American Cinematographer - June 2007 - 71

Opposite: Daniela Jasper, one of the Swiss mountaineers featured in The Alps, climbs the north face of Mount Eiger. This page, left: A colorful view of the infamous peak. Below: Climber John Harlin III, whose father perished on an identical climb in 1966, prepares for the ascent. The Alps follows John Harlin III, an Oregon-based climber who endeavors to scale the notorious north face of the Eiger. This wasn’t just any expedition for the experienced mountaineer: his father, John Harlin II, had fallen to his death while trying to climb the Eiger in 1966, four years after he’d won fame for being the first American to scale the north face. When his rope broke at 4,000', he was pioneering a more difficult and direct route, and the media had gathered for the event and witnessed his plummet. At the time, John III was 9 years old. In 2006, the son felt ready to face his demons on the mountain. The Alps follows him and his family to Switzerland, and his climb is preceded by informational sequences that show them traveling around Switzerland and learning about the formation of the Alps, avalanche studies, the effect of global warming on glaciers, and alpine culture. Harlin also trains with Swiss mountaineers Robert and Daniela Jasper, who will be his climbing partners on the Eiger. To capture the personal nature of Harlin’s expedition, director/co-writer Steve Judson felt it was important to combine aerial pho- tography with intimate shots. “Compared to most large-format films, The Alps probably has more extreme jumps back and forth from close-ups to extreme wide shots,” says Judson. “I wanted people to get an intimate feeling for the characters as well as a sense of the overwhelming landscape that challenges them.” MacGillivray Freeman Films has made 34 large-format films, including Everest (1998), one of the most lucrative Imax films ever made. For The Alps, they knew they needed cinematographers who were mountaineering and aerial-photography experts, and they eventually assembled three camera teams. Brad Ohlund, a camera operator on Everest, served as director of photography, and he and Greg MacGillivray were responsible for all filming on what Judson calls “safe ground” — land-based photography that didn’t involve climbing. (Ohlund was unavailable for an interview because he had returned to Everest for his next project.) The production brought climber/cinematographer Michael Brown (Farther Than the Eye Can See) onboard as director of mountain photography. For the view from the skies, the filmmakers tapped Ron Goodman, a long-time collaborator and president of SpaceCam Systems. The crew also included 1st ACs Rob Walker and Jochen Schmoll and several Swiss helicop- Photos courtesy of MacGillivray Freeman Pictures and Holcim. American Cinematographer 71

American Cinematographer - June 2007

Table of Contents for the Digital Edition of American Cinematographer - June 2007

