American Cinematographer - October 2012 - 56
◗
A Very Tough Beat
Top: While searching a suspicious house, Taylor and Zavala discover the victims of a slavery ring. Bottom: Zavala takes one of the ringleaders into custody.
tungsten,” recalls Vasyanov. “The red channel is surprisingly noisy, and we had to black balance a lot to keep that clean. During a take, sometimes our blacks would turn a bit red, and we’d have to black balance again to get rid of it. We
56 October 2012
always had IR cut filters on the camera, but corruption was still a problem — especially with the black police uniforms — and we had to stay on top of it. The technology is not easy to work with. The ISO is bad, and it’s got gain
American Cinematographer
noise and no latitude. The good side is that you get this kind of 16mm Ektachrome look, with milky blacks and bad resolution in the highlights. It really creates some mood! And I think these limitations can work for you because now, thanks to YouTube, this is part of how we see the world.” One particular sequence in End of Watch makes memorable use of the limitations Vasyanov describes. In the scene, Taylor and Zavala respond to a call and find a hysterical woman running out of a burning house, screaming that her children are still inside. The two officers are the first on the scene, and Zavala immediately runs into the house to look for the children, with Taylor close behind. The filmmakers shot two takes of the sequence, one with the actors’ vest cams, and the other with the Nano mounted on a stick Vasyanov held very close to the actors. The house was a practical location on a South Central street, and the fire department forbade the filmmakers from creating real flames. “We had to find a way to do a fire without real fire,
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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