D,” says Schwartzman. Thus,
The Amazing Spider-Man became the
first major studio feature to shoot 3-D
with the Epic.
Schwartzman then decided to
work another system that had not yet
made its feature debut: 3ality Digital’s
TS-5 stereo rig. (See sidebar on page
48.) Rounding out his camera package,
he chose Zeiss Ultra Prime lens pairs.
“With lenses, our stereo rig weighed
just under 50 pounds, and that allowed
us to shoot extensively on cranes and
cable rigs,” he notes.
Panavision’s help in providing
eight complete sets of Ultra Primes was
crucial, adds Schwartzman. “We had six
sets of lenses to run three rigs on first
unit, and I sent all of them to
[Panavision optical engineer] Dan
Sasaki, who made sure they were rebuilt
and matched. By the time we started
shooting, the cameras were as close [to
identical] as two cameras could be.”
When his experiment goes awry, Connors transforms into the monstrous Lizard, and it’s up to
Spider-Man to protect New York City — and Peter Parker’s high school.
Production got underway in late
2010, and its seven Epics were essentially
still in the beta stage. “We had a
solid plan, but we were heading into
uncharted territory,” says chief digitalimaging
technician Brook Willard.
It took awhile for the workflow to
become intuitive for the crew. “The
images we got the first two weeks were
just as good as the images we got later,
but they were captured with a camera
that had no remote on/off switch and
no frame lines and could only run at 24
fps,” says Schwartzman. “When we got
back after the Christmas break, we had
the Epic that’s in use today. Red engineers
were always on set to address any
problems, but those problems were
www.theasc.com
always annoyances, never catastrophes.
The imaging part was never a problem;
what improved over the course of the
show was the ease of use.”
The basic methodology for
moving the image data was worked out,
implemented and managed by Willard,
data-management supervisor Steve
Freebairn and data technician Zachary
Hilton, who used data carts provided by
Light Iron. (In fact, the movie served as
R&D for Light Iron’s Outpost mobileprocessing
lab technology.) Their workflow
ensured instant capture, backup
and on-set color correction of raw files
to create looks and maintain those
creative choices all the way through
dailies, editorial and visual effects. “I was
August 2012
49
http://www.theasc.com

American Cinematographer - August 2012

Table of Contents for the Digital Edition of American Cinematographer - August 2012

American Cinematographer - August 2012
Contents
Editor’s Note
Short Takes: New York Story
Production Slate: 360 • Midnight in Paris/To Rome with Love
Batman to the Max
Web-Slinging in Stereo
Memory Upgrade
Vampire Veto
Post Focus: Man, Chicks Are Just Different
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: David Boyd
American Cinematographer - August 2012 - American Cinematographer - August 2012
American Cinematographer - August 2012 - Cover2
American Cinematographer - August 2012 - 1
American Cinematographer - August 2012 - 2
American Cinematographer - August 2012 - Contents
American Cinematographer - August 2012 - 4
American Cinematographer - August 2012 - 5
American Cinematographer - August 2012 - 6
American Cinematographer - August 2012 - 7
American Cinematographer - August 2012 - Editor’s Note
American Cinematographer - August 2012 - 9
American Cinematographer - August 2012 - 10
American Cinematographer - August 2012 - 11
American Cinematographer - August 2012 - Short Takes: New York Story
American Cinematographer - August 2012 - 13
American Cinematographer - August 2012 - 14
American Cinematographer - August 2012 - 15
American Cinematographer - August 2012 - 16
American Cinematographer - August 2012 - 17
American Cinematographer - August 2012 - Production Slate: 360 • Midnight in Paris/To Rome with Love
American Cinematographer - August 2012 - 19
American Cinematographer - August 2012 - 20
American Cinematographer - August 2012 - 21
American Cinematographer - August 2012 - 22
American Cinematographer - August 2012 - 23
American Cinematographer - August 2012 - 24
American Cinematographer - August 2012 - 25
American Cinematographer - August 2012 - 26
American Cinematographer - August 2012 - 27
American Cinematographer - August 2012 - 28
American Cinematographer - August 2012 - 29
American Cinematographer - August 2012 - Batman to the Max
American Cinematographer - August 2012 - 31
American Cinematographer - August 2012 - 32
American Cinematographer - August 2012 - 33
American Cinematographer - August 2012 - 34
American Cinematographer - August 2012 - 35
American Cinematographer - August 2012 - 36
American Cinematographer - August 2012 - 37
American Cinematographer - August 2012 - 38
American Cinematographer - August 2012 - 39
American Cinematographer - August 2012 - 40
American Cinematographer - August 2012 - 41
American Cinematographer - August 2012 - 42
American Cinematographer - August 2012 - 43
American Cinematographer - August 2012 - 44
American Cinematographer - August 2012 - 45
American Cinematographer - August 2012 - Web-Slinging in Stereo
American Cinematographer - August 2012 - 47
American Cinematographer - August 2012 - 48
American Cinematographer - August 2012 - 49
American Cinematographer - August 2012 - 50
American Cinematographer - August 2012 - 51
American Cinematographer - August 2012 - 52
American Cinematographer - August 2012 - 53
American Cinematographer - August 2012 - 54
American Cinematographer - August 2012 - 55
American Cinematographer - August 2012 - 56
American Cinematographer - August 2012 - 57
American Cinematographer - August 2012 - Memory Upgrade
American Cinematographer - August 2012 - 59
American Cinematographer - August 2012 - 60
American Cinematographer - August 2012 - 61
American Cinematographer - August 2012 - 62
American Cinematographer - August 2012 - 63
American Cinematographer - August 2012 - 64
American Cinematographer - August 2012 - 65
American Cinematographer - August 2012 - 66
American Cinematographer - August 2012 - 67
American Cinematographer - August 2012 - Vampire Veto
American Cinematographer - August 2012 - 69
American Cinematographer - August 2012 - 70
American Cinematographer - August 2012 - 71
American Cinematographer - August 2012 - 72
American Cinematographer - August 2012 - 73
American Cinematographer - August 2012 - 74
American Cinematographer - August 2012 - 75
American Cinematographer - August 2012 - Post Focus: Man, Chicks Are Just Different
American Cinematographer - August 2012 - 77
American Cinematographer - August 2012 - 78
American Cinematographer - August 2012 - 79
American Cinematographer - August 2012 - New Products & Services
American Cinematographer - August 2012 - 81
American Cinematographer - August 2012 - 82
American Cinematographer - August 2012 - 83
American Cinematographer - August 2012 - 84
American Cinematographer - August 2012 - 85
American Cinematographer - August 2012 - International Marketplace
American Cinematographer - August 2012 - Classified Ads
American Cinematographer - August 2012 - Ad Index
American Cinematographer - August 2012 - 89
American Cinematographer - August 2012 - Clubhouse News
American Cinematographer - August 2012 - 91
American Cinematographer - August 2012 - ASC Close-Up: David Boyd
American Cinematographer - August 2012 - Cover3
American Cinematographer - August 2012 - Cover4
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