American Cinematographer - November 2008 - (Page 38) Forging a Bond Top: Bond attempts to outmaneuver an armed assailant on a treacherous mountain pass. Middle: A remote camera head attached to a Giraffe crane catches a shot of a speeding vehicle. Bottom: Shots for the sequence were also captured with the help of an Ultimate Arm mounted atop an SUV. outside the windows, but when we got there, it was too windy,” he recalls. “One of the lights broke, and then the remote stirrups didn’t want to work. In the end, we used just one light locked in one position and secured to the surrounding buildings with wires to keep it from swaying.” The kinetic action and limited space provided George Richmond with another opportunity to make use of his 235 rig, supplemented by the B camera, operated by Mark Milsome. “The way the fight was choreographed meant the actors were everywhere,” he recalls. “We were free to dance around with the cameras as long as we didn’t get in front of the windows. The B camera would stand on the outside of the action and get individual cuts on longer lenses, up to a 65mm. I was in there, just outside of the B camera’s frame line, with an 18mm or a 21mm. When an arm moves in front of a wide lens, it travels at a great speed over a vast part of the screen, so it really makes it feel like you’re there.” In most situations, Schaefer was trying to maintain a stop of T2.8, though he often opened up to a T2. “There was a little bit of T1.3 when it was necessary,” he says. “Kodak’s [Vision3 500T] 5219 is pretty forgiving, so you can underexpose it a bit and still get a really solid negative. We only used two stocks on this film, 5219 and [Vision2 200T] 5217. When you have that many cameras in all those locations and you start using three or four stocks, it becomes a nightmare for the loaders. “When we scouted Chile and Panama, I decided to use 5219 and then either 5217 or [Vision2 100T] 5212 as my other stock,” he continues. “I was drawn to 5212 for its finer grain, but I was worried about having to push it a bit too far when we were shooting into the late afternoon or when I wanted to use a polarizer, so I decided to go with 38 November 2008
Table of Contents Feed for the Digital Edition of American Cinematographer - November 2008 American Cinematographer - November 2008 Contents Editor’s Note Letters Short Takes Production Slate Forging a Bond The Making of a President Thunder Down Under Habitat for Inhumanity Saluting Television’s Top Talents Post Focus New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up American Cinematographer - November 2008 American Cinematographer - November 2008 - American Cinematographer - November 2008 (Page Cover1) American Cinematographer - November 2008 - American Cinematographer - November 2008 (Page Cover2) American Cinematographer - November 2008 - American Cinematographer - November 2008 (Page 1) American Cinematographer - November 2008 - American Cinematographer - November 2008 (Page 2) American Cinematographer - November 2008 - Contents (Page 3) American Cinematographer - November 2008 - Contents (Page 4) American Cinematographer - November 2008 - Contents (Page 5) American Cinematographer - November 2008 - Contents (Page 6) American Cinematographer - November 2008 - Contents (Page 7) American Cinematographer - November 2008 - Editor’s Note (Page 8) American Cinematographer - November 2008 - Editor’s Note (Page 9) American Cinematographer - November 2008 - Editor’s Note (Page 10) American Cinematographer - November 2008 - Editor’s Note (Page 11) American Cinematographer - November 2008 - Letters (Page 12) American Cinematographer - November 2008 - Letters (Page 13) American Cinematographer - November 2008 - Short Takes (Page 14) American Cinematographer - November 2008 - Short Takes (Page 15) American Cinematographer - November 2008 - Production Slate (Page 16) American Cinematographer - November 2008 - Production Slate (Page 17) American Cinematographer - November 2008 - Production Slate (Page 18) American Cinematographer - November 2008 - Production Slate (Page 19) American Cinematographer - November 2008 - Production Slate (Page 20) American Cinematographer - November 2008 - Production Slate (Page 21) American Cinematographer - November 2008 - Production Slate (Page 22) American Cinematographer - November 2008 - Production Slate (Page 23) American Cinematographer - November 2008 - Production Slate (Page 24) American Cinematographer - November 2008 - Production Slate (Page 25) American Cinematographer - November 2008 - Production Slate (Page 26) American Cinematographer - November 2008 - Production Slate (Page 27) American Cinematographer - November 2008 - Forging a Bond (Page 28) American Cinematographer - November 2008 - Forging a Bond (Page 29) American Cinematographer - November 2008 - Forging a Bond (Page 30) American Cinematographer - November 2008 - Forging a Bond (Page 31) American Cinematographer - November 2008 - Forging a Bond (Page 32) American Cinematographer - November 2008 - Forging a Bond (Page 33) American Cinematographer - November 2008 - Forging a Bond (Page 34) American Cinematographer - November 2008 - Forging a Bond (Page 35) American Cinematographer - November 2008 - Forging a Bond (Page 36) American Cinematographer - November 2008 - Forging a Bond (Page 37) American Cinematographer - November 2008 - Forging a Bond (Page 38) American Cinematographer - November 2008 - Forging a Bond (Page 39) American Cinematographer - November 2008 - Forging a Bond (Page 40) American Cinematographer - November 2008 - Forging a Bond (Page 41) American Cinematographer - November 2008 - The Making of a President (Page 42) American Cinematographer - November 2008 - The Making of a President (Page 43) American Cinematographer - November 2008 - The Making of a President (Page 44) American Cinematographer - November 2008 - The Making of a President (Page 45) American Cinematographer - November 2008 - The Making of a President (Page 46) American Cinematographer - November 2008 - The Making of a President (Page 47) American Cinematographer - November 2008 - The Making of a President (Page 48) American Cinematographer - November 2008 - The Making of a President (Page 49) American Cinematographer - November 2008 - The Making of a President (Page 50) American Cinematographer - November 2008 - The Making of a President (Page 51) American Cinematographer - November 2008 - The Making of a President (Page 52) American Cinematographer - November 2008 - The Making of a President (Page 53) American Cinematographer - November 2008 - Thunder Down Under (Page 54) American Cinematographer - November 2008 - Thunder Down Under (Page 55) American Cinematographer - November 2008 - Thunder Down Under (Page 56) American Cinematographer - November 2008 - Thunder Down Under (Page 57) American Cinematographer - November 2008 - Thunder Down Under (Page 58) American Cinematographer - November 2008 - Thunder Down Under (Page 59) American Cinematographer - November 2008 - Thunder Down Under (Page 60) American Cinematographer - November 2008 - Thunder Down Under (Page 61) American Cinematographer - November 2008 - Thunder Down Under (Page 62) American Cinematographer - November 2008 - Thunder Down Under (Page 63) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 64) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 65) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 66) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 67) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 68) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 69) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 70) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 71) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 72) American Cinematographer - November 2008 - Habitat for Inhumanity (Page 73) American Cinematographer - November 2008 - Saluting Television’s Top Talents (Page 74) American Cinematographer - November 2008 - Saluting Television’s Top Talents (Page 75) American Cinematographer - November 2008 - Post Focus (Page 76) American Cinematographer - November 2008 - Post Focus (Page 77) American Cinematographer - November 2008 - New Products & Services (Page 78) American Cinematographer - November 2008 - New Products & Services (Page 79) American Cinematographer - November 2008 - New Products & Services (Page 80) American Cinematographer - November 2008 - New Products & Services (Page 81) American Cinematographer - November 2008 - New Products & Services (Page 82) American Cinematographer - November 2008 - New Products & Services (Page 83) American Cinematographer - November 2008 - New Products & Services (Page 84) American Cinematographer - November 2008 - New Products & Services (Page 85) American Cinematographer - November 2008 - New Products & Services (Page 86) American Cinematographer - November 2008 - New Products & Services (Page 87) American Cinematographer - November 2008 - New Products & Services (Page 88) American Cinematographer - November 2008 - New Products & Services (Page 89) American Cinematographer - November 2008 - International Marketplace (Page 90) American Cinematographer - November 2008 - Classified Ads (Page 91) American Cinematographer - November 2008 - Ad Index (Page 92) American Cinematographer - November 2008 - Ad Index (Page 93) American Cinematographer - November 2008 - Clubhouse News (Page 94) American Cinematographer - November 2008 - Clubhouse News (Page 95) American Cinematographer - November 2008 - ASC Close-Up (Page 96) American Cinematographer - November 2008 - ASC Close-Up (Page Cover3) American Cinematographer - November 2008 - ASC Close-Up (Page Cover4)
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