American Cinematographer - September 2012 - 74
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Hair-Raising Heroics
Top: A key scene between Norman and a girl named Aggie is set in a peaceful meadow. Oliver’s diagram of the lighting appears on page 72. Bottom: Oliver and production designer Nelson Lowry confer while filming the scene.
and once for right, and that’s confounding to Kuper [motion-control] software. It was very tricky, and there was a lot of cursing and sweating. How did you develop the look of Norman’s flashbacks to the 18th century? Oliver: Sometimes the reality of the world around Norman starts to give
74 September 2012
way, and he sees into another time through a sort of disintegrating veil. We took a strong line with most of the details in the film, but there were a few things, including these transitions to the past, that were always very sketchily conceived. We tested various effects, and one of the things we played with a lot was film getting stuck in a projector
American Cinematographer
gate and burning away. We came up with something similar for the transitions, but it looks a little bubblier. It’s an ember edge that crawls away into the corners of the image, and it’s entirely CG. We also tested effects for the overall look of the flashbacks. The film has a very saturated palette, with lots of primary color, and we wanted Norman’s visions to look different from that but not ‘tricksy.’ We eventually decided to do it as a grading effect with [Technicolor colorist] Tim Peeler. I played around with a lot of, in hindsight, rather unimaginative things [laughs], and we tried various LUTs, but they never looked right. Eventually, I suggested we try a bleach-bypass feel. No two people imagine that the same way, so that led to more experimenting. Finally, we arrived at what I think of as bleach bypass: we put a lot of black into the reds, we desaturated it, and we upped the contrast. I graded an entire
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
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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
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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
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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
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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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