American Cinematographer - June 2010 - 60
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Very French Revenge
Right: African rebels (from left: Laurant Mendy, Doudou Masta and Marc Stussy) show up at Marconi’s apartment to take him prisoner. Below: The Micmacs’ junkyard cave mixes warm highlights and subtle, cooler darks.
Visual-effects supervisor Alain Carsoux was often on the set. Although Micmacs’ visual effects are not elaborate, they are key to the poetic feel of the film. Carsoux and his team at Duran Duboi are responsible, for example, for Jeunet’s trademark inserts of images inside the frame to represent thought balloons, as when Bazil’s bullet acts up and he calms himself with rote memories. Carsoux observes that CGI is sometimes done in “2½-D,” not quite 3-D. He explains that a true 3-D virtual
60 June 2010
object is expensive and time-consuming to create, so he often opts for digital effects that mix 3-D CGI objects with 2-D photographic plates. As an example, he cites a crane move at the end of Micmacs that cranes up to reveal a canal and a Parisian landscape behind sand dunes created to look like Morocco. The final image, he says, is “a series of layers, not continual like real 3-D.” In this example, the challenge was to make the 2-D elements — the trucks, the barge and the Paris cityscape — move relative to the foreground dunes in a
American Cinematographer
convincing way as the crane moved up. “It’s a bit like what we do now to convert 2-D movies to 3-D [in post] — you break the image up into layers and move them relative to each other.” Carsoux adds that the 2½-D technique can only be done with objects that are in the distance, because close objects change too much with movement and therefore require full 3-D rendering. Another key collaborator on Micmacs was colorist Didier Lefouest, who has worked on many commercials with both Nagata and Jeunet. Lefouest explains that the color timing of Micmacs began with tests during prep and continued with graded dailies throughout production, so the look was pretty well defined by the time the filmmakers began the DI. Like Carsoux, Lefouest was often present during the shoot. The dailies footage was telecined on a Spirit, and Lefouest timed the footage every day using a DaVinci. Jeunet viewed HD dailies with his crew using a projection setup in a trailer. Whenever there was a major change in location, or another grading issue, Lefouest would go to the set to review his timed dailies with Jeunet and Nagata. ➣
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
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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
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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
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American Cinematographer - June 2010 - 60
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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
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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
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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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