American Cinematographer - October 2008 - (Page 53)

watch dailies and talk about the next day’s work.” In post, the filmmakers decided to alter the look of the lighting in certain scenes to suggest additional outages in the city’s power supply. “We took Xavier’s original photography and added lighting fluctuations to make the environment feel a bit more precarious,” explains Durst. “That can look fake if you simply do an overall darkening or lightening of the frame, so we also dimmed the practicals in the shots up and down. We had to really dig deep into the detail on the original negative and bring out the filaments of the lights so we could alter them. It was then a 2-D compositing process, for which our main tools were [Apple] Shake and [Adobe] After Effects. It gave the story an extra sense of urgency.” At press time, the filmmakers were in the midst of the digital intermediate at EFilm in Hollywood. “We decided this movie’s design is already very baroque and rich in texture and color, so we’re now playing with those ideas and tweaking them to get them to the right spot,” says Grobet. “From the beginning, I had a very clear sense of the basic palette, the design of the lighting, and how I wanted it to play emotionally on the screen,” says Kenan. “The process of working with Xavier supercharged that, and our experimentation led to something better than my preconceived notions.” Grobet is equally enthusiastic about the director: “Gil has a very strong vision and he pursues his ideas, which are what make this movie very interesting. I thought of reading the book before the shoot, but I decided not to. That way, I could come into this world for the first time. I wanted to achieve our version of Ember, and that’s what we created.” I TECHNICAL SPECS 2.40:1 Super 35mm Arricam Lite, Studio; Arri 235 Cooke, Angenieux and Zeiss lenses Kodak Vision2 500T 5218 Digital Intermediate Printed on Kodak Vision 2383 FOCUS IN NEW DIMENSIONS WITH THE PIVOTING HAND GRIP FOLLOW FOCUS „STUDIO“ Adjustable hand knob sensibility Adjustable overload savety Unique operation-ergonomy due to panable hand knob 45° 0° 40° www.denz-deniz.com · Tel: +49 89 - 62 98 66 0 · Fax: +49 89 - 62 98 66 20 53 http://www.denz-deniz.com http://www.denz-deniz.com

Table of Contents Feed for the Digital Edition of American Cinematographer - October 2008

American Cinematographer - October 2008 Contents Editor's Note Short Takes: DirecTV's "Fourth Wall" Campaign Production Slate: Prison Break Production Slate: Need for Speed: Undercover Middle East Intrigue Kingdom of Light Memoirs of a Spook Landmark Gains Post Focus: An Overview of the ASC CDL Filmmakers' Forum: Roger Deakins, ASC, BSC New Products & Services International Marketplace Classified Ads Clubhouse News ASC Close-Up: Ross Berryman

American Cinematographer - October 2008

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