American Cinematographer - June 2010 - 22

Gail (Lauren Sweetser) is one of the friends Ree calls upon in her quest to locate her father.

minute window to shoot all of that,” says McDonough. “We had maybe two takes.” With the light nearly gone, the second, slightly zoomed-in take required them to switch off the electronic shutter for extra exposure. “Debra and the editor loved the tighter shot, but to me, it’s the one shot in the movie that looks like video,” admits McDonough. “Because there’s no shutter, there’s a smearing effect.” Night-for-night was trickier still. Filming on dry land, with the camera angled low, the filmmakers shot close-ups of the women in the boat, retrieving their gruesome catch. “We used 4-by-4 Kino Flos with 250 diffusion in the foreground, and bounced a 2K Fresnel into a trough of water to create the ripple effect of moonlight on the pond,” says McDonough. The difficult part was matching the day’s earlier footage. “The background was lit with our 4K HMI Pars because we needed some extra intensity, some edgelight on the branches and trees, to mimic the intensity of the sunlight we’d encountered in the day-for-night shoot. We also back-/edgelit the actors with a couple of 2K Blondes. We were able to minimize the color difference between the tungsten and HMI lights in the digital intermediate, as the whole palette was shifted quite dramatically.” After RAW data was converted to 10-bit DPX files, McDonough spent six days on the digital grade at Technicolor New York, where he worked with colorist Tim Stipan on an Autodesk Lustre Incinerator platform. The finalized files were recorded
22

out to 35mm, and a festival print was struck on Fuji Eterna-CP 3513DI. “Once the prints went through the IN/IP stage, I found the Fuji print stock too low-contrast, so our general-release prints will be done on Kodak Vision Premier [2393],” notes McDonough. Granik was pleased when she saw Winter’s Bone projected on the big screens at the Sundance and Berlin film festivals this year. “I wanted the Red reps in there so I could say, ‘Baby, it held up well!’” she says. McDonough also gives the Red positive reviews, but with qualifications: “Even though it’s a beautiful image, it’s a frustrating workflow.” With Panavision’s Genesis, he explains, you can shoot tests, colorcorrect them and then plug those look-up tables back into the camera to have that metadata ride with the dailies. But with the Red, “you can only affect the image coming out of the Red on the monitor, not in the camera. So you have to go back to zero in post, and that’s frustrating. But I believe digital cinema is the future, and it’s going to get better.”

TECHNICAL SPECS
1.85:1 Digital Capture Red One Arri and Angenieux lenses Digital Intermediate Printed on Kodak Vision Premier 2393

