American Cinematographer - October 2007 - (Page 46)

Western Destinies posts. I wanted the American side to have blue light, so we changed out all the streetlights. We lit the border post with Cool White fluorescents. For the JESSE JAMES TECHNICAL SPECS 2.40:1 Super 35mm Arri 535B, Arricam Lite Cooke S4s; Arri Macros; Kinoptic 9.8mm; Kardan Shift & Tilt lenses Kodak Vision2 500T 5218, 200T 5217, 100T 5212 Bleach Bypass by Deluxe Laboratories Digital Intermediate Printed on Fuji Eterna-CP 3513DI main action on the Mexican side, I wanted more garish colors. When Moss stops to talk to those three kids, you can see colorful light coming up from below the bridge, as if there’s a street down below. I enjoyed playing with the colors because the lighting for the preceding shootout consisted entirely of orange-sodium light. You finished both of these pictures with DIs at EFilm. What kinds of enhancements did you make in post? Deakins: We did a bleach bypass on the negative for Jesse James, so part of the DI work on that film, which was done at 4K, was to counteract the harshness of that process in some scenes. But mostly I was using the process to balance things out, change the contrast a bit, and help things match for day exteriors. For instance, the campsite you see just before the train robbery in Jesse James was shot in one location with low sunlight, but the scene between Bob Ford and Frank James by the train tracks was done somewhere else at a completely different time. It was a really gray day, and although Andrew liked the fact that it looked a bit different, we couldn’t keep the two looks that far apart. Also, one scene was shot earlier in the schedule, so the leaves were much greener. The most involved scene in No Country was the whole night-intodawn exterior we discussed earlier. The DI was invaluable for that, especially for a bit involving a dog paddling down the river after Moss. One shot would be cloudy and the next would be in clean morning light, with reflections on the water. In the DI, I could use a Power Window to add a little highlight in the sky to create the impression that the sky was brighter and was reflecting in the water. Samy’s DV & Edit WE ACCEPT MASTERCARD, VISA, AMERICAN EXPRESS & DISCOVER. SCHOOL, UNIVERSITY & CORPORATE P.O.’S WELCOME BEFORE YOU BUY YOUR DIGITAL CINEMA EQUIPMENT, TALK TO US! www.samysdv.com A Division of Samy’s Camera 585 Venice Blvd. Venice, CA 90291 (310) 450-4365 FAX (310) 450-3079 Adding Flash Memory Capabilities to the XDCAM Family PDW-F350 PDW-F330 XDCAM HD Camcorders New! XDCAM EX • Record to ExpressCard high-speed flash media • 50 Mbps 4:2:2 optical disc recording • MPEG-2 compression technology with three, 1/2” imagers • Switchable between 1080/60i and 720/60P • Capable of recording 1080/50i/30P/25P/24P and 720/50P HD recording in 1080/59.94i, 50i, 29.97P, 25P and native 23.98P. The operator can also select the desired bit rate to record in, either 35, 25 or 18 Mb/s depending on the desired picture quality and recording length. Being a dual format camcorder, it can also record in SD mode at 25 Mb/s. The PDW-F350 True 24P, overcranking and undercranking. Plus time lapse, slow Please shutter and SD/HD switchable recording. TM AG-HPX500 New! AJ-HDX900 Affordable Professional Hi-Definition Camera • Adds on support for 1080i and 720p • Three 2/3" 520,000 Progressive CCD imagers • 24P/30P/60i recording capability • Captures film-like 24-frame images using CineGamma for our PRODUCTION PACKAGE PROMOTIONS! Three 2/3”CCD P2 HD Camcorder • Utilizes interchangeable lenses • Can shoot everything from 1080i to 720p variable frame rates •Features four XLR inputs, a chromaticaberration compensation function, call and eight gamma modes AJ-SDX900 Also Available New! HVR-Z1U Professional HDV Camera • Record HDV, DVCAM and DV images at 60i, 50i, 30, 25 or 24 fps, in either SD or HD • Three Super HAD™, 1/3-inch, 16:9 native CCDs • 12X Optical Zoom Carl Zeiss Vario-Sonnar T* Lens • 14 bit A/D with Digital Extended Processor (DXP) HVR-V1U 3CMOS 1080p HDV Camcorder • In addition to standard 60i, shoot progressive scan footage and still edit using regular Sony HDV equipment • 14-bit Enhanced Imaging Processor, outputting a 1920x1080/60p 4:2:2 video signal • • • • AJ-HPX2000 2/3” P2 HD Camcorder Ultra-reliable solid-state camcorder records in 17 HD and SD formats Excels at low-light shooting New AVC-Intra codec option The P2 card provides superior reliability in harsh environments and when exposed to shock, vibration and temperature change AG-HVX200 1/3" 3-CCD 16:9 HD/DVCPRO/DV • Cinema P2 Camera with CineSwitch™ • Technology, CineGamma™ Software and IEEE 1394 Interface AJ-SD93 Also Available 46 SONY IS A REGISTERED TRADEMARK NOT RESPONSIBLE FOR TYPOGRAPHICAL ERRORS. PRICES SUBJECT TO CHANGE WITHOUT NOTICE. http://www.samysdv.com http://www.samysdv.com

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American Cinematographer - October 2007 Contents Editor’s Note Letters DVD Playback Production Slate Western Destinies Emotional Betrayal Palace Intrigue Unsafe Passage Short Takes Post Focus New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up

American Cinematographer - October 2007

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