American Cinematographer - September 2012 - 77
correctly. The backdrop we built was 60-70 feet long, and it had no visible end; it’s essentially a row of trees that fades away into an overexposed void. The art department built four rows of trees, and I overexposed everything that lay behind them to the point where it started to bleed and the rear-most layer of trees became rather phantom-like, with a nebulous, streaky quality. I shot clean, white light for the majority of it, adding a tiny amount of [Lee] 007 Pale Yellow in the far background. Using a map for the sun’s position and a map of the children’s trajectory, I just wheeled around our sun, a Mole-Richardson 10K, as they moved through the meadow. The scene has a very soft, rather magical feel to it. It works. What’s your assessment of your first experience with 3-D filmmaking? Oliver: I’m now in the midst of the 3-D grade, and I find the limitations of the process quite depressing. We got the material into Technicolor and did
the 2-D grade for DCP, and it was revelatory — we were finally seeing it at full [2K] resolution after screening dailies as 8-bit JPEGs for two years. Then we got the LUT for the filmout and saw a test print, and that looked great, too. But everything gets fantastically darker with 3-D because of the filter [in front of the projector], the glasses and the theaters’ practice of dimming the projector bulb to the lowest level possible to prolong bulb life and cut costs. With 3-D, which is designed to project at 6 foot-lamberts, you’re now grading for projection at 3½ foot-lamberts as opposed to 16 [for 35mm] or 14 [for 2-D DCP]. At 3½, the clipping in the highlights is a major problem. I’m very happy with how ParaNorman looks in 2-D, but achieving a similar picture in 3-D is virtually impossible. I’m not convinced stereo lends much to a movie because if it’s subtle, within 10 minutes you cease to register it, and if it’s in your face, it makes you
feel ill. With Coraline, I saw its potential to add size and dimension to stopframe, where you’re always sort of aware of a back wall. I thought stereo could take the eye a bit farther away and make you think you’re in a fully dimensional world rather than a cartoon world, and I like to think that’s how it works in ParaNorman. But I haven’t yet seen a movie that benefited from 3-D as much as it benefited from a good script. ●
TECHNICAL SPECS
2.40:1 3-D Digital Capture Canon EOS 5D Mark II Nikon, Cooke, Canon Tilt-Shift
77
http://www.jlfisher.com
http://www.jlfisher.de
http://www.jlfisher.com
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
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com