American Cinematographer - April 2008 - 93

It’s one of the more striking scenes in the film, and it wouldn’t have been possible if we hadn’t been light on our feet. Almost half of the movie was shot in a Chevy Suburban without a tow vehicle. The Sony HVR-Z1U camera, running at 50i (PAL) 1080, fit nicely inside. (We couldn’t use the Canon, an otherwise excellent camera, because at that time, its 24F system wasn’t supported on the production’s Avid Express system.) Two Barfly Kino Flos running off two separate consumer inverters (one in the cigarette lighter, one in a utility jack in the back) were perfect for lighting our actors. 216 taped over off-screen windows also helped spread the light around. We set exposure this way: Steve or Dale would press his face against the Hoodman and scrutinize a 7" Panasonic portable LCD — a godsend — as I slowly shifted the aperture. Steve or Dale would determine the exposure, and I double-checked it by setting zebra at 105 percent and watching what was clipped. Then Alex would watch the take. Shooting in the short daylight hours of December resulted in a low sun angle that greatly enhanced the look of the picture. Along with a polarizer and a Sunbounce for fill, we ended up with a surprisingly gratifying result. The biggest problem was focus; the Sony and other prosumer cameras with a fixed autofocus lens don’t lend themselves to pulling focus. (This has been fixed in the new Sony PMW-EX1.) The best way to find it was doc-style: zooming in to focus, zooming out to frame. This worked as long as the actors weren’t moving. Thanks to the Venice Film Festival and AFI Fest 2007, Searchers 2.0 was shown on some of the biggest screens I’d ever seen, and it held up. The day material looked phenomenal, and although the camera was not as good wide open, the night scenes looked fine. In Italy, Enzo Castellari came up to Alex and said it was the best photog- raphy of Monument Valley he’d ever seen. During a Q&A at the recent AFI Fest, an audience member who claimed to have seen every movie ever made in Monument Valley — he had buried his son there — said the same thing, resulting in an ovation by the entire audience and crew. It was the first time I received actual applause for my work, and it had been done on a microbudget with a teeny HDV camera. I Cox kneels next to the Panasonic 7" monitor as Fierberg eyeballs the landscape, gaffer Steve Mathis holds a Sunbounce and Gallo records dialogue spoken by the movie’s villain, Fritz (Sy Richardson). Fierberg recalls, “We changed locations at 6 a.m. in order to capture the rare snowfall in Monument Valley, which created some striking panoramas.” 93

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American Cinematographer - April 2008

Table of Contents for the Digital Edition of American Cinematographer - April 2008