Contents
Editor’s Note
DVD Playback
The Beauty of P2HD
Production Slate
All Hands on Deck
A Fantastic Experience
A Killer Within
Treacherous Ascent
Short Takes
Post Focus
Filmmakers’ Forum
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
ASC Membership Roster
ASC Close-Up
American Cinematographer - June 2007 - Intro
American Cinematographer - June 2007 - Cover1
American Cinematographer - June 2007 - Cover2
American Cinematographer - June 2007 - 1
American Cinematographer - June 2007 - 2
American Cinematographer - June 2007 - Contents
American Cinematographer - June 2007 - 4
American Cinematographer - June 2007 - 5
American Cinematographer - June 2007 - 6
American Cinematographer - June 2007 - 7
American Cinematographer - June 2007 - 8
American Cinematographer - June 2007 - 9
American Cinematographer - June 2007 - Editor’s Note
American Cinematographer - June 2007 - 11
American Cinematographer - June 2007 - DVD Playback
American Cinematographer - June 2007 - 13
American Cinematographer - June 2007 - 14
American Cinematographer - June 2007 - 15
American Cinematographer - June 2007 - 16
American Cinematographer - June 2007 - The Beauty of P2HD
American Cinematographer - June 2007 - Insert2
American Cinematographer - June 2007 - Insert3
American Cinematographer - June 2007 - Insert4
American Cinematographer - June 2007 - Insert5
American Cinematographer - June 2007 - Insert6
American Cinematographer - June 2007 - Insert7
American Cinematographer - June 2007 - Insert8
American Cinematographer - June 2007 - Insert9
American Cinematographer - June 2007 - Insert10
American Cinematographer - June 2007 - Insert11
American Cinematographer - June 2007 - Insert12
American Cinematographer - June 2007 - 17
American Cinematographer - June 2007 - Production Slate
American Cinematographer - June 2007 - 19
American Cinematographer - June 2007 - 20
American Cinematographer - June 2007 - 21
American Cinematographer - June 2007 - 22
American Cinematographer - June 2007 - 23
American Cinematographer - June 2007 - 24
American Cinematographer - June 2007 - 25
American Cinematographer - June 2007 - 26
American Cinematographer - June 2007 - 27
American Cinematographer - June 2007 - 28
American Cinematographer - June 2007 - 29
American Cinematographer - June 2007 - 30
American Cinematographer - June 2007 - 31
American Cinematographer - June 2007 - All Hands on Deck
American Cinematographer - June 2007 - 33
American Cinematographer - June 2007 - 34
American Cinematographer - June 2007 - CardA
American Cinematographer - June 2007 - CardB
American Cinematographer - June 2007 - 35
American Cinematographer - June 2007 - 36
American Cinematographer - June 2007 - 37
American Cinematographer - June 2007 - 38
American Cinematographer - June 2007 - 39
American Cinematographer - June 2007 - 40
American Cinematographer - June 2007 - 41
American Cinematographer - June 2007 - 42
American Cinematographer - June 2007 - 43
American Cinematographer - June 2007 - 44
American Cinematographer - June 2007 - 45
American Cinematographer - June 2007 - 46
American Cinematographer - June 2007 - 47
American Cinematographer - June 2007 - 48
American Cinematographer - June 2007 - 49
American Cinematographer - June 2007 - A Fantastic Experience
American Cinematographer - June 2007 - 51
American Cinematographer - June 2007 - 52
American Cinematographer - June 2007 - 53
American Cinematographer - June 2007 - 54
American Cinematographer - June 2007 - OrderA
American Cinematographer - June 2007 - OrderB
American Cinematographer - June 2007 - 55
American Cinematographer - June 2007 - 56
American Cinematographer - June 2007 - 57
American Cinematographer - June 2007 - 58
American Cinematographer - June 2007 - 59
American Cinematographer - June 2007 - 60
American Cinematographer - June 2007 - 61
American Cinematographer - June 2007 - A Killer Within
American Cinematographer - June 2007 - 63
American Cinematographer - June 2007 - 64
American Cinematographer - June 2007 - 64a
American Cinematographer - June 2007 - 64b
American Cinematographer - June 2007 - 65
American Cinematographer - June 2007 - 66
American Cinematographer - June 2007 - 67
American Cinematographer - June 2007 - 68
American Cinematographer - June 2007 - 69
American Cinematographer - June 2007 - Treacherous Ascent
American Cinematographer - June 2007 - 71
American Cinematographer - June 2007 - 72
American Cinematographer - June 2007 - 73
American Cinematographer - June 2007 - 74
American Cinematographer - June 2007 - 75
American Cinematographer - June 2007 - 76
American Cinematographer - June 2007 - 77
American Cinematographer - June 2007 - 78
American Cinematographer - June 2007 - 79
American Cinematographer - June 2007 - 80
American Cinematographer - June 2007 - 81
American Cinematographer - June 2007 - Short Takes
American Cinematographer - June 2007 - 83
American Cinematographer - June 2007 - 84
American Cinematographer - June 2007 - 85
American Cinematographer - June 2007 - 86
American Cinematographer - June 2007 - 87
American Cinematographer - June 2007 - Post Focus
American Cinematographer - June 2007 - 89
American Cinematographer - June 2007 - 90
American Cinematographer - June 2007 - 91
American Cinematographer - June 2007 - 92
American Cinematographer - June 2007 - 93
American Cinematographer - June 2007 - 94
American Cinematographer - June 2007 - 95
American Cinematographer - June 2007 - Filmmakers’ Forum
American Cinematographer - June 2007 - 97
American Cinematographer - June 2007 - 98
American Cinematographer - June 2007 - 99
American Cinematographer - June 2007 - 100
American Cinematographer - June 2007 - 101
American Cinematographer - June 2007 - New Products & Services
American Cinematographer - June 2007 - 103
American Cinematographer - June 2007 - 104
American Cinematographer - June 2007 - 105
American Cinematographer - June 2007 - 106
American Cinematographer - June 2007 - 107
American Cinematographer - June 2007 - 108
American Cinematographer - June 2007 - 109
American Cinematographer - June 2007 - 110
American Cinematographer - June 2007 - 111
American Cinematographer - June 2007 - 112
American Cinematographer - June 2007 - 113
American Cinematographer - June 2007 - 114
American Cinematographer - June 2007 - 115
American Cinematographer - June 2007 - International Marketplace
American Cinematographer - June 2007 - Classified Ads
American Cinematographer - June 2007 - Ad Index
American Cinematographer - June 2007 - 119
American Cinematographer - June 2007 - ASC Membership Roster
American Cinematographer - June 2007 - 121
American Cinematographer - June 2007 - ASC Membership Roster
American Cinematographer - June 2007 - 123
American Cinematographer - June 2007 - ASC Close-Up
American Cinematographer - June 2007 - Cover3
American Cinematographer - June 2007 - Cover4
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