American Cinematographer - May 2013 - 26

Dod Mantle (left)
and director
Danny Boyle
discuss a setup.
“Danny and I
prefer to be on a
real location, and
he usually has
very clear ideas
about the
locations he
wants when
we start prep,”
says the
cinematographer.
“The city in
Trance could
really be any city
in Europe, but
you sense it’s
London if you
know London.”

car scene in France. I also shot several
scenes with Canon’s new 4K C500 on our
pickup shoots. One scene shows Simon
standing on the edge of the roof of Frank’s
nightclub, threatening to jump off. James
wore the C500 as a body rig as he climbed
up. Another scene shows Simon leaving
Elizabeth alone in a taxi. It had to be shot in
very short time in a real taxi, and I used the
C500 handheld from the front seat.
I find postproduction to be the most
creative part of filmmaking, and Trance
gave me an opportunity to work once again
with colorist Jean-Clement Soret, my collaborator on 28 Days Later …, Millions, Slumdog Millionaire and 127 Hours [AC Dec.
’10]. It was a very busy three weeks at Technicolor London. Danny is a devil at changing
the edit up to the last day of the grade, but
if this makes the film better, then I am
always happier. Danny is a director who
comprehends the immense advantage of
being on hand or close at hand with graded
images and final mixed sound in the edit,
when filmmakers can get those last-minute
creative ideas that lift a film further. The
grade is an incredibly creative space if the
right people are sitting in with the right attitude.
During the course of the grade and
final edit, Danny always comes in with a
few essential points that I keep in the back
26

May 2013

of my mind throughout the process. On
Slumdog the key words were “speed,”
“running” and “young child’s eyes and
energy.” The goal with that grade was also
about clarification in terms of color and
energy, as we had three major territories
(the slums, the middle story, and the
contemporary plot involving the TV game
show) and wanted to help the audience
follow the plot in any way possible. Danny
always bangs on about this, as he is aware
that some of his films have challenged audiences in that respect.
For Trance, Danny’s main concern
was that we be able to read the actors’
faces as clearly as possible, because the
narrative is complicated and runs at an
incredible pace. Sometimes one simple
sentence is cut across time into three or
more different locations or spaces. Now, I
generally light for mood. I love to see the
actors’ eyes, but I often like to bring lights
around to the side, sometimes higher; this
also helps us shoot very fast. But in the
grade, Danny was very emphatic that he
wanted every possible bit of contact with
the actors’ eyes, regardless of how short the
scene was. So, Jean-Clement and I spent an
enormous amount of time working on the
windows for eyes, trying to enhance access
to the thoughts or moods of the three main
characters. Trance is fundamentally a
American Cinematographer

humorous but intelligent, demanding exercise in a modern Hitchcock framework.
There is a deliberate ambivalence to some
actions. The audience has to pay attention
in order to separate the lies from the truth,
and the clues are all in the faces of the
actors. It was an enormous task to protect
and enhance this idea in the grade.
Of course, there are some ambitious, inexplicable cuts from the Alexa
straight to the Indiecam, and I get it in the
face, really! But when you work as Danny
and I do, the risks of marrying different
image resolutions and definitions are
always there, and afterwards, you can’t
really complain to the editor that he didn’t
stay within the format!

TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Plus, Alexa M;
Indiecam IndiePOV; Canon EOS C500,
EOS-1D Mark IV; Phantom Gold
Hawk V-Lite 1.3x, Zeiss Ultra Prime, Canon,
Arri Macro, Fuji Alura, Indiecam