American Cinematographer - April 2008
Contents
Editor's Note
Global Village: The Counterfeiters
Short Takes: Milia
Production Slate: Paranoid Park
Production Slate: All the Boys Love Mandy Lane
Card Sharks
Temple of Doom
3-D Cinematography
Sundance 2008: Mining for Movies
Post Focus: Digital Film Tree Gets into Peyote
Post Focus: FotoKem’s 3-D Workflow
Post Focus: Technicolor Digs in at Pinewood
Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - American Cinematographer - April 2008
American Cinematographer - April 2008 - Cover2
American Cinematographer - April 2008 - 1
American Cinematographer - April 2008 - 2
American Cinematographer - April 2008 - Contents
American Cinematographer - April 2008 - 4
American Cinematographer - April 2008 - 5
American Cinematographer - April 2008 - 6
American Cinematographer - April 2008 - 7
American Cinematographer - April 2008 - Editor's Note
American Cinematographer - April 2008 - 9
American Cinematographer - April 2008 - Global Village: The Counterfeiters
American Cinematographer - April 2008 - 11
American Cinematographer - April 2008 - 12
American Cinematographer - April 2008 - 13
American Cinematographer - April 2008 - Short Takes: Milia
American Cinematographer - April 2008 - 15
American Cinematographer - April 2008 - 16
American Cinematographer - April 2008 - 17
American Cinematographer - April 2008 - Production Slate: All the Boys Love Mandy Lane
American Cinematographer - April 2008 - 19
American Cinematographer - April 2008 - 20
American Cinematographer - April 2008 - 21
American Cinematographer - April 2008 - 22
American Cinematographer - April 2008 - 23
American Cinematographer - April 2008 - 24
American Cinematographer - April 2008 - 25
American Cinematographer - April 2008 - 26
American Cinematographer - April 2008 - 27
American Cinematographer - April 2008 - 28
American Cinematographer - April 2008 - 29
American Cinematographer - April 2008 - Card Sharks
American Cinematographer - April 2008 - 31
American Cinematographer - April 2008 - 32
American Cinematographer - April 2008 - 33
American Cinematographer - April 2008 - 34
American Cinematographer - April 2008 - 35
American Cinematographer - April 2008 - 36
American Cinematographer - April 2008 - 37
American Cinematographer - April 2008 - 38
American Cinematographer - April 2008 - 39
American Cinematographer - April 2008 - 40
American Cinematographer - April 2008 - 41
American Cinematographer - April 2008 - Temple of Doom
American Cinematographer - April 2008 - 43
American Cinematographer - April 2008 - 44
American Cinematographer - April 2008 - 45
American Cinematographer - April 2008 - 46
American Cinematographer - April 2008 - 47
American Cinematographer - April 2008 - 48
American Cinematographer - April 2008 - 49
American Cinematographer - April 2008 - 50
American Cinematographer - April 2008 - 51
American Cinematographer - April 2008 - 3-D Cinematography
American Cinematographer - April 2008 - 53
American Cinematographer - April 2008 - 54
American Cinematographer - April 2008 - 55
American Cinematographer - April 2008 - 56
American Cinematographer - April 2008 - 57
American Cinematographer - April 2008 - 58
American Cinematographer - April 2008 - 59
American Cinematographer - April 2008 - 60
American Cinematographer - April 2008 - 61
American Cinematographer - April 2008 - 62
American Cinematographer - April 2008 - 63
American Cinematographer - April 2008 - Sundance 2008: Mining for Movies
American Cinematographer - April 2008 - 65
American Cinematographer - April 2008 - 66
American Cinematographer - April 2008 - 67
American Cinematographer - April 2008 - 68
American Cinematographer - April 2008 - 69
American Cinematographer - April 2008 - 70
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American Cinematographer - April 2008 - 76
American Cinematographer - April 2008 - 77
American Cinematographer - April 2008 - 78
American Cinematographer - April 2008 - 79
American Cinematographer - April 2008 - 80
American Cinematographer - April 2008 - 81
American Cinematographer - April 2008 - 82
American Cinematographer - April 2008 - 83
American Cinematographer - April 2008 - Post Focus: Technicolor Digs in at Pinewood
American Cinematographer - April 2008 - 85
American Cinematographer - April 2008 - 86
American Cinematographer - April 2008 - 87
American Cinematographer - April 2008 - 88
American Cinematographer - April 2008 - 89
American Cinematographer - April 2008 - Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
American Cinematographer - April 2008 - 91
American Cinematographer - April 2008 - 92
American Cinematographer - April 2008 - 93
American Cinematographer - April 2008 - New Products & Services
American Cinematographer - April 2008 - 95
American Cinematographer - April 2008 - 96
American Cinematographer - April 2008 - 97
American Cinematographer - April 2008 - 98
American Cinematographer - April 2008 - 99
American Cinematographer - April 2008 - 100
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American Cinematographer - April 2008 - 107
American Cinematographer - April 2008 - 108
American Cinematographer - April 2008 - 109
American Cinematographer - April 2008 - International Marketplace
American Cinematographer - April 2008 - 111
American Cinematographer - April 2008 - Ad Index
American Cinematographer - April 2008 - 113
American Cinematographer - April 2008 - Clubhouse News
American Cinematographer - April 2008 - 115
American Cinematographer - April 2008 - ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - Cover3
American Cinematographer - April 2008 - Cover4
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