American Cinematographer - January 2010 - 57
“To simulate Susie drifting down through a watery environment, Saoirse was lowered slowly on a wire rig, with fans below taking out some of the gravity effect,” says Lesnie. “We bounced HMI Pars into 10-by lamé reflectors loosely tied and shaken to create a ripple effect. We filmed this at 120 fps with two Arri 435s, one on a Scorpio head on a Giraffe crane, which doubled the height of her fall by starting low and craning up to the ceiling, and the other on a Steadicam, maintaining a slow-moving wide shot.” motif came about when Lesnie and Jackson were scouting locations in Pennsylvania. “We saw quite a few gazebos on the corners, and we thought it was a great vehicle for Susie to travel to different places in and could itself become a visual motif of her emotional states,” recalls Lesnie. Jackson adds, “She comes to realize that the gazebo represents hope — when she’s killed, she is about to have her first date, and the boy was going to meet her at the gazebo in the local shopping mall. When she feels alone and afraid, the gazebo is a refuge for her.” Jack comes to suspect Harvey for his daughter’s murder, and in one scene, he runs into the cornfield at night because he thinks Harvey is destroying evidence; Jack enters the field armed with a baseball bat, only to run afoul of a large teenager ( Jack Abel) with his girlfriend. To capture the scene, the filmmakers built a large section of the cornfield onstage and used two cameras, one on a Technocrane that followed Wahlberg and rose to reveal the entire field, and the other on a dolly capturing Wahlberg in profile. “Because Susie wants to prevent Jack from pursuing his course of action, we needed to keep her presence close to him without letting her leave the gazebo,” says Lesnie. “Since we’re viewing events from Susie’s perspective, we could change the shape of the gazebo to allow her to run with her father, so we physically reconfigured the gazebo into a long deck. In order to externalize her state of mind, we made the landscape quite violent; we had Dinos simulating firelight and Lightning Strikes units buried in the cornfield.” Early in her travels through her “in between,” Susie meets Holly (Nikki SooHoo), a teenager and fellow victim who becomes a friend and roommate of sorts. This sequence was shot in a forest in Glenorchy, on New Zealand’s South Island, in the region’s 2008 winter. The combination of short days and tall trees presented Lesnie with some challenges. “The forest was so dark that I only had enough light for an exposure after 10 a.m.” he recalls. “I pushed [Kodak Vision2 500T] 5218 one stop and shot
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American Cinematographer - January 2010
Table of Contents for the Digital Edition of American Cinematographer - January 2010
American Cinematographer - January 2010
Contents
President’s Desk
Short Takes: Hyundai Sonata Campaign
Production Slate: The White Ribbon • The Imaginarium of Doctor Parnassus
Conquering New Worlds
Watchful Spirit
Super Sleuth
The Right Stuff
Editor’s Note
Post Focus: Technicolor Hollywood • HPA Awards
Filmmakers’ Forum: Shane Hurlbut, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Billy Dickson
American Cinematographer - January 2010 - American Cinematographer - January 2010
American Cinematographer - January 2010 - Cover2
American Cinematographer - January 2010 - 1
American Cinematographer - January 2010 - 2
American Cinematographer - January 2010 - Contents
American Cinematographer - January 2010 - 4
American Cinematographer - January 2010 - 5
American Cinematographer - January 2010 - 6
American Cinematographer - January 2010 - 7
American Cinematographer - January 2010 - 8
American Cinematographer - January 2010 - 9
American Cinematographer - January 2010 - President’s Desk
American Cinematographer - January 2010 - 11
American Cinematographer - January 2010 - Short Takes: Hyundai Sonata Campaign
American Cinematographer - January 2010 - 13
American Cinematographer - January 2010 - 14
American Cinematographer - January 2010 - 15
American Cinematographer - January 2010 - 16
American Cinematographer - January 2010 - 17
American Cinematographer - January 2010 - Production Slate: The White Ribbon • The Imaginarium of Doctor Parnassus
