American Cinematographer - December 2012 - 20
Right: Stephanie returns to her former workplace to visit a colleague. Below: Ali tries to forge a livelihood as a street fighter.
There are many moments with reduced depth-of-field, like the shots of Stephanie in her hospital bed. Fontaine: That’s a choice of miseen-scène that was reinforced by shooting in the Epic’s 5K mode. In that mode, the sensor is much larger than 35mm. A 40mm lens with the Epic [in 5K mode] is about the same as a 35mm lens in Super 35. How did you rate the camera? Fontaine: I set it at ISO 800 and worked with my light meter as I would with film. That way, I could shoot very quickly. When you’re working on a stage and you have time, you can consult the waveform
20 December 2012
monitor and have a video village of calibrated monitors, but when you’re on a set with a handheld camera and shooting without a rehearsal, which often happens with Jacques, you take a quick reading and you go! What image did you monitor on the set? Fontaine: We used the Red Gamma 2 display LUT for the monitor image. It has reinforced blacks, but it’s still pretty lowcontrast. You didn’t use pre-established LUTs? Fontaine: No. I think wanting to see
American Cinematographer
the finished film on set is absurd, as if the film were already locked in. I don’t know what the film will look like when I’m shooting. I have some clues and desires, but I also want to be able to be surprised. For me, it’s an advantage to have an uninteresting image on the monitor on the set. I feel like I’m looking at video assist. I don’t understand why, suddenly, people now expect to see the finished image on the set. I have shot commercials with the Alexa in ProRes. You turn on the monitor, and everyone’s happy. You feel like you’re watching TV. There is a kind of ease to it; there is already a result that is satisfactory. That worries me. I think the Epic is a camera that’s more oriented toward postproduction. Of course, each film is a different case. You can also shoot with Alexa in ArriRaw with a digital-imaging technician. How did you approach all the day exteriors in this movie? Fontaine: My intervention was minimal. I mostly used reflectors of different sizes [large frames or handheld]. The general idea was to avoid taking up a lot of space with my installations so as to give the director and the actors the greatest latitude possible. There must be a harmony between the tools you use and the director. The weather was sometimes frustrating; we often had to overcome the lack of sun. In
American Cinematographer - December 2012
Table of Contents for the Digital Edition of American Cinematographer - December 2012
American Cinematographer - December 2012
Contents
Editor's Note
President's Desk
Short Takes: Swimmer
Production Slate: Rust and Bone • It’s a SpongeBob Christmas!
MI6 Under Siege
Ravishing Romance
Freedom Fighter
An A-Plus Event
New Products & Services
International Marketplace
Classified Ads
Ad Index
2012 AC Index
In Memoriam: Harris Savides, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Jerzy Zielinski, ASC, PSC
American Cinematographer - December 2012 - American Cinematographer - December 2012
American Cinematographer - December 2012 - Cover2
American Cinematographer - December 2012 - 1
American Cinematographer - December 2012 - 2
American Cinematographer - December 2012 - Contents
American Cinematographer - December 2012 - 4
American Cinematographer - December 2012 - 5
American Cinematographer - December 2012 - 6
American Cinematographer - December 2012 - 7
American Cinematographer - December 2012 - Editor's Note
American Cinematographer - December 2012 - 9
American Cinematographer - December 2012 - President's Desk
American Cinematographer - December 2012 - 11
American Cinematographer - December 2012 - Short Takes: Swimmer
American Cinematographer - December 2012 - 13
American Cinematographer - December 2012 - 14
American Cinematographer - December 2012 - 15
American Cinematographer - December 2012 - 16
American Cinematographer - December 2012 - 17
American Cinematographer - December 2012 - Production Slate: Rust and Bone • It’s a SpongeBob Christmas!
