American Cinematographer - January 2013 - 36
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Once Upon a Time in the South
rated “IB Technicolor” look was the goal for the South. A historic plantation in Wallace, La., called Evergreen served as Candie’s plantation, Candieland. The production used Evergreen’s mansion and slave quarters for some interiors and exteriors, as well as its oak-tree alleys and sugarcane fields. The art department spent five months constructing a 90'-wideby-45'-high façade for the mansion exterior, which featured six Greek Revival-style columns that were 30' high. The first and second floors were art-directed approximately 20' into the façade to match the two-story interior set built at Second Line Studios in New Orleans. The one-camera setup is a hallmark of Richardson and Tarantino’s creative collaboration. Rarely, a Bcamera will come into play, and if it does, Tarantino operates it. “When people ask Quentin why he doesn’t shoot with multiple cameras, he says, ‘I direct, I don’t select,’” says Richardson. “He will reluctantly shoot B-camera coverage for action sequences, but even those shots are specifically tailored.” Tarantino describes two different approaches to camera moves in Django Unchained in terms of other filmmakers: “When we’re outside, it’s Sergio Leone and Sergio Corbucci. Inside, especially in Candie’s mansion, it’s Max Ophüls.” Richardson elaborates, “One of the things Quentin brought up almost immediately [in prep] was how Fulci and Corbucci use the zoom. Often their work utilized zoom actions that mimic a dolly but have a vastly different sensibility. Whether the choice was budgetary or aesthetic is open to argument, but we embraced it as an aesthetic. We screened Ophüls’ films for the long, fluid camera moves. Django became a combination of these two styles; we were often doing crane moves or dollies in conjunction with a zoom.” When Tarantino requested it, Richardson would punctuate the drama with snap zooms, which he pulled by hand. The Candieland mansion interiors exhibit “a really elegant, 1940sAmerican Cinematographer
Top: The Brittle Brothers and their masked posse stalk Schultz’s wagon. Middle: A remote-operated camera on a GF-8 crane captures the bandits. Bottom: 40'x40' truss frames fitted with 24 DMX-controlled 6K space lights and skinned with Gelfab Full Blue Silent Grid Cloth provide some “moonlight” ambience.
36
January 2013
American Cinematographer - January 2013
Table of Contents for the Digital Edition of American Cinematographer - January 2013
American Cinematographer - January 2013
Contents
Editor’s Note
President’s Desk
Short Takes: GE.com, “Juice Train”
Production Slate: Amour • Promised Land
Once Upon a Time in the South
An Unlikely Hero
An Unlikely Hero
A Musical Revolution
A Musical Revolution
An Auteur’s Angst
An Auteur’s Angst
Post Focus: Restoring Sunset Blvd. • 2012 HPA Awards
Post Focus: Restoring Sunset Blvd. • 2012 HPA Awards
New Products & Services
New Products & Services
International Marketplace
International Marketplace
Classified Ads
Classified Ads
Ad Index
Ad Index
In Memoriam: Ken Lamkin, ASC
In Memoriam: Ken Lamkin, ASC
Clubhouse News
Clubhouse News
ASC Close-Up: Newton Thomas Sigel
ASC Close-Up: Newton Thomas Sigel
American Cinematographer - January 2013 - American Cinematographer - January 2013
American Cinematographer - January 2013 - Cover2
American Cinematographer - January 2013 - 1
American Cinematographer - January 2013 - 2
American Cinematographer - January 2013 - 3
American Cinematographer - January 2013 - 4
American Cinematographer - January 2013 - Contents
American Cinematographer - January 2013 - 6
American Cinematographer - January 2013 - 7
American Cinematographer - January 2013 - Editor’s Note
American Cinematographer - January 2013 - 9
American Cinematographer - January 2013 - President’s Desk
American Cinematographer - January 2013 - 11
American Cinematographer - January 2013 - Short Takes: GE.com, “Juice Train”
American Cinematographer - January 2013 - 13
American Cinematographer - January 2013 - 14
American Cinematographer - January 2013 - 15
American Cinematographer - January 2013 - 16
American Cinematographer - January 2013 - 17
American Cinematographer - January 2013 - Production Slate: Amour • Promised Land
American Cinematographer - January 2013 - 19
American Cinematographer - January 2013 - 20
American Cinematographer - January 2013 - 21
American Cinematographer - January 2013 - 22
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American Cinematographer - January 2013 - 28
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American Cinematographer - January 2013 - 30
American Cinematographer - January 2013 - 31
American Cinematographer - January 2013 - Once Upon a Time in the South
American Cinematographer - January 2013 - 33
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American Cinematographer - January 2013 - 35
American Cinematographer - January 2013 - 36
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American Cinematographer - January 2013 - 46
American Cinematographer - January 2013 - 47
American Cinematographer - January 2013 - 48
American Cinematographer - January 2013 - 49
American Cinematographer - January 2013 - An Unlikely Hero
American Cinematographer - January 2013 - 51
American Cinematographer - January 2013 - 52
American Cinematographer - January 2013 - 53
American Cinematographer - January 2013 - 54
American Cinematographer - January 2013 - 55
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American Cinematographer - January 2013 - 61
American Cinematographer - January 2013 - 62
American Cinematographer - January 2013 - 63
American Cinematographer - January 2013 - 64
American Cinematographer - January 2013 - 65
American Cinematographer - January 2013 - A Musical Revolution
American Cinematographer - January 2013 - 67
American Cinematographer - January 2013 - 68
American Cinematographer - January 2013 - 69
American Cinematographer - January 2013 - 70
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American Cinematographer - January 2013 - 73
American Cinematographer - January 2013 - 74
American Cinematographer - January 2013 - 75
American Cinematographer - January 2013 - 76
American Cinematographer - January 2013 - 77
American Cinematographer - January 2013 - An Auteur’s Angst
American Cinematographer - January 2013 - 79
American Cinematographer - January 2013 - 80
American Cinematographer - January 2013 - 81
American Cinematographer - January 2013 - 82
American Cinematographer - January 2013 - 83
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American Cinematographer - January 2013 - 85
American Cinematographer - January 2013 - 86
American Cinematographer - January 2013 - 87
American Cinematographer - January 2013 - 88
American Cinematographer - January 2013 - 89
American Cinematographer - January 2013 - Post Focus: Restoring Sunset Blvd. • 2012 HPA Awards
American Cinematographer - January 2013 - 91
American Cinematographer - January 2013 - 92
American Cinematographer - January 2013 - 93
American Cinematographer - January 2013 - 94
American Cinematographer - January 2013 - 95
American Cinematographer - January 2013 - New Products & Services
American Cinematographer - January 2013 - 97
American Cinematographer - January 2013 - 98
American Cinematographer - January 2013 - 99
American Cinematographer - January 2013 - 100
American Cinematographer - January 2013 - 101
American Cinematographer - January 2013 - International Marketplace
American Cinematographer - January 2013 - Classified Ads
American Cinematographer - January 2013 - Ad Index
American Cinematographer - January 2013 - In Memoriam: Ken Lamkin, ASC
American Cinematographer - January 2013 - Clubhouse News
American Cinematographer - January 2013 - 107
American Cinematographer - January 2013 - ASC Close-Up: Newton Thomas Sigel
American Cinematographer - January 2013 - Cover3
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