American Cinematographer - March 2010 - 14

Top to bottom: Louis inspects a strip of film; the brothers brainstorm with their father, Claude-Antoine (Ronald Guttman); Louis and Auguste prepare the cinematograph for a projection; director of photography Matt Wise finds the frame with a Red One camera. they were afraid to show it was because of what happened at the earlier screening [seen in La Première], which went horribly awry.” Ironically, to tell the story of two of cinema’s pioneers, Wise found himself working with some of the latest camera technology, a Red One and a Canon EOS 5D Mark II. “But filmmaking is more than technology,” he notes. “The point of La Première is that in spite of the technology in the room, those people in the audience really believed there was a train coming at them, and they ran out in a panic.” Wise shot most of La Première with the Red — the 5D was used for a few bicycle-mounted shots — and he found that the system presented a few hurdles of its own. Most notably, the Red doesn’t perform well in low-light situations, and the sensor’s signal-to-noise ratio is negatively impacted by warm light. Therefore, when shooting interiors, Wise shot wide open on Zeiss Super Speed prime lenses, and he used a ¼ CTB filter behind a hot mirror filter. Framed in 16x9, La Première begins with a brief montage that traces cinema’s progression from the magic lantern to the camera obscura, the Daguerreotype, the zoetrope and, finally, Edison’s Kinetoscope. Inspired by the look Roger Deakins, ASC, BSC, created with Kardan Swing and Tilt lenses for some shots in The Assassination of Jesse James by the Coward Robert Ford (AC Oct. ’07), Wise chose to apply a selective-focus look for these early moments, suggesting that the lens in use wasn’t yet a precise instrument. “We used a Lensbaby with a PL mount,” the cinematographer explains. “The Kardan lens doesn’t change the focus on the subject or the depth-offield; it just bends the light coming through it to throw a certain portion of the frame out of focus.” The filmmakers considered applying a few other vintage looks to the rest of the picture, and they were particularly inspired by the period industrial tone that Wally Pfister, ASC brought to The Prestige (AC Nov. ’06). “Our film is set in a time before electricity became widespread,” notes Michael. “It’s a story where a lot of the illumination comes from candlelight.” Wise initially considered using windows and practicals as his sole motivators, but the tight shooting March 2010 American Cinematographer

American Cinematographer - March 2010

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

American Cinematographer - March 2010
Contents
Editor’s Note
President’s Desk
Short Takes: La Première
Production Slate: A Prophet • NY Export: Opus Jazz
Mind Games
Home-Screen Hits
A Passion for His Craft
Saluting an Industry Stalwart
Post Focus: EFilm’s Cinemascan System
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Salvatore Totino
American Cinematographer - March 2010 - American Cinematographer - March 2010
American Cinematographer - March 2010 - Cover2
American Cinematographer - March 2010 - 1
American Cinematographer - March 2010 - 2
American Cinematographer - March 2010 - Contents
American Cinematographer - March 2010 - 4
American Cinematographer - March 2010 - 5
American Cinematographer - March 2010 - 6
American Cinematographer - March 2010 - 7
American Cinematographer - March 2010 - Editor’s Note
American Cinematographer - March 2010 - 9
American Cinematographer - March 2010 - President’s Desk
American Cinematographer - March 2010 - 11
American Cinematographer - March 2010 - Short Takes: La Première
American Cinematographer - March 2010 - 13
American Cinematographer - March 2010 - 14
American Cinematographer - March 2010 - 15
American Cinematographer - March 2010 - 16
American Cinematographer - March 2010 - 17
American Cinematographer - March 2010 - Production Slate: A Prophet • NY Export: Opus Jazz
American Cinematographer - March 2010 - 19
American Cinematographer - March 2010 - 20
American Cinematographer - March 2010 - 21
American Cinematographer - March 2010 - 22
American Cinematographer - March 2010 - 23
American Cinematographer - March 2010 - 24
American Cinematographer - March 2010 - 25
American Cinematographer - March 2010 - 26
American Cinematographer - March 2010 - 27
American Cinematographer - March 2010 - 28
American Cinematographer - March 2010 - 29
American Cinematographer - March 2010 - Mind Games
American Cinematographer - March 2010 - 31
American Cinematographer - March 2010 - 32
American Cinematographer - March 2010 - 33
American Cinematographer - March 2010 - 34
American Cinematographer - March 2010 - 35
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American Cinematographer - March 2010 - 42
American Cinematographer - March 2010 - 43
American Cinematographer - March 2010 - 44
American Cinematographer - March 2010 - 45
American Cinematographer - March 2010 - Home-Screen Hits
American Cinematographer - March 2010 - 47
American Cinematographer - March 2010 - 48
American Cinematographer - March 2010 - 49
American Cinematographer - March 2010 - 50
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American Cinematographer - March 2010 - 57
American Cinematographer - March 2010 - 58
American Cinematographer - March 2010 - 59
American Cinematographer - March 2010 - 60
American Cinematographer - March 2010 - 61
American Cinematographer - March 2010 - A Passion for His Craft
American Cinematographer - March 2010 - 63
American Cinematographer - March 2010 - 64
American Cinematographer - March 2010 - 65
American Cinematographer - March 2010 - 66
American Cinematographer - March 2010 - 67
American Cinematographer - March 2010 - 68
American Cinematographer - March 2010 - 69
American Cinematographer - March 2010 - 70
American Cinematographer - March 2010 - 71
American Cinematographer - March 2010 - Saluting an Industry Stalwart
American Cinematographer - March 2010 - 73
American Cinematographer - March 2010 - 74
American Cinematographer - March 2010 - 75
American Cinematographer - March 2010 - 76
American Cinematographer - March 2010 - 77
American Cinematographer - March 2010 - Post Focus: EFilm’s Cinemascan System
American Cinematographer - March 2010 - 79
American Cinematographer - March 2010 - 80
American Cinematographer - March 2010 - 81
American Cinematographer - March 2010 - New Products & Services
American Cinematographer - March 2010 - 83
American Cinematographer - March 2010 - 84
American Cinematographer - March 2010 - 85
American Cinematographer - March 2010 - 86
American Cinematographer - March 2010 - 87
American Cinematographer - March 2010 - International Marketplace
American Cinematographer - March 2010 - Classified Ads
American Cinematographer - March 2010 - Ad Index
American Cinematographer - March 2010 - 91
American Cinematographer - March 2010 - ASC Membership Roster
American Cinematographer - March 2010 - 93
American Cinematographer - March 2010 - Clubhouse News
American Cinematographer - March 2010 - 95
American Cinematographer - March 2010 - ASC Close-Up: Salvatore Totino
American Cinematographer - March 2010 - Cover3
American Cinematographer - March 2010 - Cover4
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