American Cinematographer - December 2008 - (Page 52)

Rags toRiches Right: Ciupek checks one of the recording units on location in the slum. Below: A workflow estimate for the picture’s digital cinematography that was developed before the production received a green light. Sl Slum Dog Million lum Millionaire -Workﬂow with costs naire w 14 x 1 TB external usb Harddrives £2142 4 x 32gb transcend flash memory £1400 6 x 250 gb mini hard disks £600 Laptop and a 22”-24” TFTscreen £937 Digital Cameras 7 x 2TB Firewire Disks 800Mbps £4200 1 x DataStation PC w/24" Monitor £580 15 Terrabyte Raid 6 Secure Disks £5150 2-4 TB Raid 1 Disk fast connection Esata - 3Gbits £1275 To Total above the line = £16,284 e Total 39 weeks Avid + Lanshare = £42,900 9 Lanshare Plasma Plasma (+£1000) = £43,900 / on= w/ shipping and installatio £47,900 installation= w/ /DigiBeta = £55,900 w/DigiBeta (+£8000) Above the Line - Sourced by Stefan Lin ne Below the Line - Sourced by Jeanet Line Jeanette tte 2 x DVD recorders FOC BetaSp FOC DigiBeta £200/week Avid Unity LanShare (8TB unmirrored) LanShare LP 8TB Fibre Channel Shared Network Storage System Pulsar Extreme 1500 Uninterrupted Power Supply NEC LCD1970NX Flat TFT Display Windows USB Keyboard and Mouse Monitor Upgrade £75/week Option or Source a LCD/ Plasma in India Approx £1000 £500/week Engineer Installation Flights/ Accommodation £2000? AVID Adrenaline 1 £300/Week Avid Adrenaline 2 £300/Week Shipping there and back £2000? Dod Mantle’s nimbleness and flexibility were especially critical when children were involved, Boyle adds. “Kids don’t need to be introduced to how difficult it is to make a film — you can’t ask them to hit a mark. The cameraman has to work in such a way that he absolves them of that stress, and Anthony does that.” The Mini has a universal lens mount that can accommodate a wide variety of lenses, and the filmmakers set out with the following, all provided by Pille: 9.5mm and 12mm Zeiss Distagons, a 5.9mm Angenieux, a 6mm Century, an 8mm Zeiss, a Cooke 9-50mm zoom, a set of Zeiss Planar primes and a 200mm Canon. When longer lenses were necessary, Dod Mantle used Zeiss Ultra Primes and an Angenieux Optimo 24-290mm zoom. “The 10mm prime is Danny’s favorite, and I had to use a 6mm lens as an equivalent on the Mini,” notes the cinematographer. “It was a step down in quality, and I had to work on matching that footage in the digital intermediate [at Moving Picture Co.].” He used a set of extremely small Linos C-mount lenses on the Mini “when we had to be especially discreet or if there was ridiculously little space to work in. I used them mainly when [shooting] objects or textures very, very close to the lens to enhance a feeling of sharpness, quality and depth. They also enhance a feeling of sneaking a view at someone running by.” The filmmakers originally planned to shoot about 25 percent of the picture digitally and the rest on 3-perf Super 35mm, but Boyle was so pleased with the Mini’s performance that he gradually decided to shoot more and more with it. Dod Mantle estimates that about 60 percent of the movie was ultimately captured digitally, but he emphasizes that working with film had benefits that went beyond aesthetics. “In India, the team around the cam- 52 December 2008

Table of Contents Feed for the Digital Edition of American Cinematographer - December 2008

American Cinematographer - December 2008 Contents Editor’s Note Short Takes: True Blood Titles Tomorrow’s Technology Production Slate: Closer to Truth A High Price for Progress Rags to Riches 1-Man Riot Squad The State of the Art: An Update Post Focus: Deluxe New York New Products & Services International Marketplace Classified Ads Ad Index 2008 AC Index ASC Membership Roster Clubhouse News ASC Close-Up: Donald McAlpine

American Cinematographer - December 2008

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