American Cinematographer - February 2010 - 12

Short Takes The woodshed at right was one of the 3-D elements created for the short film What’s in the Box? Director, cowriter, cinematographer and visual-effects artist Tim Smit used Autodesk 3ds Max to construct the real woodshed’s crumbling counterpart, and he executed the final composite in Adobe After Effects. I Crafting What’s in the Box? By Iain Stasukevich The science-fiction short film What’s in the Box? hit the Web shrouded in mystery. Viewers didn’t know whether it was a mobile-phone commercial or the trailer for an adaptation of the video game Half-Life. In fact, Tim Smit — who co-wrote, directed, shot, acted in and designed visual effects for the short — intended the project to be a submission for a director’s workshop, not the viral sensation it became. Told from a first-person perspective, What’s in the Box? follows an unnamed scientist as he attempts to escape the terrifying effects of an experiment gone horribly wrong. Smit is cagey about answering the film’s titular question, but the 24-year-old Dutchman does reveal something about his own influences. He grew up on video games and Hollywood action movies, but because the Netherlands doesn’t have much in the way of an entertainment industry, he chose to pursue a career in science and make short films in his spare time. “Film is something I’ve 12 February 2010 always been interested in, and even though my career choices took precedence, the interest never went away,” he says. Indeed, while studying nanoscience at Radboud University in Nijmegen, Smit produced and directed videos for the school, and in 2007, he participated in a “fake trailer” contest for the film Grindhouse. For his entry in the Grindhouse competition, Rise of the Dirtnappers, he won a Sony HDR-SR5 Handycam. The lightweight hi-def camera records to an internal hard-disk drive and uses a 1⁄3", 2.1-megapixel CMOS sensor to capture 1920x1080 HD images. It proved perfect for shooting What’s in the Box? “I was interested in first-person shooters [video games], particularly Half-Life, because they let you look through the eyes of the main character,” says Smit. “I wanted to do something like that with film, but I didn’t have access to actors or professional gear.” He and co-writer Thibaut Niels devised a treatment in which “the viewer would be the main character, and I’d only need a few people to assist me.” That main character is a scientist who wakes up on the American Cinematographer Images courtesy of Tim Smit.

American Cinematographer - February 2010

Table of Contents for the Digital Edition of American Cinematographer - February 2010

American Cinematographer - February 2010
Contents
Editor’s Note
President’s Desk
Short Takes: What’s in the Box?
Production Slate: Fish Tank • Dollhouse
Bad Moon Rising
Artistry and Conscience
Working With the Red
Terror in Technicolor
Post Focus: Offhollywood Digital
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Marc E. Reshovsky, ASC
Clubhouse News
ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - American Cinematographer - February 2010
American Cinematographer - February 2010 - Cover2
American Cinematographer - February 2010 - 1
American Cinematographer - February 2010 - 2
American Cinematographer - February 2010 - Contents
American Cinematographer - February 2010 - 4
American Cinematographer - February 2010 - 5
American Cinematographer - February 2010 - 6
American Cinematographer - February 2010 - 7
American Cinematographer - February 2010 - Editor’s Note
American Cinematographer - February 2010 - 9
American Cinematographer - February 2010 - President’s Desk
American Cinematographer - February 2010 - 11
American Cinematographer - February 2010 - Short Takes: What’s in the Box?
American Cinematographer - February 2010 - 13
American Cinematographer - February 2010 - 14
American Cinematographer - February 2010 - 15
American Cinematographer - February 2010 - 16
American Cinematographer - February 2010 - 17
American Cinematographer - February 2010 - Production Slate: Fish Tank • Dollhouse
American Cinematographer - February 2010 - 19
American Cinematographer - February 2010 - 20
American Cinematographer - February 2010 - 21
American Cinematographer - February 2010 - 22
American Cinematographer - February 2010 - 23
American Cinematographer - February 2010 - 24
American Cinematographer - February 2010 - 25
American Cinematographer - February 2010 - 26
American Cinematographer - February 2010 - 27
American Cinematographer - February 2010 - 28
American Cinematographer - February 2010 - 29
American Cinematographer - February 2010 - 30
American Cinematographer - February 2010 - 31
American Cinematographer - February 2010 - Bad Moon Rising
American Cinematographer - February 2010 - 33
American Cinematographer - February 2010 - 34
American Cinematographer - February 2010 - 35
American Cinematographer - February 2010 - 36
American Cinematographer - February 2010 - 36A
American Cinematographer - February 2010 - 36B
American Cinematographer - February 2010 - 37
American Cinematographer - February 2010 - 38
American Cinematographer - February 2010 - 39
American Cinematographer - February 2010 - 40
American Cinematographer - February 2010 - 41
American Cinematographer - February 2010 - 42
American Cinematographer - February 2010 - 43
American Cinematographer - February 2010 - 44
American Cinematographer - February 2010 - 45
American Cinematographer - February 2010 - Artistry and Conscience
American Cinematographer - February 2010 - 47
American Cinematographer - February 2010 - 48
American Cinematographer - February 2010 - 49
American Cinematographer - February 2010 - 50
American Cinematographer - February 2010 - 51
American Cinematographer - February 2010 - 52
American Cinematographer - February 2010 - 53
American Cinematographer - February 2010 - 54
American Cinematographer - February 2010 - 55
American Cinematographer - February 2010 - Working With the Red
American Cinematographer - February 2010 - 57
American Cinematographer - February 2010 - 58
American Cinematographer - February 2010 - 59
American Cinematographer - February 2010 - 60
American Cinematographer - February 2010 - 61
American Cinematographer - February 2010 - 62
American Cinematographer - February 2010 - 63
American Cinematographer - February 2010 - 64
American Cinematographer - February 2010 - 65
American Cinematographer - February 2010 - 66
American Cinematographer - February 2010 - 67
American Cinematographer - February 2010 - Terror in Technicolor
American Cinematographer - February 2010 - 69
American Cinematographer - February 2010 - 70
American Cinematographer - February 2010 - 71
American Cinematographer - February 2010 - 72
American Cinematographer - February 2010 - 73
American Cinematographer - February 2010 - 74
American Cinematographer - February 2010 - 75
American Cinematographer - February 2010 - 76
American Cinematographer - February 2010 - 77
American Cinematographer - February 2010 - Post Focus: Offhollywood Digital
American Cinematographer - February 2010 - 79
American Cinematographer - February 2010 - 80
American Cinematographer - February 2010 - 81
American Cinematographer - February 2010 - New Products & Services
American Cinematographer - February 2010 - 83
American Cinematographer - February 2010 - 84
American Cinematographer - February 2010 - 85
American Cinematographer - February 2010 - 86
American Cinematographer - February 2010 - 87
American Cinematographer - February 2010 - International Marketplace
American Cinematographer - February 2010 - 89
American Cinematographer - February 2010 - Ad Index
American Cinematographer - February 2010 - 91
American Cinematographer - February 2010 - In Memoriam: Marc E. Reshovsky, ASC
American Cinematographer - February 2010 - 93
American Cinematographer - February 2010 - Clubhouse News
American Cinematographer - February 2010 - 95
American Cinematographer - February 2010 - ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - Cover3
American Cinematographer - February 2010 - Cover4
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