American Cinematographer - September 2010 - 81
tion of the sun,” continues the cinematographer. “Atop the hillsides, we laid down huge banks of fog that drifted down to the road, so it was like shooting inside a large softbox. The overall stop was high enough that I could expose for the fireballs and retain all the detail of the flames. It was luck that this freakish location allowed us to just have a few stops of difference, which was easily held by the Kodak stock.” (The fireballs later received a touch of CG flames to fill in visible bare spots, and they were further enhanced in the digital grade, which McCurdy carried out with colorist Asa Shoul at Technicolor London.) Three cameras covered the massacre. “To save time, we kept the cameras fairly stationary and simply restaged the action around them,” McCurdy explains. “Given the hilly, wooded location, it was easier to move our performers than to reposition our cameras. The combination of the fog and trees became a background that was
almost completely generic and interchangeable, especially because we were constantly shifting focal lengths. So we choreographed all of the stuntwork and action to the cameras, each of which had different lenses. If we needed wide shots, the A camera had the shorter primes, while the B camera might have an Optimo 24-290mm zoom, and so on.” Handling the movie’s extensive aerial work were Flying Pictures and cinematographer John Marzano, whose recent credits include Robin Hood (AC May ’10). “As it often happens, the aerial work was pushed off to the very end of our schedule,” McCurdy says. “You spend months talking to production about it, and they always position it at the very end. Our problem was that spring was coming, and there was no way we wanted to lose all that snow and mist we’d shot. We made a point of rescheduling the aerial shoot so we wouldn’t be leaving Scotland for our locations in Surrey before we had
footage to look at.” Following a lateseason snowfall, the helicopters were dispatched for another two days of shooting. “They were fantastic,” says McCurdy. “We specifically chose Flying Pictures because they’d done aerials for Braveheart [AC June ’96], which was a strong influence for Neil and me. They knew how to get the kinds of jagged, dark, brooding landscapes we wanted. We never worried that they might give us perfect sunsets instead!” ●
TECHNICAL SPECS
2.40:1 3-perf Super 35mm Arricam Lite, Arri 435 Xtreme Cooke and Angenieux lenses Kodak Vision3 500T 5219, Vision2 200T 5217 Digital Intermediate
http://www.servicevision.es
http://www.servicevision.es
http://www.servicevisionusa.com
American Cinematographer - September 2010
Table of Contents for the Digital Edition of American Cinematographer - September 2010
American Cinematographer - September 2010
Contents
Editor’s Note
President’s Desk
Short Takes: Alexa “World Cup” demo
Production Slate: Eat Pray Love • The Milk of Sorrow
Mob Money (Boardwalk Empire)
War Horses (The Expendables)
A Beatle’s Upbringing (Nowhere Boy)
Romans on the Run (Centurion)
Where Cinematography Lives (ASC Clubhouse Renovation)
Post Focus: Lottery Ticket
Filmmakers’ Forum: David McFarland on Black Tulip
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Dejan Georgevich
American Cinematographer - September 2010 - American Cinematographer - September 2010
American Cinematographer - September 2010 - Cover2
American Cinematographer - September 2010 - 1
American Cinematographer - September 2010 - 2
American Cinematographer - September 2010 - Contents
American Cinematographer - September 2010 - 4
American Cinematographer - September 2010 - 5
American Cinematographer - September 2010 - 6
American Cinematographer - September 2010 - 7
American Cinematographer - September 2010 - Editor’s Note
American Cinematographer - September 2010 - 9
American Cinematographer - September 2010 - President’s Desk
American Cinematographer - September 2010 - 11
American Cinematographer - September 2010 - Short Takes: Alexa “World Cup” demo
American Cinematographer - September 2010 - 13
American Cinematographer - September 2010 - 14
American Cinematographer - September 2010 - 15
American Cinematographer - September 2010 - 16
American Cinematographer - September 2010 - 17
American Cinematographer - September 2010 - Production Slate: Eat Pray Love • The Milk of Sorrow
American Cinematographer - September 2010 - 19
American Cinematographer - September 2010 - 20
American Cinematographer - September 2010 - 21
American Cinematographer - September 2010 - 22
American Cinematographer - September 2010 - 23
American Cinematographer - September 2010 - 24
