American Cinematographer - November 2012 - 18
Top: Victor runs into the tunnel beneath the 6th Street Bridge. The cocinematographers point to the details in the bright exterior and unlit interior as evidence of the F65’s dynamic range. Bottom: Zsigmond and Goodich find a frame on location.
toward their home. Their path takes them through a gas station where, Goodich notes, “the composition is like Ed Ruscha’s Standard Station painting.” The station’s mercury-vapor practicals are visible in the frame, as are background sodium-vapor streetlights, lending what Goodich describes as “a richness to the palette. The F65 has a forgiveness [toward mixed color temperatures] that I like a lot; it looks very natural.” Throughout the shoot, 4K footage was captured via the SQ codec (which
18 November 2012
employs 3:1 wavelet compression) to Sony SRMemory cards. Each night after wrap, Band Pro technical consultant Randy Wedick backed up the data to two separate hard drives. After principal photography ended, Zsigmond returned to his home in Big Sur, Calif., and the footage went to editor Gib Jaffe, ACE. While editing, Goodich explains, “I would take Gib’s latest cut, add the music and sound design by Ely Akl into Final Cut, and create a lower-res QuickTime file that I could put up on my FTP site, where Vilmos
American Cinematographer
could download it.” Their approach to the edit, Goodich adds, was “to let the shots play out and let the audience really study what the camera can do.” Once Jaffe locked the cut, the EDL was sent to Light Iron, where colorist Corinne Bogdanowicz performed the final grade with a FilmLight Baselight utilizing ACES. Both Goodich and Zsigmond were present for the grade, which Goodich says “went very fast. We had about five hours to grade more than 90 shots. Vilmos and I were impressed with the way everything went, which we attribute to ACES and, of course, to Corinne. “Everyone at Light Iron was incredibly gracious,” Goodich continues. “I’m also especially grateful to Band Pro and Sony for making this [movie] possible.” Studying the rough cut and considering what they achieved in such a short time, Zsigmond offers, “When you have to do it, somehow you get it together. That’s the beauty of making movies.” Kick Start Theft received its premiere at IBC in September and was subsequently screened at Cinec in Munich. It will be on display at Band Pro in the near future. ●
American Cinematographer - November 2012
Table of Contents for the Digital Edition of American Cinematographer - November 2012
American Cinematographer - November 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Kick Start Theft
Production Slate: Middle of Nowhere • Husbands
Promoting “The Cause”
Creative Conspiracies
Deep Shih Tzu
Bedlam’s New Address
First-Rate Fare
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Deming
American Cinematographer - November 2012 - American Cinematographer - November 2012
American Cinematographer - November 2012 - Cover2
American Cinematographer - November 2012 - 1
American Cinematographer - November 2012 - 2
American Cinematographer - November 2012 - Contents
American Cinematographer - November 2012 - 4
American Cinematographer - November 2012 - 5
American Cinematographer - November 2012 - 6
American Cinematographer - November 2012 - 7
American Cinematographer - November 2012 - Editor’s Note
American Cinematographer - November 2012 - 9
American Cinematographer - November 2012 - President’s Desk
American Cinematographer - November 2012 - 11
American Cinematographer - November 2012 - Short Takes: Kick Start Theft
American Cinematographer - November 2012 - 13
American Cinematographer - November 2012 - 14
American Cinematographer - November 2012 - 15
American Cinematographer - November 2012 - 16
American Cinematographer - November 2012 - 17
American Cinematographer - November 2012 - 18
American Cinematographer - November 2012 - 19
American Cinematographer - November 2012 - Production Slate: Middle of Nowhere • Husbands
American Cinematographer - November 2012 - 21
American Cinematographer - November 2012 - 22
American Cinematographer - November 2012 - 23
American Cinematographer - November 2012 - 24
American Cinematographer - November 2012 - 25
American Cinematographer - November 2012 - 26
American Cinematographer - November 2012 - 27
American Cinematographer - November 2012 - 28
American Cinematographer - November 2012 - 29
American Cinematographer - November 2012 - 30
American Cinematographer - November 2012 - 31
American Cinematographer - November 2012 - Promoting “The Cause”
American Cinematographer - November 2012 - 33
American Cinematographer - November 2012 - 34
American Cinematographer - November 2012 - 35
American Cinematographer - November 2012 - 36
American Cinematographer - November 2012 - 37
American Cinematographer - November 2012 - 38
American Cinematographer - November 2012 - 39
American Cinematographer - November 2012 - 40
American Cinematographer - November 2012 - 41
American Cinematographer - November 2012 - 42
American Cinematographer - November 2012 - 43
American Cinematographer - November 2012 - 44
American Cinematographer - November 2012 - 45
American Cinematographer - November 2012 - 46
American Cinematographer - November 2012 - 47
American Cinematographer - November 2012 - 48
American Cinematographer - November 2012 - 49
American Cinematographer - November 2012 - 50
American Cinematographer - November 2012 - 51
American Cinematographer - November 2012 - Creative Conspiracies
American Cinematographer - November 2012 - 53
American Cinematographer - November 2012 - 54
American Cinematographer - November 2012 - 55
American Cinematographer - November 2012 - 56
American Cinematographer - November 2012 - 57
American Cinematographer - November 2012 - 58
American Cinematographer - November 2012 - 59
American Cinematographer - November 2012 - 60
American Cinematographer - November 2012 - 61
American Cinematographer - November 2012 - 62
American Cinematographer - November 2012 - 63
American Cinematographer - November 2012 - 64
American Cinematographer - November 2012 - 65
American Cinematographer - November 2012 - Deep Shih Tzu
American Cinematographer - November 2012 - 67
American Cinematographer - November 2012 - 68
American Cinematographer - November 2012 - 69
American Cinematographer - November 2012 - 70
American Cinematographer - November 2012 - 71
American Cinematographer - November 2012 - 72
American Cinematographer - November 2012 - 73
American Cinematographer - November 2012 - 74
American Cinematographer - November 2012 - 75
American Cinematographer - November 2012 - Bedlam’s New Address
American Cinematographer - November 2012 - 77
American Cinematographer - November 2012 - 78
American Cinematographer - November 2012 - 79
American Cinematographer - November 2012 - 80
American Cinematographer - November 2012 - 81
American Cinematographer - November 2012 - 82
American Cinematographer - November 2012 - 83
American Cinematographer - November 2012 - 84
American Cinematographer - November 2012 - 85
American Cinematographer - November 2012 - First-Rate Fare
American Cinematographer - November 2012 - 87
American Cinematographer - November 2012 - New Products & Services
American Cinematographer - November 2012 - 89
American Cinematographer - November 2012 - 90
American Cinematographer - November 2012 - 91
American Cinematographer - November 2012 - 92
American Cinematographer - November 2012 - 93
American Cinematographer - November 2012 - International Marketplace
American Cinematographer - November 2012 - Classified Ads
American Cinematographer - November 2012 - Ad Index
American Cinematographer - November 2012 - 97
American Cinematographer - November 2012 - Clubhouse News
American Cinematographer - November 2012 - 99
American Cinematographer - November 2012 - ASC Close-Up: Peter Deming
American Cinematographer - November 2012 - Cover3
American Cinematographer - November 2012 - Cover4
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