American Cinematographer - November 2008 - (Page 62) Thunder Down Under and 50mm were used all the time for medium shots and close-ups. For tight shots, or to give us separation between foreground and midground elements, we used either the 100mm or 150mm.” The production also carried a set of zooms, which were used primarily when the camera was mounted on a helicopter or crane: Primo 11:1 24-275mm, 4:1 17.5-75mm and 3:1 135-420mm, and an Angenieux Optimo 1540mm; the latter was rarely used. On occasion, Walker used Panavision’s older Ultraspeed and Superspeed lenses to achieve a soft, romantic look. “Those lenses don’t have modern coatings, so they’re more susceptible to flares, and bright windows would bloom a little,” says Walker. “The dropoff in the focus was also very soft.” Although Walker typically operates the A camera, Australia’s scope made that impossible. She explains, “Baz rarely leaves the set, so while the crew were setting up, I stood with Baz, discussing coverage, lighting and gripping. We used at least two and often three cameras on every shot, and I wanted to be in a position to watch all the shots as they evolved. Through headsets, I was constantly in touch with Shaun, key grip Geoff Full, A-camera/Steadicam operator Peter McCaffrey, and Acamera focus puller Jason Binnie. It was an arrangement that gave me great flexibility.” Over the course of the production, still photos helped Walker keep tabs on the sprawling shoot. “When Baz was rehearsing the actors, before the main make-up and wardrobe tests, I put the Kodak stocks in my Leica stills camera and shot early tests for color, costumes and makeup using a small natural-light setup in the studio,” she recalls. “It was a quick way to see how the stocks reacted Luhrmann and Walker plot their next move. The production’s camera package comprised Panaflex Millenniums and Millennium XLs for the main unit and PanArri 435s for the second unit. Primo prime lenses were used for the majority of the shoot. Walker notes, “We favored the mid-range lengths, hardly ever going wider than a 21mm. Wide shots were mostly done on the 27mm, while the 40mm 62 http://www.walterklassen.com http://www.walterklassen.com
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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