American Cinematographer - September 2012 - 70

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Hair-Raising Heroics

Right (clockwise from top): Lead motion-control operator Dean Holmes, camera assistant Kristina Schulte-Eversum, caster Chris Walker and head of armature Jeanne McIvor work on a sequence in which a zombie attacks a van carrying a search party looking for Norman. Behind the van is a policewoman giving chase on a motorcycle. Below: A frame showing the zombie’s attack.

we used it for all the ghosts. The aura was CGI, but the look was driven by this 100-year-old process, and the puppet animation underneath was done by hand. Another one of ProkudinGorskii’s photos [“Molding of an Artistic Casting,” 1910] informed the look we gave the interior of Mr. Prenderghast’s house, which is a kind of wrecked shack full of rubbish. We created incredibly hot windows using tungsten Fresnels, and they serve as the
70 September 2012

only source in this very dark environment. Things get more theatrical when the zombies enter the picture. How did you approach those scenes? Oliver: Yes, there are conventions you have to adhere to when you’ve got zombies [laughs]. The film essentially has two looks: there’s the ultra-realistic everyday world, and then the zombies turn up and the camerawork gets rather obvious, with crash zooms, Dutching
American Cinematographer

during zooms, and bounce stops. We wanted to get away from the green-andred feel so many zombie movies have, so we used a combination of acid yellow and violet lighting on our zombies. For our night street scenes in town, we referenced these fantastic photorealistic paintings of New York streets at night. Every light source — shop windows, traffic lights, headlights — was a different color, and light was everywhere. We did our night exteriors like that and punched it up a bit by oversaturating the colors, and that enabled us to bring the zombies into town and keep colored light on them; it was perfectly motivated. Also, as you might expect, we reserved our more extreme use of stereo for the zombie scenes. We actually keep the stereo quite shallow through most of the movie. How did you achieve the striking shot in the forest that takes the witch’s POV as she flies in and attacks Norman? Oliver: That’s a fabulous shot that was always in the storyboard. We see Norman through the woods from a great distance, and he’s tiny in the frame,



