American Cinematographer - October 2012 - 30

Director Nicholas Jarecki and Le Saux assess a setup.

to bring some energy to the camerawork, to bring it alive,” he observes. Jarecki concurs, noting, “Yorick was always saying, ‘We stay loose. We stay loose.’ He has that jazz-musician quality, and I would come back with more of the classical approach. Something very nice came out of the mix.” “We never marked an actor, and they would change their [moves] from take to take and Yorick would adjust accordingly,” recalls 1st AC Ludovic Littee. “Although a good 85 percent of this picture was filmed with Yorick sitting on the dolly, the shots have almost a handheld feel. We weren’t locked into any position. Yorick usually was on a zoom, and he’d find his focal length on the fly.” Dance floors, the absence of marks, a preference for low T-stops (T2.8-T4), and shooting scenes in long masters are all typical of Le Saux’s method. The cinematographer points to a scene late in Arbitrage that shows Robert and his wife (Susan Sarandon) arguing in the master bedroom. Le Saux was seated on the dolly. “Susan and Richard were constantly moving around the bedroom, and the lead kept changing — one moment Susan had the power, and then Richard did. They were crossing each other, unaware of who would be in frame. The shot was five minutes long, and each take was different.” Le Saux’s camera package came from Arri CSC and included Cooke S4 prime lenses ranging from 18mm to 135mm, and
30

Angenieux Optimo 28-76mm and 24290mm zoom lenses. The production’s negative was processed by Deluxe New York, and most of the digital-intermediate process was carried out at EFilm in Hollywood, where Le Saux worked with colorist Natasha Leonnet. (Polish facility Alvernia Studios, which created some of the visual effects, also did the 4K scan of the negative.) Leonnet says she learned a lot from working with Le Saux in the DI suite. “Yorick would often play the color against the emotion. For example, the car accident is visually beautiful, even magical, yet it is showing death and destruction. The confrontation between Robert and his daughter in Central Park is very soft and beautiful, but really we are seeing the family disintegrate before our eyes. There is this beauty playing against what’s happening onscreen, and it’s a little destabilizing for the viewer. We aren’t sure if Robert is a good person or not, and our sense of unease is another layer of the film.”

TECHNICAL SPECS
Super 1.85:1 3-perf Super 35mm Arricam Lite Cooke S4, Angenieux Optimo Kodak Vision3 200T 5213, 500T 5219; Vision2 Expression 500T 5229 Digital Intermediate ●



http://www.theasc.com http://www.theasc.com

American Cinematographer - October 2012

Table of Contents for the Digital Edition of American Cinematographer - October 2012

American Cinematographer - October 2012
Contents
Editor’s Note
President’s Desk
Short Takes: ASC Andrew Laszlo Heritage Awards
Production Slate: Chasing Ice • Arbitrage
Dead Man’s Hand
A Very Tough Beat
Payback Time
Hitchcock Blonde
Post Focus: Blinding
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Robert Primes
American Cinematographer - October 2012 - American Cinematographer - October 2012
American Cinematographer - October 2012 - Cover2
American Cinematographer - October 2012 - 1
American Cinematographer - October 2012 - 2
American Cinematographer - October 2012 - Contents
American Cinematographer - October 2012 - 4
American Cinematographer - October 2012 - 5
American Cinematographer - October 2012 - 6
American Cinematographer - October 2012 - 7
American Cinematographer - October 2012 - Editor’s Note
American Cinematographer - October 2012 - 9
American Cinematographer - October 2012 - President’s Desk
American Cinematographer - October 2012 - 11
American Cinematographer - October 2012 - Short Takes: ASC Andrew Laszlo Heritage Awards
American Cinematographer - October 2012 - 13
American Cinematographer - October 2012 - 14
American Cinematographer - October 2012 - 15
American Cinematographer - October 2012 - 16
American Cinematographer - October 2012 - 17
American Cinematographer - October 2012 - 18
American Cinematographer - October 2012 - 19
American Cinematographer - October 2012 - Production Slate: Chasing Ice • Arbitrage
American Cinematographer - October 2012 - 21
American Cinematographer - October 2012 - 22
American Cinematographer - October 2012 - 23
American Cinematographer - October 2012 - 24
American Cinematographer - October 2012 - 25
American Cinematographer - October 2012 - 26
American Cinematographer - October 2012 - 27
American Cinematographer - October 2012 - 28
American Cinematographer - October 2012 - 29
American Cinematographer - October 2012 - 30
American Cinematographer - October 2012 - 31
American Cinematographer - October 2012 - 32
American Cinematographer - October 2012 - 33
American Cinematographer - October 2012 - Dead Man’s Hand
American Cinematographer - October 2012 - 35
American Cinematographer - October 2012 - 36
American Cinematographer - October 2012 - 37
American Cinematographer - October 2012 - 38
American Cinematographer - October 2012 - 39
American Cinematographer - October 2012 - 40
American Cinematographer - October 2012 - 41
American Cinematographer - October 2012 - 42
American Cinematographer - October 2012 - 43
American Cinematographer - October 2012 - 44
American Cinematographer - October 2012 - 45
American Cinematographer - October 2012 - 46
American Cinematographer - October 2012 - 47
American Cinematographer - October 2012 - 48
American Cinematographer - October 2012 - 49
American Cinematographer - October 2012 - A Very Tough Beat
American Cinematographer - October 2012 - 51
American Cinematographer - October 2012 - 52
American Cinematographer - October 2012 - 53
American Cinematographer - October 2012 - 54
American Cinematographer - October 2012 - 55
American Cinematographer - October 2012 - 56
American Cinematographer - October 2012 - 57
American Cinematographer - October 2012 - 58
American Cinematographer - October 2012 - 59
American Cinematographer - October 2012 - 60
American Cinematographer - October 2012 - 61
American Cinematographer - October 2012 - 62
American Cinematographer - October 2012 - 63
American Cinematographer - October 2012 - Payback Time
American Cinematographer - October 2012 - 65
American Cinematographer - October 2012 - 66
American Cinematographer - October 2012 - 67
American Cinematographer - October 2012 - 68
American Cinematographer - October 2012 - 69
American Cinematographer - October 2012 - 70
American Cinematographer - October 2012 - 71
American Cinematographer - October 2012 - 72
American Cinematographer - October 2012 - 73
American Cinematographer - October 2012 - 74
American Cinematographer - October 2012 - 75
American Cinematographer - October 2012 - Hitchcock Blonde
American Cinematographer - October 2012 - 77
American Cinematographer - October 2012 - 78
American Cinematographer - October 2012 - 79
American Cinematographer - October 2012 - 80
American Cinematographer - October 2012 - 81
American Cinematographer - October 2012 - 82
American Cinematographer - October 2012 - 83
American Cinematographer - October 2012 - 84
American Cinematographer - October 2012 - 85
American Cinematographer - October 2012 - Post Focus: Blinding
American Cinematographer - October 2012 - 87
American Cinematographer - October 2012 - 88
American Cinematographer - October 2012 - 89
American Cinematographer - October 2012 - New Products & Services
American Cinematographer - October 2012 - 91
American Cinematographer - October 2012 - 92
American Cinematographer - October 2012 - 93
American Cinematographer - October 2012 - International Marketplace
American Cinematographer - October 2012 - Classified Ads
American Cinematographer - October 2012 - Ad Index
American Cinematographer - October 2012 - 97
American Cinematographer - October 2012 - Clubhouse News
American Cinematographer - October 2012 - 99
American Cinematographer - October 2012 - ASC Close-Up: Robert Primes
American Cinematographer - October 2012 - Cover3
American Cinematographer - October 2012 - Cover4
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