American Cinematographer - September 2012 - 80

◗ Optimizing Digital-Camera Workflows
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See us at CINEC 2012 at MOC in Munich, Germany September 22-24, 2012

Frederic Goodich, ASC, who directed the night scene, walks his actors through their blocking.

Backstage Equipment, Inc.

past 12 years. In 2006, just over 12 percent of films released theatrically were originated digitally; in 2011, that number rose to 35 percent. While this means that 65 percent of last year’s theatrically released movies were shot on film, the significant jump in digital origination shows no signs of slowing. One industry fixture keeping close tabs on the trends is Lori McCreary, the CEO for Revelations Entertainment, the production company she co-founded with actor/ producer Morgan Freeman. McCreary’s credits as a producer include 10 Items or Less, The Contract, Invictus, Freeman’s documentary television series Through the Wormhole, and the upcoming Rendezvous with Rama. She also serves as treasurer of the Producers Guild of America and founded the PGA’s Motion Picture Technology Committee, which was inspired by the ASC’s example. As a former computer technologist with a computer-science degree from the University of California-Los Angeles, McCreary understands the importance of tracking new technologies. To that end, she has maintained a close relationship with Clark and frequently seeks his counsel on the advancement of camera technologies. Some years ago, Clark invited

McCreary to attend the monthly Technology Committee meetings at the ASC Clubhouse, and the producer found the experience to be a revelation. “The guys at the ASC were so technically proficient, more so than anyone else I had known,” McCreary attests. “Cinematographers are the people who know what’s going on in the tech side of the business, and things are changing and evolving very quickly. Things used to be easy: a camera was just a camera, and we knew how to budget for a camera. We’d bring a director and a production designer onto a production and then bring on a cinematographer to pick the film stock, the lenses and the lighting, but we could estimate what all of that would [cost] in a budget before they came on. Today, the game is very different. Every camera is a different tool with its own subtle attributes, and every camera requires a different kind of workflow. It’s now impossible to even budget a film until we know what camera and workflow we’re going to be using. How are we screening dailies? Are we setting ‘the color’ on set? How are we delivering to editorial? There are so many decisions that have to be made, and they all lead down different paths. It’s very important to bring in a cinematographer during the extremely early

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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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