American Cinematographer - December 2012 - 19
American Cinematographer - December 2012 - 20
American Cinematographer - December 2012 - 21
American Cinematographer - December 2012 - 22
American Cinematographer - December 2012 - 23
American Cinematographer - December 2012 - 24
American Cinematographer - December 2012 - 25
American Cinematographer - December 2012 - 26
American Cinematographer - December 2012 - 27
American Cinematographer - December 2012 - 28
American Cinematographer - December 2012 - 29
American Cinematographer - December 2012 - 30
American Cinematographer - December 2012 - 31
American Cinematographer - December 2012 - 32
American Cinematographer - December 2012 - 33
American Cinematographer - December 2012 - MI6 Under Siege
American Cinematographer - December 2012 - 35
American Cinematographer - December 2012 - 36
American Cinematographer - December 2012 - 37
American Cinematographer - December 2012 - 38
American Cinematographer - December 2012 - 39
American Cinematographer - December 2012 - 40
American Cinematographer - December 2012 - 41
American Cinematographer - December 2012 - 42
American Cinematographer - December 2012 - 43
American Cinematographer - December 2012 - 44
American Cinematographer - December 2012 - 45
American Cinematographer - December 2012 - 46
American Cinematographer - December 2012 - 47
American Cinematographer - December 2012 - 48
American Cinematographer - December 2012 - 49
American Cinematographer - December 2012 - Ravishing Romance
American Cinematographer - December 2012 - 51
American Cinematographer - December 2012 - 52
American Cinematographer - December 2012 - 53
American Cinematographer - December 2012 - 54
American Cinematographer - December 2012 - 55
American Cinematographer - December 2012 - 56
American Cinematographer - December 2012 - 57
American Cinematographer - December 2012 - 58
American Cinematographer - December 2012 - 59
American Cinematographer - December 2012 - 60
American Cinematographer - December 2012 - 61
American Cinematographer - December 2012 - 62
American Cinematographer - December 2012 - 63
American Cinematographer - December 2012 - 64
American Cinematographer - December 2012 - 65
American Cinematographer - December 2012 - Freedom Fighter
American Cinematographer - December 2012 - 67
American Cinematographer - December 2012 - 68
American Cinematographer - December 2012 - 69
American Cinematographer - December 2012 - 70
American Cinematographer - December 2012 - 71
American Cinematographer - December 2012 - 72
American Cinematographer - December 2012 - 73
American Cinematographer - December 2012 - 74
American Cinematographer - December 2012 - 75
American Cinematographer - December 2012 - 76
American Cinematographer - December 2012 - 77
American Cinematographer - December 2012 - An A-Plus Event
American Cinematographer - December 2012 - 79
American Cinematographer - December 2012 - 80
American Cinematographer - December 2012 - 81
American Cinematographer - December 2012 - 82
American Cinematographer - December 2012 - 83
American Cinematographer - December 2012 - 84
American Cinematographer - December 2012 - 85
American Cinematographer - December 2012 - 86
American Cinematographer - December 2012 - 87
American Cinematographer - December 2012 - 88
American Cinematographer - December 2012 - 89
American Cinematographer - December 2012 - New Products & Services
American Cinematographer - December 2012 - 91
American Cinematographer - December 2012 - 92
American Cinematographer - December 2012 - 93
American Cinematographer - December 2012 - 94
American Cinematographer - December 2012 - 95
American Cinematographer - December 2012 - 96
American Cinematographer - December 2012 - 97
American Cinematographer - December 2012 - International Marketplace
American Cinematographer - December 2012 - Classified Ads
American Cinematographer - December 2012 - Ad Index
American Cinematographer - December 2012 - 2012 AC Index
American Cinematographer - December 2012 - 102
American Cinematographer - December 2012 - 103
American Cinematographer - December 2012 - 104
American Cinematographer - December 2012 - 105
American Cinematographer - December 2012 - In Memoriam: Harris Savides, ASC
American Cinematographer - December 2012 - 107
American Cinematographer - December 2012 - ASC Membership Roster
American Cinematographer - December 2012 - 109
American Cinematographer - December 2012 - Clubhouse News
American Cinematographer - December 2012 - 111
American Cinematographer - December 2012 - ASC Close-Up: Jerzy Zielinski, ASC, PSC
American Cinematographer - December 2012 - Cover3
American Cinematographer - December 2012 - Cover4
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