American Cinematographer - April 2011 - 31
Left: Greenscreen and a partial set build were used for filming Hanna’s entrance into the tunnel. Below: The filmmakers prepare to shoot the practical portion of the sequence in a functioning wind tunnel in Germany. “It was interesting to work with an English and American crew in there,” Küchler observes, “because that’s where the Third Reich tested the wings of Stuka fighter planes.”
“Based on my experience filming in extreme environments, I fought hard to bring a Libra remote head with us,” says McCarthy. “As ever, it proved durable and kept working in the cold, even rigged on the back of a Skidoo being used as a fast tracking platform. Much to my surprise, we were able to leave the Techno outside overnight. Despite the extreme cold, there’s no moisture, so the crane never froze, a problem we often encounter in the damp British winters.” The nature of the snow created problems with building the dolly tracks, however. “The snow is so crystalline it never compacts,” McCarthy says. “We had to use Skidoos to compact the snow and then let it freeze again or, more usually, employ the Finnish track-laying technique: lay out plywood sub-frames and then have a team of large Finnish grips jump up and down on them till they settle!” Hanna and Erik’s cottage was a practical set built in Bavaria by Greenwood and her crew. The interior of the cottage is first shown when the camera follows Hanna inside and then
up to her loft bedroom in a long Steadicam shot. The sequence takes place at dusk. “Every take took about four minutes to shoot, so by the time we were resetting, the light level outside was dropping drastically,” recalls Küchler. “At the beginning, we
www.theasc.com
did a little f-stop pull, opening up when we entered the cottage. There are moments [in the shot] where Hanna is closing doors and shutters, and we’d just switch off more and more tubes in the Kino Flos we had augmenting the light.” ➣
April 2011 31
http://www.theasc.com
American Cinematographer - April 2011
Table of Contents for the Digital Edition of American Cinematographer - April 2011
American Cinematographer - April 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Faeries”
Production Slate: Jane Eyre • Battle: Los Angeles
Wicked World
A Woman on the Verge
Optical Filtration and 3-D
Sundance 2011: Spirited Images
Post Focus: Red Riding Hood
Tricks of the Trade: Unfettering a Digital Shoot
Filmmakers’ Forum: The Image Interchange Framework
New Products & Services
International Marketplace
Classified Ads/Ad Index
Clubhouse News
ASC Close-Up: Dennis Muren
American Cinematographer - April 2011 - American Cinematographer - April 2011
American Cinematographer - April 2011 - Cover2
American Cinematographer - April 2011 - 1
American Cinematographer - April 2011 - 2
American Cinematographer - April 2011 - Contents
American Cinematographer - April 2011 - 4
American Cinematographer - April 2011 - 5
American Cinematographer - April 2011 - 6
American Cinematographer - April 2011 - 7
American Cinematographer - April 2011 - Editor’s Note
American Cinematographer - April 2011 - 9
American Cinematographer - April 2011 - President’s Desk
American Cinematographer - April 2011 - 11
American Cinematographer - April 2011 - Short Takes: “Faeries”
American Cinematographer - April 2011 - 13
American Cinematographer - April 2011 - 14
American Cinematographer - April 2011 - 15
American Cinematographer - April 2011 - Production Slate: Jane Eyre • Battle: Los Angeles
American Cinematographer - April 2011 - 17
American Cinematographer - April 2011 - 18
American Cinematographer - April 2011 - 19
American Cinematographer - April 2011 - 20
American Cinematographer - April 2011 - 21
American Cinematographer - April 2011 - 22
American Cinematographer - April 2011 - 23
American Cinematographer - April 2011 - 24
American Cinematographer - April 2011 - 25
American Cinematographer - April 2011 - Wicked World
American Cinematographer - April 2011 - 27
American Cinematographer - April 2011 - 28
American Cinematographer - April 2011 - 29
American Cinematographer - April 2011 - 30
American Cinematographer - April 2011 - 30a
American Cinematographer - April 2011 - 30b
American Cinematographer - April 2011 - 31
American Cinematographer - April 2011 - 32
American Cinematographer - April 2011 - 33
American Cinematographer - April 2011 - 34
American Cinematographer - April 2011 - 35
American Cinematographer - April 2011 - 36
American Cinematographer - April 2011 - 37
American Cinematographer - April 2011 - 38
American Cinematographer - April 2011 - 39
American Cinematographer - April 2011 - 40
American Cinematographer - April 2011 - 41
American Cinematographer - April 2011 - A Woman on the Verge
American Cinematographer - April 2011 - 43
American Cinematographer - April 2011 - 44
American Cinematographer - April 2011 - 45
American Cinematographer - April 2011 - 46
American Cinematographer - April 2011 - 47
American Cinematographer - April 2011 - 48
American Cinematographer - April 2011 - 49
American Cinematographer - April 2011 - 50
American Cinematographer - April 2011 - 51
American Cinematographer - April 2011 - Optical Filtration and 3-D
American Cinematographer - April 2011 - 53
American Cinematographer - April 2011 - 54
American Cinematographer - April 2011 - 55
American Cinematographer - April 2011 - 56
American Cinematographer - April 2011 - 57
American Cinematographer - April 2011 - 58
American Cinematographer - April 2011 - 59
American Cinematographer - April 2011 - 60
American Cinematographer - April 2011 - 61
American Cinematographer - April 2011 - Sundance 2011: Spirited Images
American Cinematographer - April 2011 - 63
American Cinematographer - April 2011 - 64
American Cinematographer - April 2011 - 65
American Cinematographer - April 2011 - 66
American Cinematographer - April 2011 - 67
American Cinematographer - April 2011 - 68
American Cinematographer - April 2011 - 69
American Cinematographer - April 2011 - 70
American Cinematographer - April 2011 - 71
American Cinematographer - April 2011 - 72
American Cinematographer - April 2011 - 73
American Cinematographer - April 2011 - 74
American Cinematographer - April 2011 - 75
American Cinematographer - April 2011 - 76
American Cinematographer - April 2011 - 77
American Cinematographer - April 2011 - Post Focus: Red Riding Hood
American Cinematographer - April 2011 - 79
American Cinematographer - April 2011 - 80
American Cinematographer - April 2011 - 81
American Cinematographer - April 2011 - Tricks of the Trade: Unfettering a Digital Shoot
American Cinematographer - April 2011 - 83
American Cinematographer - April 2011 - 84
American Cinematographer - April 2011 - 85
American Cinematographer - April 2011 - Filmmakers’ Forum: The Image Interchange Framework
American Cinematographer - April 2011 - 87
American Cinematographer - April 2011 - 88
American Cinematographer - April 2011 - 89
American Cinematographer - April 2011 - New Products & Services
American Cinematographer - April 2011 - 91
American Cinematographer - April 2011 - 92
American Cinematographer - April 2011 - 93
American Cinematographer - April 2011 - 94
American Cinematographer - April 2011 - 95
American Cinematographer - April 2011 - 96
American Cinematographer - April 2011 - 97
American Cinematographer - April 2011 - International Marketplace
American Cinematographer - April 2011 - 99
American Cinematographer - April 2011 - Classified Ads/Ad Index
American Cinematographer - April 2011 - 101
American Cinematographer - April 2011 - Clubhouse News
American Cinematographer - April 2011 - 103
American Cinematographer - April 2011 - ASC Close-Up: Dennis Muren
American Cinematographer - April 2011 - Cover3
American Cinematographer - April 2011 - Cover4
American Cinematographer - April 2011 - Cover5
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