➣


http://www.theasc.com

American Cinematographer - June 2010

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

The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
Features
Slings and Arrows (Robin Hood)
Desert Storm (Prince of Persia)
Very French Revenge (Micmacs)
Painting Towns White (The White Stripes)
Departments
Editor’s Note
President’s Desk
Short Takes: Land and Bread
Production Slate: Winter’s Bone • Harry Brown
Post Focus: Enhancing Frozen
Tricks of the Trade: Using Red’s False Color
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover1
American Cinematographer - June 2010 - Cover2
American Cinematographer - June 2010 - The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
American Cinematographer - June 2010 - 2
American Cinematographer - June 2010 - 3
American Cinematographer - June 2010 - 4
American Cinematographer - June 2010 - 5
American Cinematographer - June 2010 - 6
American Cinematographer - June 2010 - 7
American Cinematographer - June 2010 - Editor’s Note
American Cinematographer - June 2010 - 9
American Cinematographer - June 2010 - President’s Desk
American Cinematographer - June 2010 - 11
American Cinematographer - June 2010 - Short Takes: Land and Bread
American Cinematographer - June 2010 - 13
American Cinematographer - June 2010 - 14
American Cinematographer - June 2010 - 15
American Cinematographer - June 2010 - Production Slate: Winter’s Bone • Harry Brown
American Cinematographer - June 2010 - 17
American Cinematographer - June 2010 - 18
American Cinematographer - June 2010 - 19
American Cinematographer - June 2010 - 20
American Cinematographer - June 2010 - 21
American Cinematographer - June 2010 - 22
American Cinematographer - June 2010 - 23
American Cinematographer - June 2010 - 24
American Cinematographer - June 2010 - 25
American Cinematographer - June 2010 - 26
American Cinematographer - June 2010 - 27
American Cinematographer - June 2010 - 28
American Cinematographer - June 2010 - 29
American Cinematographer - June 2010 - Slings and Arrows (Robin Hood)
American Cinematographer - June 2010 - 31
American Cinematographer - June 2010 - 32
American Cinematographer - June 2010 - 33
American Cinematographer - June 2010 - 34
American Cinematographer - June 2010 - 35
American Cinematographer - June 2010 - 36
American Cinematographer - June 2010 - 37
American Cinematographer - June 2010 - 38
American Cinematographer - June 2010 - 39
American Cinematographer - June 2010 - 40
American Cinematographer - June 2010 - 41
American Cinematographer - June 2010 - Desert Storm (Prince of Persia)
American Cinematographer - June 2010 - 43
American Cinematographer - June 2010 - 44
American Cinematographer - June 2010 - 45
American Cinematographer - June 2010 - 46
American Cinematographer - June 2010 - 47
American Cinematographer - June 2010 - 48
American Cinematographer - June 2010 - 49
American Cinematographer - June 2010 - 50
American Cinematographer - June 2010 - 51
American Cinematographer - June 2010 - Very French Revenge (Micmacs)
American Cinematographer - June 2010 - 53
American Cinematographer - June 2010 - 54
American Cinematographer - June 2010 - 55
American Cinematographer - June 2010 - 56
American Cinematographer - June 2010 - 57
American Cinematographer - June 2010 - 58
American Cinematographer - June 2010 - 59
American Cinematographer - June 2010 - 60
American Cinematographer - June 2010 - 61
American Cinematographer - June 2010 - 62
American Cinematographer - June 2010 - 63
American Cinematographer - June 2010 - Painting Towns White (The White Stripes)
American Cinematographer - June 2010 - 65
American Cinematographer - June 2010 - 66
American Cinematographer - June 2010 - 67
American Cinematographer - June 2010 - 68
American Cinematographer - June 2010 - 69
American Cinematographer - June 2010 - 70
American Cinematographer - June 2010 - 71
American Cinematographer - June 2010 - Post Focus: Enhancing Frozen
American Cinematographer - June 2010 - 73
American Cinematographer - June 2010 - 74
American Cinematographer - June 2010 - 75
American Cinematographer - June 2010 - 76
American Cinematographer - June 2010 - 77
American Cinematographer - June 2010 - Tricks of the Trade: Using Red’s False Color
American Cinematographer - June 2010 - 79
American Cinematographer - June 2010 - New Products & Services
American Cinematographer - June 2010 - 81
American Cinematographer - June 2010 - 82
American Cinematographer - June 2010 - 83
American Cinematographer - June 2010 - 84
American Cinematographer - June 2010 - 85
American Cinematographer - June 2010 - 86
American Cinematographer - June 2010 - 87
American Cinematographer - June 2010 - 88
American Cinematographer - June 2010 - 89
American Cinematographer - June 2010 - 90
American Cinematographer - June 2010 - 91
American Cinematographer - June 2010 - International Marketplace
American Cinematographer - June 2010 - 93
American Cinematographer - June 2010 - Classified Ads/Ad Index
American Cinematographer - June 2010 - 95
American Cinematographer - June 2010 - ASC Membership Roster
American Cinematographer - June 2010 - 97
American Cinematographer - June 2010 - Clubhouse News
American Cinematographer - June 2010 - 99
American Cinematographer - June 2010 - ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover3
American Cinematographer - June 2010 - Cover4
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