American Cinematographer - April 2010 - 8

Editor’s Note
Hollywood’s infatuation with 3-D continues to pick up steam with the release of Alice in Wonderland, Tim Burton’s reimagining of Lewis Carroll’s classic tale. Teaming once again with Dariusz Wolski, ASC, Burton has put a new twist on the story, making Alice a teenager (played by Mia Wasikowska) who revisits the wondrous realm she first stumbled upon as a child. Various factors led the filmmakers to shoot the picture in 2-D and then convert the images to 3-D at Sony Pictures Imageworks. Through testing, they determined that their schedule wouldn’t allow them to set up the infrastructure needed to shoot high-end native stereo. “We studied examples of 2-D movies that had been turned into 3-D and agreed the results looked amazing,” Wolski tells writer Michael Goldman (“Down the Rabbit Hole,” page 32). “So, at the last minute, we decided to achieve 3-D in post.” Native 3-D was employed on the Imax/Warner Bros. outer-space documentary Hubble 3-D. Director of photography James Neihouse was tasked with training a group of space-shuttle astronauts to capture spectacular images during NASA’s final repair mission to the Hubble Space Telescope. The production’s technical and logistical challenges were immense. “NASA gives us about 25 hours of face-to-face time with the astronauts to train them in basic shot selection and exposure and advise them on what to do if things go wrong,” Neihouse tells longtime contributor Jay Holben (“The Final Frontier in 3 Dimensions,” page 60). “Fortunately, astronauts are incredibly smart people and really quick studies.” Back in the 2-D world, Barry Ackroyd, BSC and director Paul Greengrass seek to set pulses racing with Green Zone, a thriller about a U.S. Army officer (Matt Damon) attempting to locate weapons of mass destruction in Iraq. Ackroyd previously gave audiences white-knuckle rides with The Hurt Locker and Greengrass’ United 93; on this project, the filmmakers did quite a bit on the fly, using handheld cameras and dynamic moves to immerse viewers in the tense situations depicted onscreen. In his chat with London correspondent Mark Hope-Jones (“Weapons of Deception,” page 48), Ackroyd concedes, “I’d love to be able to say that we sat down and planned a look for the film, but that’s not Paul’s approach, and it’s not necessarily mine, either. If I said we talked about it for more than two hours over the course of the whole shoot, then I might well be exaggerating!” Our annual roundup of visually outstanding films from the Sundance Film Festival (“Sundance 2010: Expanded Palettes,” page 72) offers insights from cinematographers Zak Mulligan (Obselidia), Laura Poitras and Kirsten Johnson (The Oath), Michael Lavelle and Kate McCullough (His & Hers), Paul de Lumen (Southern District) and the trio of Toby Oliver, ACS; Kathryn Milliss; and Paul Nichola, who shot the first Sundance feature screened in 3-D (Cane Toads: The Conquest 3-D). Given the diversity of formats covered in this issue, it’s safe to say that cinematographers at all levels are actively exploring every available imaging option.

Stephen Pizzello Executive Editor
8

Photo by Owen Roizman, ASC.


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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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