American Cinematographer - September 2010 - 25
American Cinematographer - September 2010 - 26
American Cinematographer - September 2010 - 27
American Cinematographer - September 2010 - 28
American Cinematographer - September 2010 - 29
American Cinematographer - September 2010 - 30
American Cinematographer - September 2010 - 31
American Cinematographer - September 2010 - 32
American Cinematographer - September 2010 - 33
American Cinematographer - September 2010 - Mob Money (Boardwalk Empire)
American Cinematographer - September 2010 - 35
American Cinematographer - September 2010 - 36
American Cinematographer - September 2010 - 37
American Cinematographer - September 2010 - 38
American Cinematographer - September 2010 - 39
American Cinematographer - September 2010 - 40
American Cinematographer - September 2010 - 41
American Cinematographer - September 2010 - 42
American Cinematographer - September 2010 - 43
American Cinematographer - September 2010 - 44
American Cinematographer - September 2010 - 45
American Cinematographer - September 2010 - 46
American Cinematographer - September 2010 - 47
American Cinematographer - September 2010 - 48
American Cinematographer - September 2010 - 49
American Cinematographer - September 2010 - War Horses (The Expendables)
American Cinematographer - September 2010 - 51
American Cinematographer - September 2010 - 52
American Cinematographer - September 2010 - 53
American Cinematographer - September 2010 - 54
American Cinematographer - September 2010 - 55
American Cinematographer - September 2010 - 56
American Cinematographer - September 2010 - 57
American Cinematographer - September 2010 - 58
American Cinematographer - September 2010 - 59
American Cinematographer - September 2010 - 60
American Cinematographer - September 2010 - 61
American Cinematographer - September 2010 - 62
American Cinematographer - September 2010 - 63
American Cinematographer - September 2010 - A Beatle’s Upbringing (Nowhere Boy)
American Cinematographer - September 2010 - 65
American Cinematographer - September 2010 - 66
American Cinematographer - September 2010 - 67
American Cinematographer - September 2010 - 68
American Cinematographer - September 2010 - 69
American Cinematographer - September 2010 - 70
American Cinematographer - September 2010 - 71
American Cinematographer - September 2010 - 72
American Cinematographer - September 2010 - 73
American Cinematographer - September 2010 - Romans on the Run (Centurion)
American Cinematographer - September 2010 - 75
American Cinematographer - September 2010 - 76
American Cinematographer - September 2010 - 77
American Cinematographer - September 2010 - 78
American Cinematographer - September 2010 - 79
American Cinematographer - September 2010 - 80
American Cinematographer - September 2010 - 81
American Cinematographer - September 2010 - Where Cinematography Lives (ASC Clubhouse Renovation)
American Cinematographer - September 2010 - 83
American Cinematographer - September 2010 - 84
American Cinematographer - September 2010 - 85
American Cinematographer - September 2010 - Post Focus: Lottery Ticket
American Cinematographer - September 2010 - 87
American Cinematographer - September 2010 - 88
American Cinematographer - September 2010 - 89
American Cinematographer - September 2010 - Filmmakers’ Forum: David McFarland on Black Tulip
American Cinematographer - September 2010 - 91
American Cinematographer - September 2010 - 92
American Cinematographer - September 2010 - 93
American Cinematographer - September 2010 - New Products & Services
American Cinematographer - September 2010 - 95
American Cinematographer - September 2010 - 96
American Cinematographer - September 2010 - 97
American Cinematographer - September 2010 - 98
American Cinematographer - September 2010 - 99
American Cinematographer - September 2010 - 100
American Cinematographer - September 2010 - 101
American Cinematographer - September 2010 - 102
American Cinematographer - September 2010 - 103
American Cinematographer - September 2010 - International Marketplace
American Cinematographer - September 2010 - Classified Ads/Ad Index
American Cinematographer - September 2010 - 106
American Cinematographer - September 2010 - 107
American Cinematographer - September 2010 - ASC Membership Roster
American Cinematographer - September 2010 - 109
American Cinematographer - September 2010 - Clubhouse News
American Cinematographer - September 2010 - 111
American Cinematographer - September 2010 - ASC Close-Up: Dejan Georgevich
American Cinematographer - September 2010 - Cover3
American Cinematographer - September 2010 - Cover4
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