American Cinematographer - January 2009 - 82

Frame grabs from the finished short, which focuses on Jack and Rosanne (Scott Kling and Tina Gloss) as they struggle to cope after Jack suffers from a stroke. The footage, captured on MiniDV, was transferred to 35mm film at FotoKem. rocketed up!” says Huang. The logarithmic DPX files created in the Pablo were exported to a server, and an Arrilaser was used to record the file onto Kodak 2242 internegative stock. Finally, the SR optical soundtrack was married to the 35mm negative, and the final print was made on Kodak Vision 2383. “The most expensive part of the entire process was the filmout,” notes Huang. The cinematographer adds that ending up on 35mm subtly changed the image quality for both better and worse. “I had to give up some information in the highlights and shadows, which is unfortunate, because the image gets a little washed-out. Using available daylight as much as we did, some things just had to give.” On the plus side, he was happy with the grain structure the image gained. “You can’t get that nice, true grain shooting video, and it helps a little in softening out the edges and getting rid of that video look. But it was a big challenge to make sure I retained as much of the detail as possible during the transfer process.” Huang recommends that filmmakers shooting on MiniDV who intend to transfer to 35mm keep a sharp eye on the shadows and highlights. “You have to make sure you give the colorists plenty of information to work with. It’s hard for me because my style can be quite contrasty; I light by eye, so I’ll usually take the exposure that looks good to me and go with it.” He also recommends shooting on 24p HD in 16x9 whenever possible because that eliminates some stages (and expenses) in the transfer process. Nicolard echoes these sentiments, though he also advises that independent filmmakers shouldn’t get too hung up on technology when embarking on their projects. “Anyone who’s shooting MiniDV is generally doing it for budgetary reasons, because if they had more money, they would shoot HD or film. The most important thing is just to get your project made. If it’s good, people will respond to it.” I 82 January 2009

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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