American Cinematographer - May 2013 - 51

coming into the grade cold and starting
from scratch.”
Burgess captured 42 in 5K 2:1
mode for a final aspect ratio of 2.40:1,
recording R3D files onto Red SSD
cards. (He used a compression rate of
5:1.) Filmmakers viewed images on set
on OLED monitors, and waveform
monitors were used to judge exposure.
Footage was downloaded at an HD
Mobile Labs GoCart manned by Tudor,
who then applied preset look-up tables
to the imagery. She explains, “I
performed a check sum on the media
and then applied the looks using Red
Cine X Pro and an Avid Artist Color
panel. Most of the picture was shot
outside in the South, where cloud coverage can vary by the minute, so each take
had to be graded separately to create an
even look.”
Tudor then transferred her files to
digital-imaging technician Mark
Gilmer, who worked in a dailies trailer,
and he processed the media and
produced dailies using a specially
configured Light Iron Outpost cart.
Typically, each day at lunch, the filmmakers watched dailies on a 4'x6' screen
in the trailer.
Helgeland and Burgess decided
to maintain a mobile camera using a
mix of handheld, Steadicam and dolly
work in order to achieve multiple goals.
They wanted to bring viewers into
Robinson’s world; offer wide, layered
views of the people and activities that
characterize a baseball diamond; and
create what A-camera/Steadicam operator Matthew Moriarty calls “a high
level of visual energy.”
There was also a loose goal to
evoke the look of certain late-1960s and
1970s feature films, though not particularly baseball movies. “Jackie Robinson
was a man of action and few words, sort
of like a 1970s-movie character,” notes
Helgeland. “We liked the grit and feel of
those movies.” One major reference was
Cool Hand Luke (1967), shot by Conrad
L. Hall, ASC. Helgeland raves about
Hall’s compositions, which “fill up the
frame with bodies. There is an ensemble
around Paul Newman in that movie,

Top: The crew
utilized circular
track for a shot
of Boseman at
the plate.
Bottom:
Daylight is
reflected off
bounce boards
and the camera
is positioned on
the "golf rocket"
— an electric
golf cart — for
a shot along
the baseline.

and we tried to have an ensemble
around Jackie Robinson.”
“We often have big masters that
involve eight or 10 different speaking
actors, so you get a sense of layers
— foreground, mid-ground and background,” says Moriarty. “I loved that
discipline. We were shooting wide
enough to see the sets, letting actors
perform with their whole bodies, and
trusting the audience to look where we
wanted them to look. We shot minimal
coverage. Brian put tremendous faith in
Don’s ability to make a shot work in one
[master].”
www.theasc.com

The majority of the handheld
work is what Burgess describes as “quiet
handheld.” Moriarty suggests a definition: “There is a human being holding
the camera, with a sense of quiet breathing, perhaps, but subtle enough that the
effect is mostly unconscious. The audience should get a sense of rawness or
uncertainty without being hit over the
head. The look of the movie is otherwise so elegant that the handheld
moments were all carefully thought out
so as not to stick out visually.” Burgess
adds, “There are action sequences that
involve pushing and shoving, and we
May 2013

51


http://www.theasc.com

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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