American Cinematographer - April 2010 - 14
Short Takes
Above: A mother searches frantically for her missing daughter at the beginning of the short film The History of Aviation. Right: A picnicker joins the search for the missing girl.
I
An Anamorphic History of Aviation By Iain Stasukevich
At first, it seems as though The History of Aviation has nothing to do with aeronautics. Shot by Mátyás Erdély and directed by fellow Hungarian Bálint Kenyeres, the short film opens with a scene of men in pressed knickers and women in fancy dresses spread out across the grassy clifftops of Upper Normandy. They’re searching for something. Beneath a gray sky, a frantic mother cries out for her lost daughter over the sound of crashing waves. As other party guests join in the search (or steal away to secluded coves for a little romance), the girl becomes the sole witness to a tragic experiment. The History of Aviation is the second collaboration between Kenyeres and Erdély, following Before Dawn (AC April ’06). As with their first film, the goal on The History of Aviation was “to aim for the unimaginable,” says Erdély. “We wanted to shoot 35mm anamorphic and get big cranes, costumes and locations.” He and
14 April 2010
Kenyeres wanted floating, dreamlike camera moves to tell the story, letting it unfold in long, sweeping takes. The film runs about 17 minutes and comprises 13 shots, all filled with zooms, pans and tilts, and sweeping moves. Setting the camera aloft required a tight camera crew and a solid game plan. Erdély singles out Hungarian dolly grip János Tóth and 1st AC Gergely Csepregi for their contributions: “János is very experienced and can pull off super-complicated moves and long setups, and Gergely’s focus is always dead on.” Because of the complicated setups, Kenyeres and Erdély took the time to sit down with key crew members, including French key grip Bertrand Val, to go over storyboards in advance. The filmmakers broke down each long take into smaller sections and, with Tóth’s help, reassembled them with the proper camera blocking. “We already knew what was possible given the limitations of our equipment,” says Erdély. “Getting organized was an organic process and didn’t involve too much talking. I’d just position myself where the lens was supposed
American Cinematographer
Images courtesy of the filmmakers.
American Cinematographer - April 2010
Table of Contents for the Digital Edition of American Cinematographer - April 2010
American Cinematographer - April 2010
Contents
Editor’s Note
President’s Desk
Letters
Short Takes
Production Slate
Down the Rabbit Hole
Weapons of Deception
The Final Frontier in 3 Dimensions
Sundance 2010: Expanded Palettes
Filmmakers’ Forum
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up
American Cinematographer - April 2010 - Intro
American Cinematographer - April 2010 - American Cinematographer - April 2010
American Cinematographer - April 2010 - Cover2
American Cinematographer - April 2010 - 1
American Cinematographer - April 2010 - 2
American Cinematographer - April 2010 - Contents
American Cinematographer - April 2010 - 4
American Cinematographer - April 2010 - 5
American Cinematographer - April 2010 - 6
American Cinematographer - April 2010 - 7
American Cinematographer - April 2010 - Editor’s Note
American Cinematographer - April 2010 - 9
American Cinematographer - April 2010 - President’s Desk
American Cinematographer - April 2010 - 11
American Cinematographer - April 2010 - Letters
American Cinematographer - April 2010 - 13
American Cinematographer - April 2010 - Short Takes
American Cinematographer - April 2010 - 15
American Cinematographer - April 2010 - 16
American Cinematographer - April 2010 - 17
American Cinematographer - April 2010 - 18
American Cinematographer - April 2010 - 19
American Cinematographer - April 2010 - Production Slate
American Cinematographer - April 2010 - 21
American Cinematographer - April 2010 - 22
American Cinematographer - April 2010 - 23
American Cinematographer - April 2010 - 24
American Cinematographer - April 2010 - 25
American Cinematographer - April 2010 - 26
American Cinematographer - April 2010 - 27
American Cinematographer - April 2010 - 28
American Cinematographer - April 2010 - 29
American Cinematographer - April 2010 - 30
American Cinematographer - April 2010 - 31
American Cinematographer - April 2010 - Down the Rabbit Hole
American Cinematographer - April 2010 - 33
American Cinematographer - April 2010 - 34
American Cinematographer - April 2010 - 35
American Cinematographer - April 2010 - 36
American Cinematographer - April 2010 - 37
American Cinematographer - April 2010 - 38
American Cinematographer - April 2010 - 39
American Cinematographer - April 2010 - 40
American Cinematographer - April 2010 - 41
American Cinematographer - April 2010 - 42
American Cinematographer - April 2010 - 43
American Cinematographer - April 2010 - 44
American Cinematographer - April 2010 - 44a
American Cinematographer - April 2010 - 44b
American Cinematographer - April 2010 - 45
American Cinematographer - April 2010 - 46
American Cinematographer - April 2010 - 47
American Cinematographer - April 2010 - Weapons of Deception
American Cinematographer - April 2010 - 49
American Cinematographer - April 2010 - 50
American Cinematographer - April 2010 - 51
American Cinematographer - April 2010 - 52
American Cinematographer - April 2010 - 53
American Cinematographer - April 2010 - 54
American Cinematographer - April 2010 - 55
American Cinematographer - April 2010 - 56
American Cinematographer - April 2010 - 57
American Cinematographer - April 2010 - 58
American Cinematographer - April 2010 - 59
American Cinematographer - April 2010 - The Final Frontier in 3 Dimensions
American Cinematographer - April 2010 - 61
American Cinematographer - April 2010 - 62
American Cinematographer - April 2010 - 63
American Cinematographer - April 2010 - 64
American Cinematographer - April 2010 - 65
American Cinematographer - April 2010 - 66
American Cinematographer - April 2010 - 67
American Cinematographer - April 2010 - 68
American Cinematographer - April 2010 - 69
American Cinematographer - April 2010 - 70
American Cinematographer - April 2010 - 71
American Cinematographer - April 2010 - Sundance 2010: Expanded Palettes
American Cinematographer - April 2010 - 73
American Cinematographer - April 2010 - 74
American Cinematographer - April 2010 - 75
American Cinematographer - April 2010 - 76
American Cinematographer - April 2010 - 77
American Cinematographer - April 2010 - 78
American Cinematographer - April 2010 - 79
American Cinematographer - April 2010 - 80
American Cinematographer - April 2010 - 81
American Cinematographer - April 2010 - 82
American Cinematographer - April 2010 - 83
American Cinematographer - April 2010 - 84
American Cinematographer - April 2010 - 85
American Cinematographer - April 2010 - 86
American Cinematographer - April 2010 - 87
American Cinematographer - April 2010 - Filmmakers’ Forum
American Cinematographer - April 2010 - 89
American Cinematographer - April 2010 - 90
American Cinematographer - April 2010 - 91
American Cinematographer - April 2010 - New Products & Services
American Cinematographer - April 2010 - 93
American Cinematographer - April 2010 - 94
American Cinematographer - April 2010 - 95
American Cinematographer - April 2010 - 96
American Cinematographer - April 2010 - 97
American Cinematographer - April 2010 - International Marketplace
American Cinematographer - April 2010 - 99
American Cinematographer - April 2010 - Ad Index
American Cinematographer - April 2010 - 101
American Cinematographer - April 2010 - Clubhouse News
American Cinematographer - April 2010 - 103
American Cinematographer - April 2010 - ASC Close-Up
American Cinematographer - April 2010 - Cover3
American Cinematographer - April 2010 - Cover4
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