American Cinematographer - September 2012

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

American Cinematographer - September 2012
Contents
Editor’s Note
President’s Desk
Short Takes: 8
Production Slate: Side by Side • World Without End
Natural Bourne Killer
Around the World in 65mm
Hair-Raising Heroics
Optimizing Digital-Camera Workflows
Post Focus: Eldorado
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: John Newby
American Cinematographer - September 2012 - American Cinematographer - September 2012
American Cinematographer - September 2012 - Cover2
American Cinematographer - September 2012 - 1
American Cinematographer - September 2012 - 2
American Cinematographer - September 2012 - Contents
American Cinematographer - September 2012 - 4
American Cinematographer - September 2012 - 5
American Cinematographer - September 2012 - 6
American Cinematographer - September 2012 - 7
American Cinematographer - September 2012 - Editor’s Note
American Cinematographer - September 2012 - 9
American Cinematographer - September 2012 - President’s Desk
American Cinematographer - September 2012 - 11
American Cinematographer - September 2012 - Short Takes: 8
American Cinematographer - September 2012 - 13
American Cinematographer - September 2012 - 14
American Cinematographer - September 2012 - 15
American Cinematographer - September 2012 - 16
American Cinematographer - September 2012 - 17
American Cinematographer - September 2012 - Production Slate: Side by Side • World Without End
American Cinematographer - September 2012 - 19
American Cinematographer - September 2012 - 20
American Cinematographer - September 2012 - 21
American Cinematographer - September 2012 - 22
American Cinematographer - September 2012 - 23
American Cinematographer - September 2012 - 24
American Cinematographer - September 2012 - 25
American Cinematographer - September 2012 - 26
American Cinematographer - September 2012 - 27
American Cinematographer - September 2012 - 28
American Cinematographer - September 2012 - 29
American Cinematographer - September 2012 - 30
American Cinematographer - September 2012 - 31
American Cinematographer - September 2012 - Natural Bourne Killer
American Cinematographer - September 2012 - 33
American Cinematographer - September 2012 - 34
American Cinematographer - September 2012 - 35
American Cinematographer - September 2012 - 36
American Cinematographer - September 2012 - 37
American Cinematographer - September 2012 - 38
American Cinematographer - September 2012 - 39
American Cinematographer - September 2012 - 40
American Cinematographer - September 2012 - 41
American Cinematographer - September 2012 - 42
American Cinematographer - September 2012 - 43
American Cinematographer - September 2012 - 44
American Cinematographer - September 2012 - 45
American Cinematographer - September 2012 - Around the World in 65mm
American Cinematographer - September 2012 - 47
American Cinematographer - September 2012 - 48
American Cinematographer - September 2012 - 48A
American Cinematographer - September 2012 - 48B
American Cinematographer - September 2012 - 48C
American Cinematographer - September 2012 - 48D
American Cinematographer - September 2012 - 48E
American Cinematographer - September 2012 - 48F
American Cinematographer - September 2012 - 48G
American Cinematographer - September 2012 - 48H
American Cinematographer - September 2012 - 48I
American Cinematographer - September 2012 - 48J
American Cinematographer - September 2012 - 48K
American Cinematographer - September 2012 - 48L
American Cinematographer - September 2012 - 49
American Cinematographer - September 2012 - 50
American Cinematographer - September 2012 - 51
American Cinematographer - September 2012 - 52
American Cinematographer - September 2012 - 53
American Cinematographer - September 2012 - 54
American Cinematographer - September 2012 - 55
American Cinematographer - September 2012 - 56
American Cinematographer - September 2012 - 57
American Cinematographer - September 2012 - 58
American Cinematographer - September 2012 - 59
American Cinematographer - September 2012 - 60
American Cinematographer - September 2012 - 61
American Cinematographer - September 2012 - Hair-Raising Heroics
American Cinematographer - September 2012 - 63
American Cinematographer - September 2012 - 64
American Cinematographer - September 2012 - 65
American Cinematographer - September 2012 - 66
American Cinematographer - September 2012 - 67
American Cinematographer - September 2012 - 68
American Cinematographer - September 2012 - 69
American Cinematographer - September 2012 - 70
American Cinematographer - September 2012 - 71
American Cinematographer - September 2012 - 72
American Cinematographer - September 2012 - 73
American Cinematographer - September 2012 - 74
American Cinematographer - September 2012 - 75
American Cinematographer - September 2012 - 76
American Cinematographer - September 2012 - 77
American Cinematographer - September 2012 - Optimizing Digital-Camera Workflows
American Cinematographer - September 2012 - 79
American Cinematographer - September 2012 - 80
American Cinematographer - September 2012 - 81
American Cinematographer - September 2012 - 82
American Cinematographer - September 2012 - 83
American Cinematographer - September 2012 - 84
American Cinematographer - September 2012 - 85
American Cinematographer - September 2012 - 86
American Cinematographer - September 2012 - 87
American Cinematographer - September 2012 - Post Focus: Eldorado
American Cinematographer - September 2012 - 89
American Cinematographer - September 2012 - 90
American Cinematographer - September 2012 - 91
American Cinematographer - September 2012 - 92
American Cinematographer - September 2012 - 93
American Cinematographer - September 2012 - 95
American Cinematographer - September 2012 - 96
American Cinematographer - September 2012 - 97
American Cinematographer - September 2012 - 98
American Cinematographer - September 2012 - 99
American Cinematographer - September 2012 - 100
American Cinematographer - September 2012 - 101
American Cinematographer - September 2012 - 102
American Cinematographer - September 2012 - 103
American Cinematographer - September 2012 - International Marketplace
American Cinematographer - September 2012 - Ad Index
American Cinematographer - September 2012 - 106
American Cinematographer - September 2012 - 107
American Cinematographer - September 2012 - ASC Membership Roster
American Cinematographer - September 2012 - 109
American Cinematographer - September 2012 - Clubhouse News
American Cinematographer - September 2012 - 111
American Cinematographer - September 2012 - ASC Close-Up: John Newby
American Cinematographer - September 2012 - Cover3
American Cinematographer - September 2012 - Cover4
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