American Cinematographer - February 2008 - 12
Right: Partygoers cheer the couple on as Colleen has her way with Andy. Below: A live-action element from the sequence. happen throughout the story. The climax suggestively depicts Andy and Colleen having sex on the floor under a crowd of cheering teenagers holding scorecards. It took a long time to come up with the right way to treat the material, because it could have easily been seen as pornographic if it weren’t handled properly.” Early steps toward adapting A Letter to Colleen involved condensing the original story down to seven or eight pages, storyboarding it, and developing a look for the film. “It had to be short, 12 February 2008 like a punk-rock song,” says Carolyn. Andy had drawn the original in black sumi ink on white paper in a style he describes as “very cartoony.” Some of the first animation tests tried to emulate that style, but the filmmakers didn’t care for the result. “I tried puppets, cutouts and hand-drawings,” recalls Andy. “Then, one day, I took a video camera and videotaped my feet as I walked across the floor. I imported the media into my computer and traced outlines in Macromedia Flash using a Wacom tablet.” The outcome “just felt right.” A Letter to Colleen was shot on a consumer-grade Digital-8 camera by Andy and Carolyn; a close friend, New York photographer Sonya Rokes; and various interns from Pratt Institute in Brooklyn, where Andy was teaching at the time. “Sonya’s a very innovative photographer and a very close friend, which was good because a lot of the footage needed to be very intimate,” notes Carolyn. Andy played himself, and Carolyn played Colleen. Because Andy was going to rotoscope the entire film, the raw digital footage was deemed disposable; this allowed for spontaneous experimentation and quick reshoots when scenes needed fine-tuning. The Londons imported the footage into Final Cut Pro (Version 5.1.4); a Flash project was created and shots were imported at 12 fps. Carolyn notes she and Andy wanted the images to feel analog rather than digital. Black-on-white effects look like line drawings, and when the image is inverted for the surreal party/sex scene, the result is somewhat similar to chalk on a blackboard laid over photo-
American Cinematographer - February 2008
Table of Contents for the Digital Edition of American Cinematographer - February 2008
American Cinematographer - February 2008
Contents
Editor's Note
Short Takes: A Letter to Colleen
Production Slate: Honeydipper
Production Slate: Electroma
Island of Lost Souls
Checking Dailies Far From the Lab
A Cinematic Passport
Forward Thinker
Post Focus: Elicit Effects Opens Doors
Post Focus: PostWorks Expands in L.A.
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Torben Johnke
American Cinematographer - February 2008 - American Cinematographer - February 2008
American Cinematographer - February 2008 - Cover2
American Cinematographer - February 2008 - 1
American Cinematographer - February 2008 - 2
American Cinematographer - February 2008 - Contents
American Cinematographer - February 2008 - 4
American Cinematographer - February 2008 - 5
American Cinematographer - February 2008 - 6
American Cinematographer - February 2008 - 7
American Cinematographer - February 2008 - Editor's Note
American Cinematographer - February 2008 - 9
American Cinematographer - February 2008 - Short Takes: A Letter to Colleen
American Cinematographer - February 2008 - 11
American Cinematographer - February 2008 - 12
American Cinematographer - February 2008 - 13
American Cinematographer - February 2008 - 14
American Cinematographer - February 2008 - 15
American Cinematographer - February 2008 - Production Slate: Electroma
American Cinematographer - February 2008 - 17
American Cinematographer - February 2008 - 18
American Cinematographer - February 2008 - 19
American Cinematographer - February 2008 - 20
American Cinematographer - February 2008 - 21
American Cinematographer - February 2008 - 22
American Cinematographer - February 2008 - 23
American Cinematographer - February 2008 - 24
American Cinematographer - February 2008 - 25
American Cinematographer - February 2008 - Island of Lost Souls
American Cinematographer - February 2008 - 27
American Cinematographer - February 2008 - 28
American Cinematographer - February 2008 - 29
American Cinematographer - February 2008 - 30
American Cinematographer - February 2008 - 31
American Cinematographer - February 2008 - 32
American Cinematographer - February 2008 - 33
American Cinematographer - February 2008 - 34
American Cinematographer - February 2008 - 35
American Cinematographer - February 2008 - 36
American Cinematographer - February 2008 - 37
American Cinematographer - February 2008 - Checking Dailies Far From the Lab
American Cinematographer - February 2008 - 39
American Cinematographer - February 2008 - 40
American Cinematographer - February 2008 - 41
American Cinematographer - February 2008 - 42
American Cinematographer - February 2008 - 43
American Cinematographer - February 2008 - 44
American Cinematographer - February 2008 - 45
American Cinematographer - February 2008 - A Cinematic Passport
American Cinematographer - February 2008 - 47
American Cinematographer - February 2008 - 48
American Cinematographer - February 2008 - 49
American Cinematographer - February 2008 - 50
American Cinematographer - February 2008 - 51
American Cinematographer - February 2008 - 52
American Cinematographer - February 2008 - 53
American Cinematographer - February 2008 - 54
American Cinematographer - February 2008 - 55
American Cinematographer - February 2008 - Forward Thinker
American Cinematographer - February 2008 - 57
American Cinematographer - February 2008 - 58
American Cinematographer - February 2008 - 59
American Cinematographer - February 2008 - 60
American Cinematographer - February 2008 - 61
American Cinematographer - February 2008 - 62
American Cinematographer - February 2008 - 63
American Cinematographer - February 2008 - 64
American Cinematographer - February 2008 - 65
American Cinematographer - February 2008 - Post Focus: PostWorks Expands in L.A.
American Cinematographer - February 2008 - 67
American Cinematographer - February 2008 - 68
American Cinematographer - February 2008 - 69
American Cinematographer - February 2008 - 70
American Cinematographer - February 2008 - 71
American Cinematographer - February 2008 - 72
American Cinematographer - February 2008 - 73
American Cinematographer - February 2008 - 74
American Cinematographer - February 2008 - 75
American Cinematographer - February 2008 - New Products & Services
American Cinematographer - February 2008 - 77
American Cinematographer - February 2008 - 78
American Cinematographer - February 2008 - 79
American Cinematographer - February 2008 - 80
American Cinematographer - February 2008 - 81
American Cinematographer - February 2008 - International Marketplace
American Cinematographer - February 2008 - Classified Ads
American Cinematographer - February 2008 - Ad Index
American Cinematographer - February 2008 - 85
American Cinematographer - February 2008 - Clubhouse News
American Cinematographer - February 2008 - 87
American Cinematographer - February 2008 - ASC Close-Up: Torben Johnke
American Cinematographer - February 2008 - Cover3
American Cinematographer - February 2008 - Cover4
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