➣



American Cinematographer - May 2013

Table of Contents for the Digital Edition of American Cinematographer - May 2013

American Cinematographer - May 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “Suit & Tie”
Production Slate: Trance • The Reluctant Fundamentalist
Surviving the Future
A Trailblazer’s Tale
Conjuring Hope
The ABCs of DMX
Star Tech
Hot Shots
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - American Cinematographer - May 2013
American Cinematographer - May 2013 - Cover2
American Cinematographer - May 2013 - 1
American Cinematographer - May 2013 - 2
American Cinematographer - May 2013 - Contents
American Cinematographer - May 2013 - 4
American Cinematographer - May 2013 - 5
American Cinematographer - May 2013 - 6
American Cinematographer - May 2013 - 7
American Cinematographer - May 2013 - 8
American Cinematographer - May 2013 - 9
American Cinematographer - May 2013 - Editor’s Note
American Cinematographer - May 2013 - 11
American Cinematographer - May 2013 - President’s Desk
American Cinematographer - May 2013 - 13
American Cinematographer - May 2013 - Short Takes: “Suit & Tie”
American Cinematographer - May 2013 - 15
American Cinematographer - May 2013 - 16
American Cinematographer - May 2013 - 17
American Cinematographer - May 2013 - 18
American Cinematographer - May 2013 - 19
American Cinematographer - May 2013 - Production Slate: Trance • The Reluctant Fundamentalist
American Cinematographer - May 2013 - 21
American Cinematographer - May 2013 - 22
American Cinematographer - May 2013 - 23
American Cinematographer - May 2013 - 24
American Cinematographer - May 2013 - 25
American Cinematographer - May 2013 - 26
American Cinematographer - May 2013 - 27
American Cinematographer - May 2013 - 28
American Cinematographer - May 2013 - 29
American Cinematographer - May 2013 - 30
American Cinematographer - May 2013 - 31
American Cinematographer - May 2013 - 32
American Cinematographer - May 2013 - 33
American Cinematographer - May 2013 - Surviving the Future
American Cinematographer - May 2013 - 35
American Cinematographer - May 2013 - 36
American Cinematographer - May 2013 - 37
American Cinematographer - May 2013 - 38
American Cinematographer - May 2013 - 39
American Cinematographer - May 2013 - 40
American Cinematographer - May 2013 - 41
American Cinematographer - May 2013 - 42
American Cinematographer - May 2013 - 43
American Cinematographer - May 2013 - 44
American Cinematographer - May 2013 - 45
American Cinematographer - May 2013 - 46
American Cinematographer - May 2013 - 47
American Cinematographer - May 2013 - A Trailblazer’s Tale
American Cinematographer - May 2013 - 49
American Cinematographer - May 2013 - 50
American Cinematographer - May 2013 - 51
American Cinematographer - May 2013 - 52
American Cinematographer - May 2013 - 53
American Cinematographer - May 2013 - 54
American Cinematographer - May 2013 - 55
American Cinematographer - May 2013 - Conjuring Hope
American Cinematographer - May 2013 - 57
American Cinematographer - May 2013 - 58
American Cinematographer - May 2013 - 59
American Cinematographer - May 2013 - 60
American Cinematographer - May 2013 - 61
American Cinematographer - May 2013 - 62
American Cinematographer - May 2013 - 63
American Cinematographer - May 2013 - 64
American Cinematographer - May 2013 - 65
American Cinematographer - May 2013 - The ABCs of DMX
American Cinematographer - May 2013 - 67
American Cinematographer - May 2013 - 68
American Cinematographer - May 2013 - 69
American Cinematographer - May 2013 - 70
American Cinematographer - May 2013 - 71
American Cinematographer - May 2013 - Star Tech
American Cinematographer - May 2013 - 73
American Cinematographer - May 2013 - 74
American Cinematographer - May 2013 - 75
American Cinematographer - May 2013 - 76
American Cinematographer - May 2013 - Hot Shots
American Cinematographer - May 2013 - 78
American Cinematographer - May 2013 - 79
American Cinematographer - May 2013 - 80
American Cinematographer - May 2013 - 81
American Cinematographer - May 2013 - 82
American Cinematographer - May 2013 - 83
American Cinematographer - May 2013 - 84
American Cinematographer - May 2013 - 85
American Cinematographer - May 2013 - 86
American Cinematographer - May 2013 - 87
American Cinematographer - May 2013 - 88
American Cinematographer - May 2013 - 89
American Cinematographer - May 2013 - New Products & Services
American Cinematographer - May 2013 - 91
American Cinematographer - May 2013 - 92
American Cinematographer - May 2013 - 93
American Cinematographer - May 2013 - International Marketplace
American Cinematographer - May 2013 - Classified Ads
American Cinematographer - May 2013 - Ad Index
American Cinematographer - May 2013 - 97
American Cinematographer - May 2013 - Clubhouse News
American Cinematographer - May 2013 - 99
American Cinematographer - May 2013 - ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - Cover3
American Cinematographer - May 2013 - Cover4
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