American Cinematographer - February 2011 - 35
branch. When he’s done, we stop the camera and come back one more juncture.” And so on. Using a video camera, Gondry spent the first night on location rehearsing the sequence with Haarhoff and 2nd-unit cinematographer Peter Lyons Collister, ASC. On the second night, each of the vignettes was shot in 1.33:1 with a PanArri 435 and a 27mm T1.9 Primo sphericallens. “Even if we didn’t use everything we shot, it would’ve been almost impossible to fit that many ’Scope frames into one,” Collister muses. Gondry arranged the frames and tightened up any visible jump cuts in post. After principal photography wrapped, Sony informed the filmmakers that Green Hornet would be converted to 3-D in post. “If you were to make a list of all the things not to do when shooting in 2-D for conversion to 3-D, you’d find we did them all,” Schwartzman notes wryly. “For starters,
you don’t want anything that’s difficult to rotoscope, and when we shot the film we encouraged lens flares and debris and smoke. If I’d known we were going 3-D, I would have shot this movie flat [spherical] with wider lenses because those kinds of shots dimensionalize easier.” Although Schwartzman’s schedule kept him from participating in the stereoscopic-conversion process (see sidebar on page 30), he did have the opportunity to do two days of reshoots in native 3-D. This work was done with two Red One M-X cameras, Zeiss Ultra Primes and a 3ality TS-2 stereo rig. The Green Hornet will be released in 2-D as well as 3-D, which means the post team pulled one eye from the 3-D footage for the 2-D version. “Normally, that would match [the look of the 2-D footage] pretty well, but we shot 3-D digitally, whereas the rest of the movie, apart from the Phantom material, was shot on film,” notes Schwartzman says. “But I was actually less concerned about
getting digital cameras to match film than I was about getting the field of view of a flat lens to match that of an anamorphic lens. [Colorist] Stefan Sonnenfeld at Company 3 did a great job of adding a little noise to the clean digital image to make it feel a bit more like film.” ●
TECHNICAL SPECS
2.40:1 35mm and Digital Capture Panaflex Platinum, Millennium XL; PanArri 435; Vision Research Phantom HD; Red One M-X Panavision G-Series, Primo; Zeiss Ultra Prime Kodak Vision2 Expression 500T 5229, Vision3 200T 5213 Digital Intermediate
http://www.kinoflo.com
http://www.kinoflo.com
American Cinematographer - February 2011
Table of Contents for the Digital Edition of American Cinematographer - February 2011
American Cinematographer - February 2011
Contents
Editor’s Note
President’s Desk
Short Takes: God of Love
Production Slate: The Way Back • The Last Lions
Masked Men
Total Immersion
Behind the Music
A Cinematic Passport
Post Focus: MTI Films
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Robert Steadman, ASC
Clubhouse News
ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - American Cinematographer - February 2011
American Cinematographer - February 2011 - Cover2
American Cinematographer - February 2011 - 1
American Cinematographer - February 2011 - 2
American Cinematographer - February 2011 - Contents
American Cinematographer - February 2011 - 4
American Cinematographer - February 2011 - 5
American Cinematographer - February 2011 - 6
American Cinematographer - February 2011 - 7
American Cinematographer - February 2011 - Editor’s Note
American Cinematographer - February 2011 - 9
American Cinematographer - February 2011 - President’s Desk
American Cinematographer - February 2011 - 11
American Cinematographer - February 2011 - Short Takes: God of Love
American Cinematographer - February 2011 - 13
American Cinematographer - February 2011 - 14
American Cinematographer - February 2011 - 15
American Cinematographer - February 2011 - Production Slate: The Way Back • The Last Lions
American Cinematographer - February 2011 - 17
American Cinematographer - February 2011 - 18
American Cinematographer - February 2011 - 19
American Cinematographer - February 2011 - 20
American Cinematographer - February 2011 - 21
American Cinematographer - February 2011 - 22
American Cinematographer - February 2011 - 23
American Cinematographer - February 2011 - 24
American Cinematographer - February 2011 - 25
American Cinematographer - February 2011 - Masked Men
American Cinematographer - February 2011 - 27
American Cinematographer - February 2011 - 28
American Cinematographer - February 2011 - 29
American Cinematographer - February 2011 - 30
American Cinematographer - February 2011 - 31
American Cinematographer - February 2011 - 32
American Cinematographer - February 2011 - 33
American Cinematographer - February 2011 - 34
American Cinematographer - February 2011 - 35
American Cinematographer - February 2011 - Total Immersion
American Cinematographer - February 2011 - 37
American Cinematographer - February 2011 - 38
American Cinematographer - February 2011 - 39
American Cinematographer - February 2011 - 40
American Cinematographer - February 2011 - 41
American Cinematographer - February 2011 - 42
American Cinematographer - February 2011 - 43
American Cinematographer - February 2011 - 44
American Cinematographer - February 2011 - 45
American Cinematographer - February 2011 - Behind the Music
American Cinematographer - February 2011 - 47
American Cinematographer - February 2011 - 48
American Cinematographer - February 2011 - 49
American Cinematographer - February 2011 - 50
American Cinematographer - February 2011 - 51
American Cinematographer - February 2011 - 52
American Cinematographer - February 2011 - 53
American Cinematographer - February 2011 - A Cinematic Passport
American Cinematographer - February 2011 - 55
American Cinematographer - February 2011 - 56
American Cinematographer - February 2011 - 57
American Cinematographer - February 2011 - 58
American Cinematographer - February 2011 - 59
American Cinematographer - February 2011 - 60
American Cinematographer - February 2011 - 61
American Cinematographer - February 2011 - 62
American Cinematographer - February 2011 - 63
American Cinematographer - February 2011 - Post Focus: MTI Films
American Cinematographer - February 2011 - 65
American Cinematographer - February 2011 - 66
American Cinematographer - February 2011 - 67
American Cinematographer - February 2011 - New Products & Services
American Cinematographer - February 2011 - 69
American Cinematographer - February 2011 - 70
American Cinematographer - February 2011 - 71
American Cinematographer - February 2011 - 72
American Cinematographer - February 2011 - 73
American Cinematographer - February 2011 - 74
American Cinematographer - February 2011 - 75
American Cinematographer - February 2011 - International Marketplace
American Cinematographer - February 2011 - Classified Ads
American Cinematographer - February 2011 - Ad Index
American Cinematographer - February 2011 - 79
American Cinematographer - February 2011 - In Memoriam: Robert Steadman, ASC
American Cinematographer - February 2011 - 81
American Cinematographer - February 2011 - Clubhouse News
American Cinematographer - February 2011 - 83
American Cinematographer - February 2011 - ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - Cover3
American Cinematographer - February 2011 - Cover4
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