American Cinematographer - January 2010 - 19
American Cinematographer - January 2010 - 20
American Cinematographer - January 2010 - 21
American Cinematographer - January 2010 - 22
American Cinematographer - January 2010 - 23
American Cinematographer - January 2010 - 24
American Cinematographer - January 2010 - 25
American Cinematographer - January 2010 - 26
American Cinematographer - January 2010 - 27
American Cinematographer - January 2010 - 28
American Cinematographer - January 2010 - 29
American Cinematographer - January 2010 - 30
American Cinematographer - January 2010 - 31
American Cinematographer - January 2010 - Conquering New Worlds
American Cinematographer - January 2010 - 33
American Cinematographer - January 2010 - 34
American Cinematographer - January 2010 - 35
American Cinematographer - January 2010 - 36
American Cinematographer - January 2010 - 37
American Cinematographer - January 2010 - 38
American Cinematographer - January 2010 - 39
American Cinematographer - January 2010 - 40
American Cinematographer - January 2010 - 41
American Cinematographer - January 2010 - 42
American Cinematographer - January 2010 - 43
American Cinematographer - January 2010 - 44
American Cinematographer - January 2010 - 45
American Cinematographer - January 2010 - 46
American Cinematographer - January 2010 - 47
American Cinematographer - January 2010 - Watchful Spirit
American Cinematographer - January 2010 - 49
American Cinematographer - January 2010 - 50
American Cinematographer - January 2010 - 51
American Cinematographer - January 2010 - 52
American Cinematographer - January 2010 - 53
American Cinematographer - January 2010 - 54
American Cinematographer - January 2010 - 55
American Cinematographer - January 2010 - 56
American Cinematographer - January 2010 - 57
American Cinematographer - January 2010 - 58
American Cinematographer - January 2010 - 59
American Cinematographer - January 2010 - Super Sleuth
American Cinematographer - January 2010 - 61
American Cinematographer - January 2010 - 62
American Cinematographer - January 2010 - 63
American Cinematographer - January 2010 - 64
American Cinematographer - January 2010 - 65
American Cinematographer - January 2010 - 66
American Cinematographer - January 2010 - 67
American Cinematographer - January 2010 - 68
American Cinematographer - January 2010 - 69
American Cinematographer - January 2010 - The Right Stuff
American Cinematographer - January 2010 - 71
American Cinematographer - January 2010 - 72
American Cinematographer - January 2010 - 73
American Cinematographer - January 2010 - 74
American Cinematographer - January 2010 - 75
American Cinematographer - January 2010 - 76
American Cinematographer - January 2010 - 77
American Cinematographer - January 2010 - 78
American Cinematographer - January 2010 - 79
American Cinematographer - January 2010 - Editor’s Note
American Cinematographer - January 2010 - 81
American Cinematographer - January 2010 - 82
American Cinematographer - January 2010 - 83
American Cinematographer - January 2010 - Post Focus: Technicolor Hollywood • HPA Awards
American Cinematographer - January 2010 - 85
American Cinematographer - January 2010 - 86
American Cinematographer - January 2010 - 87
American Cinematographer - January 2010 - Filmmakers’ Forum: Shane Hurlbut, ASC
American Cinematographer - January 2010 - 89
American Cinematographer - January 2010 - 90
American Cinematographer - January 2010 - 91
American Cinematographer - January 2010 - 92
American Cinematographer - January 2010 - 93
American Cinematographer - January 2010 - New Products & Services
American Cinematographer - January 2010 - 95
American Cinematographer - January 2010 - 96
American Cinematographer - January 2010 - 97
American Cinematographer - January 2010 - International Marketplace
American Cinematographer - January 2010 - Classified Ads
American Cinematographer - January 2010 - Ad Index
American Cinematographer - January 2010 - 101
American Cinematographer - January 2010 - Clubhouse News
American Cinematographer - January 2010 - 103
American Cinematographer - January 2010 - ASC Close-Up: Billy Dickson
American Cinematographer - January 2010 - Cover3
American Cinematographer - January 2010 - Cover4
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