American Cinematographer - January 2009 - 57

picture detail independent of grain or noise and provide the filmmaker with broad control over how much grain or noise remains on the final images.” Lowry would get a FireWire drive from MPI that held 10-bit log 1920x1080 anamorphic DPX files that had been color-corrected, but not with the final grade. “The first step is to run the frames through our noise-reduction process so they are flicker-free, noise-free and artifactfree,” says Patrick Cooper, Lowry’s lead project director on Benjamin Button. “The next step is detail enhancement and the noise — or grain — addition. I enhance the images and put a nice, even amount of noise on the picture, and then the files are loaded back onto the FireWire drive and shipped back to MPI.” (The 2K scans of the 35mm material went through Lowry’s processing. At press time, the Sony F23 footage and select scenes shot with the Viper were not scheduled for processing.) Visual-effects plates needed a few extra steps. “The only thing different with the pre-composite effects shots is that I didn’t add any noise back into the image,” says Cooper. “That way, there was a sharpness target the compositors could match, and the noise-free imagery made it easier for them to do things like pull mattes. Once we go the shot back with the effects completed, we’d put an amount of noise on it equal to the noise in the surrounding shots.” Sharpening shots of the title character was treated more delicately. “If it’s a close-up or a shot of somebody with a lot of makeup, we want to be careful about how much we sharpen it,” notes Cooper. “I vary the enhancement on a shot-by-shot basis.” Sometimes, enhancement wasn’t applied at all. Mavromates notes, “There’s a love scene with Daisy and Benjamin when they’re in a warmly lit bed covered by mosquito netting, and we all agreed the look had a beautiful softness. That softness accented what’s going on in the scene, so we didn’t want to mess with it.” I TECHNICAL SPECS 2.40:1 High-Definition Video and 35mm (3-perf and 4-perf) Thomson GrassValley Viper; Sony CineAlta F23; Arri 435 Zeiss lenses Kodak Vision2 50D 5201, Vision3 500T 5219 Digital Intermediate Printed on Kodak Vision 2383 57

http://www.kinoflo.com http://www.kinoflo.com

American Cinematographer - January 2009

Table of Contents for the Digital Edition of American Cinematographer - January 2009

American Cinematographer - January 2009
Contents
Editor’s Note
Short Takes: Triangle of Need
Production Slate: Frost/Nixon, The Wrestler
Close Focus
An Old Soul
Brothers in Arms
A Cut Above
Post Focus: HPA Awards, Still Me
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Robert C. Jessup, ASC
Clubhouse News
ASC Close-Up: Gabriel Beristain
American Cinematographer - January 2009 - American Cinematographer - January 2009
American Cinematographer - January 2009 - Cover2
American Cinematographer - January 2009 - 1
American Cinematographer - January 2009 - 2
American Cinematographer - January 2009 - Contents
American Cinematographer - January 2009 - 4
American Cinematographer - January 2009 - 5
American Cinematographer - January 2009 - 6
American Cinematographer - January 2009 - 7
American Cinematographer - January 2009 - Editor’s Note
American Cinematographer - January 2009 - 9
American Cinematographer - January 2009 - Short Takes: Triangle of Need
American Cinematographer - January 2009 - 11
American Cinematographer - January 2009 - 12
American Cinematographer - January 2009 - 13
American Cinematographer - January 2009 - 14
American Cinematographer - January 2009 - 15
American Cinematographer - January 2009 - Production Slate: Frost/Nixon, The Wrestler
American Cinematographer - January 2009 - 17
American Cinematographer - January 2009 - 18
American Cinematographer - January 2009 - 19
American Cinematographer - January 2009 - 20
American Cinematographer - January 2009 - 21
American Cinematographer - January 2009 - 22
American Cinematographer - January 2009 - 23
American Cinematographer - January 2009 - 24
American Cinematographer - January 2009 - 25
American Cinematographer - January 2009 - 26
American Cinematographer - January 2009 - 27
American Cinematographer - January 2009 - Close Focus
American Cinematographer - January 2009 - 29
American Cinematographer - January 2009 - 30
American Cinematographer - January 2009 - 31
American Cinematographer - January 2009 - 32
American Cinematographer - January 2009 - 33
American Cinematographer - January 2009 - 34
American Cinematographer - January 2009 - 35
American Cinematographer - January 2009 - 36
American Cinematographer - January 2009 - 37
American Cinematographer - January 2009 - 38
American Cinematographer - January 2009 - 39
American Cinematographer - January 2009 - 40
American Cinematographer - January 2009 - 41
American Cinematographer - January 2009 - An Old Soul
American Cinematographer - January 2009 - 43
American Cinematographer - January 2009 - 44
American Cinematographer - January 2009 - 45
American Cinematographer - January 2009 - 46
American Cinematographer - January 2009 - 47
American Cinematographer - January 2009 - 48
American Cinematographer - January 2009 - 49
American Cinematographer - January 2009 - 50
American Cinematographer - January 2009 - 51
American Cinematographer - January 2009 - 52
American Cinematographer - January 2009 - 53
American Cinematographer - January 2009 - 54
American Cinematographer - January 2009 - 55
American Cinematographer - January 2009 - 56
American Cinematographer - January 2009 - 57
American Cinematographer - January 2009 - Brothers in Arms
American Cinematographer - January 2009 - 59
American Cinematographer - January 2009 - 60
American Cinematographer - January 2009 - 61
American Cinematographer - January 2009 - 62
American Cinematographer - January 2009 - 63
American Cinematographer - January 2009 - 64
American Cinematographer - January 2009 - 65
American Cinematographer - January 2009 - 66
American Cinematographer - January 2009 - 67
American Cinematographer - January 2009 - 68
American Cinematographer - January 2009 - 69
American Cinematographer - January 2009 - A Cut Above
American Cinematographer - January 2009 - 71
American Cinematographer - January 2009 - 72
American Cinematographer - January 2009 - 73
American Cinematographer - January 2009 - 74
American Cinematographer - January 2009 - 75
American Cinematographer - January 2009 - 76
American Cinematographer - January 2009 - 77
American Cinematographer - January 2009 - 78
American Cinematographer - January 2009 - 79
American Cinematographer - January 2009 - Post Focus: HPA Awards, Still Me
American Cinematographer - January 2009 - 81
American Cinematographer - January 2009 - 82
American Cinematographer - January 2009 - 83
American Cinematographer - January 2009 - New Products & Services
American Cinematographer - January 2009 - 85
American Cinematographer - January 2009 - 86
American Cinematographer - January 2009 - 87
American Cinematographer - January 2009 - International Marketplace
American Cinematographer - January 2009 - Classified Ads
American Cinematographer - January 2009 - Ad Index
American Cinematographer - January 2009 - 91
American Cinematographer - January 2009 - In Memoriam: Robert C. Jessup, ASC
American Cinematographer - January 2009 - 93
American Cinematographer - January 2009 - Clubhouse News
American Cinematographer - January 2009 - 95
American Cinematographer - January 2009 - ASC Close-Up: Gabriel Beristain
American Cinematographer - January 2009 - Cover3
American Cinematographer - January 2009 - Cover4
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