American Cinematographer - February 2012 - 32

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Saving the Whales
by office buildings in downtown Anchorage. It’s an odd thing to be out in the middle of what is supposed to be the North Slope, above the Arctic Circle, and have a skyscraper shadow fall across your set. Your previous movies with Ken were shot in the anamorphic format, but you chose to shoot this in 3-perf Super 35mm. Why? Bailey: Ken and I both love anamorphic, but I was a little concerned about using it on this picture given the severity of the weather and the long equipment trail back to Panavision in Woodland Hills. If ever a film I have done cried out for the 2.40:1 aspect ratio, this was it — the ice fields are enormous. I was a camera assistant on a 16mm shoot in Barrow 40 years ago, and I had always dreamed of going up there again. It’s an infinite horizon where you can stand at the end of the earth and see nothing but white for 360 degrees. I thought widescreen would be best for capturing that. Also, the film dramatizes a collective effort, and the wide aspect ratio gave us the opportunity to shoot medium close-ups and still have three or four people in the frame. Out on the ice, we spread people fully across the frame, and we also reached into deeper space within the frame. That staggered depth required the greater depth-of-field of spherical lenses. Was the need to capture subtle gradations of white in all the snow and ice the main reason you chose to shoot on film? Bailey: I love film very much, but we decided to shoot film for a number of reasons. Yes, whites were crucial, and I felt that the [exposure] curve, especially the response of film in the white area, would be more delicate and nuanced than it would appear in any digital format. I also expected to be in situations where I might have more contrasty light than I might like, with limited opportunities to fill it in, because

Top: Local news reporter Adam Carlson (John Krasinski) stumbles onto the story while shooting skimobile footage with his friend Nathan (Ahmaogak Sweeney). Bottom: When national news crews arrive in Barrow, some of the locals try to make a quick buck by selling them pricey pieces of cardboard to keep their feet from freezing on the ice. Production designer Nelson Coates and his crew constructed the town set in Anchorage at a site that offered comparatively milder temperatures and a partially unobstructed horizon.

32

February 2012

American Cinematographer



American Cinematographer - February 2012

Table of Contents for the Digital Edition of American Cinematographer - February 2012

American Cinematographer - February 2012
Contents
Editor’s Note
President’s Desk
Short Takes: NASA time-lapse footage of Earth
Production Slate: Extremely Loud and Incredibly CloseAct of Valor
Saving the Whales
High Stakes
A Very Bad Cop
Cinema, Italian Style
Filmmakers’ Forum: Hiro Narita, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - American Cinematographer - February 2012
American Cinematographer - February 2012 - Cover2
American Cinematographer - February 2012 - 1
American Cinematographer - February 2012 - 2
American Cinematographer - February 2012 - Contents
American Cinematographer - February 2012 - 4
American Cinematographer - February 2012 - 5
American Cinematographer - February 2012 - 6
American Cinematographer - February 2012 - 7
American Cinematographer - February 2012 - Editor’s Note
American Cinematographer - February 2012 - 9
American Cinematographer - February 2012 - President’s Desk
American Cinematographer - February 2012 - 11
American Cinematographer - February 2012 - Short Takes: NASA time-lapse footage of Earth
American Cinematographer - February 2012 - 13
American Cinematographer - February 2012 - 14
American Cinematographer - February 2012 - 15
American Cinematographer - February 2012 - 16
American Cinematographer - February 2012 - 17
American Cinematographer - February 2012 - Production Slate: Extremely Loud and Incredibly CloseAct of Valor
American Cinematographer - February 2012 - 19
American Cinematographer - February 2012 - 20
American Cinematographer - February 2012 - 21
American Cinematographer - February 2012 - 22
American Cinematographer - February 2012 - 23
American Cinematographer - February 2012 - 24
American Cinematographer - February 2012 - 25
American Cinematographer - February 2012 - 26
American Cinematographer - February 2012 - 27
American Cinematographer - February 2012 - 28
American Cinematographer - February 2012 - 29
American Cinematographer - February 2012 - Saving the Whales
American Cinematographer - February 2012 - 31
American Cinematographer - February 2012 - 32
American Cinematographer - February 2012 - 33
American Cinematographer - February 2012 - 34
American Cinematographer - February 2012 - 35
American Cinematographer - February 2012 - 36
American Cinematographer - February 2012 - 37
American Cinematographer - February 2012 - 38
American Cinematographer - February 2012 - 39
American Cinematographer - February 2012 - 40
American Cinematographer - February 2012 - 41
American Cinematographer - February 2012 - High Stakes
American Cinematographer - February 2012 - 43
American Cinematographer - February 2012 - 44
American Cinematographer - February 2012 - 45
American Cinematographer - February 2012 - 46
American Cinematographer - February 2012 - 47
American Cinematographer - February 2012 - 48
American Cinematographer - February 2012 - 49
American Cinematographer - February 2012 - 50
American Cinematographer - February 2012 - 51
American Cinematographer - February 2012 - 52
American Cinematographer - February 2012 - 53
American Cinematographer - February 2012 - A Very Bad Cop
American Cinematographer - February 2012 - 55
American Cinematographer - February 2012 - 56
American Cinematographer - February 2012 - 57
American Cinematographer - February 2012 - 58
American Cinematographer - February 2012 - 59
American Cinematographer - February 2012 - 60
American Cinematographer - February 2012 - 61
American Cinematographer - February 2012 - Cinema, Italian Style
American Cinematographer - February 2012 - 63
American Cinematographer - February 2012 - 64
American Cinematographer - February 2012 - 65
American Cinematographer - February 2012 - 66
American Cinematographer - February 2012 - 67
American Cinematographer - February 2012 - 68
American Cinematographer - February 2012 - 69
American Cinematographer - February 2012 - 70
American Cinematographer - February 2012 - 71
American Cinematographer - February 2012 - Filmmakers’ Forum: Hiro Narita, ASC
American Cinematographer - February 2012 - 73
American Cinematographer - February 2012 - 74
American Cinematographer - February 2012 - 75
American Cinematographer - February 2012 - New Products & Services
American Cinematographer - February 2012 - 77
American Cinematographer - February 2012 - 78
American Cinematographer - February 2012 - 79
American Cinematographer - February 2012 - 80
American Cinematographer - February 2012 - 81
American Cinematographer - February 2012 - International Marketplace
American Cinematographer - February 2012 - Classified Ads
American Cinematographer - February 2012 - Ad Index
American Cinematographer - February 2012 - 85
American Cinematographer - February 2012 - Clubhouse News
American Cinematographer - February 2012 - 87
American Cinematographer - February 2012 - ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - Cover3
American Cinematographer - February 2012 - Cover4
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