American Cinematographer - April 2012 - 22

Right: Percussionists rehearse a number that will be performed during a ceremony at which Eliezer will be honored. Below: Scharf (left) and director Joseph Cedar line up a shot.

become more and more saturated, and the DI was a [big help] with that,” he adds. The picture was graded at Magyar Film Laboratory in Budapest, which also handled the negative processing, scanning and filmout. (Three film stocks were employed: Kodak Vision3 500T 5219 and 50D 5203, and Vision2 200T 5217.) “There are no film laboratories or post houses in Israel that can handle high-end stuff anymore,” he notes sadly. Movie Mobile Israel in Tel Aviv provided the production with an Arri 535B and an Arri 235, a set of Arri/Zeiss Ultra
22 April 2012

Primes and a Canon (T2.8) 300mm lens. Scharf, who did his own operating, also carried Proxar filters to reduce the minimum focus of the lens and a T5.6 CMI Cinewand Borescope 10-100mm lens for extreme close-ups. The Proxar filters and the Borescope system proved their worth when Scharf needed to zero in on a printed page and have only a single word or letter in focus. “Joseph and I decided that in the war between Uriel and Eliezer, words and letters were like soldiers on the battlefield. The Borescope enabled me to travel and actually
American Cinematographer

get between the letters. The Proxars were also used primarily for these extreme closeups of letters and words. “Depth-of-field was critical, and I achieved this by working with a very open f-stop, which is a big reason I wanted to work with the Ultra Primes — they are very crisp and sharp. My focus puller, Yuval Shachar, has been with me almost 20 years. He is amazing, but I think even he was terrified!” The film contains two short segments that Scharf refers to as “footnotes” because they provide supplemental information about the characters. “In the Talmud, the main text is in the center of the page and the footnotes are on the sides,” he says, explaining the filmmakers’ inspiration. Each segment consists of an individual frame, inside of which scenes play out. The frames movebackward and forward across the screen. To again differentiate between father and son, Eliezer’s segment appears to run through an old-fashioned microfilm display device, while Uriel’s looks as though it moves through a more modern slide projector. To achieve the effect, Scharf explains, “we shot a piece of microfiche with nothing on it, to get hair and dirt on it, [and then] we shot an empty frame of light to give us the black borders. Several artists worked for a year compositing all of this under the direction of



American Cinematographer - April 2012

Table of Contents for the Digital Edition of American Cinematographer - April 2012

American Cinematographer - April 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Polaris campaign
Production Slate: Footnote4:44 Last Day on Earth
Vice at the Vatican
Back to School
Sundance Standouts
Filmmakers’ Forum: Haskell Wexler, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - American Cinematographer - April 2012
American Cinematographer - April 2012 - Cover2
American Cinematographer - April 2012 - 1
American Cinematographer - April 2012 - 2
American Cinematographer - April 2012 - Contents
American Cinematographer - April 2012 - 4
American Cinematographer - April 2012 - 5
American Cinematographer - April 2012 - 6
American Cinematographer - April 2012 - 7
American Cinematographer - April 2012 - Editor’s Note
American Cinematographer - April 2012 - 9
American Cinematographer - April 2012 - President’s Desk
American Cinematographer - April 2012 - 11
American Cinematographer - April 2012 - Short Takes: Polaris campaign
American Cinematographer - April 2012 - 13
American Cinematographer - April 2012 - 14
American Cinematographer - April 2012 - 15
American Cinematographer - April 2012 - 16
American Cinematographer - April 2012 - 17
American Cinematographer - April 2012 - Production Slate: Footnote4:44 Last Day on Earth
American Cinematographer - April 2012 - 19
American Cinematographer - April 2012 - 20
American Cinematographer - April 2012 - 21
American Cinematographer - April 2012 - 22
American Cinematographer - April 2012 - 23
American Cinematographer - April 2012 - 24
American Cinematographer - April 2012 - 25
American Cinematographer - April 2012 - 26
American Cinematographer - April 2012 - 27
American Cinematographer - April 2012 - 28
American Cinematographer - April 2012 - 29
American Cinematographer - April 2012 - 30
American Cinematographer - April 2012 - 31
American Cinematographer - April 2012 - Vice at the Vatican
American Cinematographer - April 2012 - 33
American Cinematographer - April 2012 - 34
American Cinematographer - April 2012 - 35
American Cinematographer - April 2012 - 36
American Cinematographer - April 2012 - 37
American Cinematographer - April 2012 - 38
American Cinematographer - April 2012 - 39
American Cinematographer - April 2012 - 40
American Cinematographer - April 2012 - 41
American Cinematographer - April 2012 - 42
American Cinematographer - April 2012 - 43
American Cinematographer - April 2012 - Back to School
American Cinematographer - April 2012 - 45
American Cinematographer - April 2012 - 46
American Cinematographer - April 2012 - 47
American Cinematographer - April 2012 - 48
American Cinematographer - April 2012 - 49
American Cinematographer - April 2012 - 50
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American Cinematographer - April 2012 - 59
American Cinematographer - April 2012 - 60
American Cinematographer - April 2012 - 61
American Cinematographer - April 2012 - 62
American Cinematographer - April 2012 - 63
American Cinematographer - April 2012 - Sundance Standouts
American Cinematographer - April 2012 - 65
American Cinematographer - April 2012 - 66
American Cinematographer - April 2012 - 67
American Cinematographer - April 2012 - 68
American Cinematographer - April 2012 - 69
American Cinematographer - April 2012 - 70
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American Cinematographer - April 2012 - 77
American Cinematographer - April 2012 - 78
American Cinematographer - April 2012 - 79
American Cinematographer - April 2012 - 80
American Cinematographer - April 2012 - 81
American Cinematographer - April 2012 - Filmmakers’ Forum: Haskell Wexler, ASC
American Cinematographer - April 2012 - 83
American Cinematographer - April 2012 - 84
American Cinematographer - April 2012 - 85
American Cinematographer - April 2012 - 86
American Cinematographer - April 2012 - 87
American Cinematographer - April 2012 - New Products & Services
American Cinematographer - April 2012 - 89
American Cinematographer - April 2012 - 90
American Cinematographer - April 2012 - 91
American Cinematographer - April 2012 - 92
American Cinematographer - April 2012 - 93
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American Cinematographer - April 2012 - 97
American Cinematographer - April 2012 - 98
American Cinematographer - April 2012 - 99
American Cinematographer - April 2012 - 100
American Cinematographer - April 2012 - 101
American Cinematographer - April 2012 - International Marketplace
American Cinematographer - April 2012 - Classified Ads
American Cinematographer - April 2012 - Ad Index
American Cinematographer - April 2012 - 105
American Cinematographer - April 2012 - Clubhouse News
American Cinematographer - April 2012 - 107
American Cinematographer - April 2012 - ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - Cover3
American Cinematographer - April 2012 - Cover4
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