American Cinematographer - October 2008 - (Page 73)

Morgentha u and his crew took a "by-any-means-necessaryapproach to getting light in Rob's face;' says the cinematographer. "Sometimes it was an 18K Arrimax, sometimes it \VaS a Source Four Leko with an HMI bulb, and sometimes we did it with Xenons; it depended on the situation, how far Rob was from the came ra, and the focal length. It's not necessarily the most subtle thing, but it was important to see his face and his emotions:' Laumann adds, "We mo st often used [the 18K Arrimax] without the Fresnel lens. It has an engineered mirror than makes it much softer and smoother than most Pars. Y don't feel the ou edge as much, but it puts a lot of light in a very small area." Morgenthau spent about 80 hour s on the 01 at EFilm, where he worked with colorist Steve Bowen to finesse the concepts he initiated with his original photography, smooth over differences caused by Chicago's fickle weather, and match the second -unit footage to first-unit work. "We ou tput four negatives and made direct prints from those, saving a generation;' notes the cinematographer. " It was something 1 advocated and the studio supported. In my opinion, what you lose in going to 2K for the Dr you gain back to a certain degree by skipping the extra gener ation you'd normally have in printing." Tho ugh Morgenthau has a firm grasp on the technical side of cinematography, he notes that he prefers to concentrate on storytelling. "What a filmmaker was thinking and feeling when he devised a shot is more interesting to me than what piece of gear he used," he says. "I like to know the technical inform ation, but I also know what's done with the tool is more impo rtant than which tool was used. Filmmaking is an artistic interpretation of life done by human beings. In the end, the brushstrokes and choices of the filmmakers, when done sensitively, can be as interesting as the narrative." • TECHNICAL SPECS 2.40:1 Super 35mm and 16mm Panaflex Platinum, Millennium XL; Ani 435Xtreme; Bolex Rex-5 Primo lenses Kodak Vision2 2500 5205, 500T 5218; Eastman Oouble-X 7222; Kodachrome 7267 Oigitallntermediate Printed on Kodak Vision 238J islaBeam Lumenocify 73 http://www.kinoflo.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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