American Cinematographer - May 2010 - 49

Desbruères graded the film on a DaVinci Resolve, spending a lot of time drawing dynamic grading windows to compensate for constantly changing hues and luminosity. He remembers that one shot moving toward the surface of the sardine run required almost 60 tracking windows. “A window may only last 10 frames and then fade out,” he notes. Sometimes he would outline a small creature in the frame to make it more visible onscreen. Desbruères remembers the intense grading sessions fondly: “I didn’t feel the fatigue because I was at the heart of something that transported me.” Tovoli recalls that the grade evolved with time. “Our first timing was pretty contrasty, with beautiful blacks, but the directors didn’t want too much contrast underwater because they didn’t want it to be scary,” he explains. “For them, the color of the ocean was the color of life. They wanted a blue that isn’t heavy, that is transparent, agreeable

and light, so we chose the lightest color, because color can become threatening. We never left any impenetrable dark zones, even in the night sequence with predators.” Perrin has described Oceans as “an underwater wildlife opera.” Whatever the genre may be, one word that arose frequently during AC ’s interviews was “collaboration.” After initial shoots with the directors, many cinematographers were trusted to continue on their own. “We were both amazed and yet not surprised by what they brought back, because we were on the same wavelength,” says Cluzaud. “Having many cinematographers meant having many different ways of filming, and that gives the film an incredible richness.” “I never believed filmmaking was a collaborative art,” Tovoli confesses, “but this film proved me wrong. Putting 21 cinematographers and two directors in harmony, now that is collaboration!” ●

TECHNICAL SPECS
2.40:1 Super 35mm and High-Definition Video Super 35mm (4- and 3-perf): Arri 435, 235, 2-B, 2-C, 35-3; Aaton 35-III Angenieux, Zeiss and Cooke lenses Kodak Vision2 50D 5201, 250D 5205, 100T 5212, 200T 5217, 500T 5218; Fuji Super F-64D 8522 HD: Sony HDW-F900/3, HDC-950, F23 Zeiss and Panavision lenses Digital Intermediate Printed on Kodak Vision 2383

49


http://www.mole.com/MoleLED http://www.mole.com/MoleLED

American Cinematographer - May 2010

Table of Contents for the Digital Edition of American Cinematographer - May 2010

American Cinematographer - May 2010
Contents
Editor’s Note
President’s Desk
Short Takes: ASC Heritage Award Winners
Production Slate: The Man Next Door • Academy Sci-Tech Awards
Armor Wars
Wonders of the Sea
Lost and Found Families
Dark Secrets
Deep Visual Roots
Post Focus: Restoring A Star Is Born
Tricks of the Trade
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Fred Elmes
American Cinematographer - May 2010 - Intro
American Cinematographer - May 2010 - American Cinematographer - May 2010
American Cinematographer - May 2010 - Cover2
American Cinematographer - May 2010 - 1
American Cinematographer - May 2010 - 2
American Cinematographer - May 2010 - Contents
American Cinematographer - May 2010 - 4
American Cinematographer - May 2010 - 5
American Cinematographer - May 2010 - 6
American Cinematographer - May 2010 - 7
American Cinematographer - May 2010 - Editor’s Note
American Cinematographer - May 2010 - 9
American Cinematographer - May 2010 - President’s Desk
American Cinematographer - May 2010 - 11
American Cinematographer - May 2010 - Short Takes: ASC Heritage Award Winners
American Cinematographer - May 2010 - 13
American Cinematographer - May 2010 - 14
American Cinematographer - May 2010 - 15
American Cinematographer - May 2010 - 16
American Cinematographer - May 2010 - 17
American Cinematographer - May 2010 - Production Slate: The Man Next Door • Academy Sci-Tech Awards
American Cinematographer - May 2010 - 19
American Cinematographer - May 2010 - 20
American Cinematographer - May 2010 - 21
American Cinematographer - May 2010 - 22
American Cinematographer - May 2010 - 23
American Cinematographer - May 2010 - Armor Wars
American Cinematographer - May 2010 - 25
American Cinematographer - May 2010 - 26
American Cinematographer - May 2010 - 27
American Cinematographer - May 2010 - 28
American Cinematographer - May 2010 - 29
American Cinematographer - May 2010 - 30
American Cinematographer - May 2010 - 31
American Cinematographer - May 2010 - 32
American Cinematographer - May 2010 - 33
American Cinematographer - May 2010 - 34
American Cinematographer - May 2010 - 35
American Cinematographer - May 2010 - 36
American Cinematographer - May 2010 - 37
American Cinematographer - May 2010 - 38
American Cinematographer - May 2010 - 39
American Cinematographer - May 2010 - Wonders of the Sea
American Cinematographer - May 2010 - 41
American Cinematographer - May 2010 - 42
American Cinematographer - May 2010 - 43
American Cinematographer - May 2010 - 44
American Cinematographer - May 2010 - 45
American Cinematographer - May 2010 - 46
American Cinematographer - May 2010 - 47
American Cinematographer - May 2010 - 48
American Cinematographer - May 2010 - 49
American Cinematographer - May 2010 - Lost and Found Families
American Cinematographer - May 2010 - 51
American Cinematographer - May 2010 - 52
American Cinematographer - May 2010 - 53
American Cinematographer - May 2010 - 54
American Cinematographer - May 2010 - 55
American Cinematographer - May 2010 - Dark Secrets
American Cinematographer - May 2010 - 57
American Cinematographer - May 2010 - 58
American Cinematographer - May 2010 - 59
American Cinematographer - May 2010 - 60
American Cinematographer - May 2010 - 61
American Cinematographer - May 2010 - 62
American Cinematographer - May 2010 - 63
American Cinematographer - May 2010 - 64
American Cinematographer - May 2010 - 65
American Cinematographer - May 2010 - 66
American Cinematographer - May 2010 - 67
American Cinematographer - May 2010 - 68
American Cinematographer - May 2010 - 69
American Cinematographer - May 2010 - 70
American Cinematographer - May 2010 - 71
American Cinematographer - May 2010 - Post Focus: Restoring A Star Is Born
American Cinematographer - May 2010 - 73
American Cinematographer - May 2010 - Tricks of the Trade
American Cinematographer - May 2010 - 75
American Cinematographer - May 2010 - New Products & Services
American Cinematographer - May 2010 - 77
American Cinematographer - May 2010 - 78
American Cinematographer - May 2010 - 79
American Cinematographer - May 2010 - 80
American Cinematographer - May 2010 - 81
American Cinematographer - May 2010 - 82
American Cinematographer - May 2010 - 83
American Cinematographer - May 2010 - International Marketplace
American Cinematographer - May 2010 - Classified Ads
American Cinematographer - May 2010 - Ad Index
American Cinematographer - May 2010 - Clubhouse News
American Cinematographer - May 2010 - ASC Close-Up: Fred Elmes
American Cinematographer - May 2010 - Cover3
American Cinematographer - May 2010 - Cover4
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