American Cinematographer - January 2011 - 51

conversion box, and then later converted all the video material to DPX files to be incorporated into the DI files, retaining the noise and imperfections of the original Beta-SP. It was an enormous undertaking largely because they shot six to eight video cameras inside the arena; organizing all that footage was challenging. The tapes were actually sent to Los Angeles, where the conversion work was done by Technicolor Creative Services.” As far as massaging the 2-perf 35mm footage went, Kulikowski suggests that today’s DI tools have made those adjustments fairly straightforward. “The DI requires everything to be turned into a 4-perf anamorphic negative and print, so the optical-blowup issue has gone away,” he says. “As far as removing imperfections, you treat it like a visual-effects sequence and paint those out. Technicolor has great restoration tools for that sort of work. Shooting 2perf means you have to take some more time in post, but on the other hand, it

made their lives so much easier in production for this kind of a movie.” The DI, handled by colorist Tony Dustin, was the first of Russell’s career. This time, in a departure from the extensive post manipulation he has requested on films like Three Kings (AC Nov. ’99), the director asked Dustin to be subtle, because he was satisfied that van Hoytema had largely achieved the desired look in-camera. That was true even with the Betacam footage, which van Hoytema describes as “strangely sharp and rough at the same time” on the big screen — exactly what he and Russell wanted. “Something really interesting happens with the texture when you convert Betacam to film,” says the cinematographer, “and when we tested it in prep, David and I thought that looked better than the HD tests we made. We felt this was an obvious and quite logical way to do it, actually.” Russell says his creative synergy with van Hoytema was so complete that

he regards the cinematographer as “someone I think I can work with for a long time. He’s a very special guy. I like people with a fresh eye who are not cynical or hungry.” ●

TECHNICAL SPECS
2.40:1 2-perf Super 35mm and Digital Capture Aaton Penelope; Sony BVP-900, BVP-950 Angenieux Optimo and Arri Master Prime lenses Fujifilm Eterna 250T 8553, 250D 8563, 500T 8573 Digital Intermediate Printed on Fujifilm Eterna-CP 3514DI

51

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

American Cinematographer - January 2011

Table of Contents for the Digital Edition of American Cinematographer - January 2011

American Cinematographer - January 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Eye of the Storm"
Production Slate: The TempestAll Good Things
Letting Go
Tough Love
Back to the Grid
A League of His Own
Post Focus: EFilm at Universal• HPA Awards
Filmmakers’ Forum: Jody Lee Lipes
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Michel Hugo, ASC
Clubhouse News
ASC Close-Up: Jack Couffer
American Cinematographer - January 2011 - American Cinematographer - January 2011
American Cinematographer - January 2011 - Cover2
American Cinematographer - January 2011 - 1
American Cinematographer - January 2011 - 2
American Cinematographer - January 2011 - Contents
American Cinematographer - January 2011 - 4
American Cinematographer - January 2011 - 5
American Cinematographer - January 2011 - 6
American Cinematographer - January 2011 - 7
American Cinematographer - January 2011 - Editor’s Note
American Cinematographer - January 2011 - 9
American Cinematographer - January 2011 - President’s Desk
American Cinematographer - January 2011 - 11
American Cinematographer - January 2011 - Short Takes: “Eye of the Storm"
American Cinematographer - January 2011 - 13
American Cinematographer - January 2011 - 14
American Cinematographer - January 2011 - 15
American Cinematographer - January 2011 - 16
American Cinematographer - January 2011 - 17
American Cinematographer - January 2011 - Production Slate: The TempestAll Good Things
American Cinematographer - January 2011 - 19
American Cinematographer - January 2011 - 20
American Cinematographer - January 2011 - 21
American Cinematographer - January 2011 - 22
American Cinematographer - January 2011 - 23
American Cinematographer - January 2011 - 24
American Cinematographer - January 2011 - 25
American Cinematographer - January 2011 - 26
American Cinematographer - January 2011 - 27
American Cinematographer - January 2011 - 28
American Cinematographer - January 2011 - 29
American Cinematographer - January 2011 - Letting Go
American Cinematographer - January 2011 - 31
American Cinematographer - January 2011 - 32
American Cinematographer - January 2011 - 33
American Cinematographer - January 2011 - 34
American Cinematographer - January 2011 - 35
American Cinematographer - January 2011 - 36
American Cinematographer - January 2011 - 37
American Cinematographer - January 2011 - 38
American Cinematographer - January 2011 - 39
American Cinematographer - January 2011 - 40
American Cinematographer - January 2011 - 41
American Cinematographer - January 2011 - Tough Love
American Cinematographer - January 2011 - 43
American Cinematographer - January 2011 - 44
American Cinematographer - January 2011 - 45
American Cinematographer - January 2011 - 46
American Cinematographer - January 2011 - 47
American Cinematographer - January 2011 - 48
American Cinematographer - January 2011 - 49
American Cinematographer - January 2011 - 50
American Cinematographer - January 2011 - 51
American Cinematographer - January 2011 - Back to the Grid
American Cinematographer - January 2011 - 53
American Cinematographer - January 2011 - 54
American Cinematographer - January 2011 - 55
American Cinematographer - January 2011 - 56
American Cinematographer - January 2011 - 57
American Cinematographer - January 2011 - 58
American Cinematographer - January 2011 - 59
American Cinematographer - January 2011 - 60
American Cinematographer - January 2011 - 61
American Cinematographer - January 2011 - 62
American Cinematographer - January 2011 - 63
American Cinematographer - January 2011 - A League of His Own
American Cinematographer - January 2011 - 65
American Cinematographer - January 2011 - 66
American Cinematographer - January 2011 - 67
American Cinematographer - January 2011 - 68
American Cinematographer - January 2011 - 69
American Cinematographer - January 2011 - 70
American Cinematographer - January 2011 - 71
American Cinematographer - January 2011 - 72
American Cinematographer - January 2011 - 73
American Cinematographer - January 2011 - 74
American Cinematographer - January 2011 - 75
American Cinematographer - January 2011 - 76
American Cinematographer - January 2011 - 77
American Cinematographer - January 2011 - Post Focus: EFilm at Universal• HPA Awards
American Cinematographer - January 2011 - 79
American Cinematographer - January 2011 - 80
American Cinematographer - January 2011 - 81
American Cinematographer - January 2011 - Filmmakers’ Forum: Jody Lee Lipes
American Cinematographer - January 2011 - 83
American Cinematographer - January 2011 - New Products & Services
American Cinematographer - January 2011 - 85
American Cinematographer - January 2011 - 86
American Cinematographer - January 2011 - 87
American Cinematographer - January 2011 - International Marketplace
American Cinematographer - January 2011 - Classified Ads
American Cinematographer - January 2011 - Ad Index
American Cinematographer - January 2011 - 91
American Cinematographer - January 2011 - In Memoriam: Michel Hugo, ASC
American Cinematographer - January 2011 - 93
American Cinematographer - January 2011 - Clubhouse News
American Cinematographer - January 2011 - 95
American Cinematographer - January 2011 - ASC Close-Up: Jack Couffer
American Cinematographer - January 2011 - Cover3
American Cinematographer - January 2011 - Cover4
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