American Cinematographer - June 2013 - I9

naturalistic, because it takes a lot of work to make it look
real. The light comes from the windows, but there is always a
refl ector outside mimicking daylight. At the same time, it’s an
enhanced realism. That is the way I usually work. The design,
location and wardrobe changes, of course, are specifi c to the
project.”
Goldman eschewed extreme angles or wide angle lenses,
opting instead for a “classic, elegant and sober” look.
The grand courtroom locations lent an August air to the
proceedings. The production was only allowed access to these
working chambers on Sundays, and they faced strict limits on
rigging.
“These interiors were very beautiful,” says Goldman.
“You could feel the tradition. It was important to establish
the weight of the law and how it affects these characters.
It’s absolutely different from shooting on a soundstage. We
bounced sources on white walls, and in one case, they allowed
us to have one big HMI balloon light. I think the London legal
world is really well shown in the fi lm.”
The grip crew set up tracks for almost every dolly shot.
That way, if Crowley decided to add some movement to a
given shot, the work was already done. “I think that these
subtle moves add a special touch to the movie,” says
Goldman. “Once we get into the thriller part of the story,
STEADICAM and handheld cameras played a more important
role, adding motion, speed and tension. In the second half of
“I prefer to call our approach
realistic, as opposed to
naturalistic, because it takes
a lot of work to make it look
real.”
the movie, there are quite a few sequences where we chose
unique compositions and more exciting camera work.”
An ARRICAM LT was the main camera, with ZEISS Master
Prime lenses, and two lightweight zooms. About 70% of the
fi lm was shot on KODAK VISION3 500T Color Negative Film
5219. On bright day exteriors, Goldman went with KODAK
VISION3 200T Color Negative Film 5213.
much, especially on close-ups,” he says. “I can also put some
sharpness back on the DI and I can still maintain the softness
on the skin.
“I’m very happy with Rebecca’s close-ups in the fi lm,” he
says. “We want her to look beautiful, but not too much. I
never wanted this to look like a commercial, ever. She is a
real character, not a perfect female leading actor. I’m glad I
found a way to make it look elegant and soft, and fi lm was an
important part of that. I don’t really trust the skin tones on
most digital cameras.”
The digital intermediate was done at Technicolor Creative
Services in London with colorist Paul Ensby — one of the best,
according to Goldman. The decision to originate on 35mm
fi lm also paid dividends in post-production.
“The colorists I’ve been working with say that material
originated on digital cameras feels like a thin negative,”
says Goldman. “With fi lm, you can dig deep to enrich the
image. There’s a lot of latitude there, a lot of quality. We
did the Closed Circuit grade in 80 hours, and we had plenty
of time. We went through it four times. If I had shot on a
digital format, I would have needed more time. The people at
Technicolor gave us excellent service with no problems. They
have seen everything, and they also think fi lm is the better
support for images.”
“For some cloudy day exteriors, I used the 500T Film,” he
says. “I honestly think it’s the best stock — I really like the
grain, even when it is as fi ne as we get with the [52]19. I like
the soft texture it gives me.”
Goldman shot with a half Soft/FX fi lter on 90% of the
fi lm. “It gives me a little extra softness that I actually like very
Closed Circuit is scheduled for an August release.
Photos: Top left: Eric Bana stars as Martin Rose in John Crowley’s Closed Circuit, a Focus
Features release. Bottom left: (l to r) Bana as Rose and Ciaran Hinds, who stars as Devlin.
Top right: Rebecca Hall stars as Claudia Simmons-Howe. Bottom right: Bana as Rose.
(Courtesy Focus Features.)

American Cinematographer - June 2013

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

American Cinematographer - June 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “The Volt Plasma Challenge”
Production Slate: Frances Ha • Spring Breakers
Boldly Captured
Living Large
A Killer with 2 Faces
Utopian Dreams
Filmmakers’ Forum: Edgar Burcksen, ACE
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Shelly Johnson
American Cinematographer - June 2013 - American Cinematographer - June 2013
American Cinematographer - June 2013 - Cover2
American Cinematographer - June 2013 - Contents
American Cinematographer - June 2013 - 2
American Cinematographer - June 2013 - 3
American Cinematographer - June 2013 - 4
American Cinematographer - June 2013 - 5
American Cinematographer - June 2013 - 6
American Cinematographer - June 2013 - 7
American Cinematographer - June 2013 - 8
American Cinematographer - June 2013 - 9
American Cinematographer - June 2013 - Editor’s Note
American Cinematographer - June 2013 - 11
American Cinematographer - June 2013 - President’s Desk
American Cinematographer - June 2013 - 13
American Cinematographer - June 2013 - Short Takes: “The Volt Plasma Challenge”
American Cinematographer - June 2013 - 15
American Cinematographer - June 2013 - 16
American Cinematographer - June 2013 - 17
American Cinematographer - June 2013 - 18
American Cinematographer - June 2013 - 19
American Cinematographer - June 2013 - Production Slate: Frances Ha • Spring Breakers
American Cinematographer - June 2013 - 21
American Cinematographer - June 2013 - 22
American Cinematographer - June 2013 - 23
American Cinematographer - June 2013 - 24
American Cinematographer - June 2013 - 25
American Cinematographer - June 2013 - 26
American Cinematographer - June 2013 - 27
American Cinematographer - June 2013 - 28
American Cinematographer - June 2013 - 29
American Cinematographer - June 2013 - 30
American Cinematographer - June 2013 - 31
American Cinematographer - June 2013 - 32
American Cinematographer - June 2013 - 33
American Cinematographer - June 2013 - Boldly Captured
American Cinematographer - June 2013 - 35
American Cinematographer - June 2013 - 36
American Cinematographer - June 2013 - 37
American Cinematographer - June 2013 - 38
American Cinematographer - June 2013 - 39
American Cinematographer - June 2013 - 40
American Cinematographer - June 2013 - 41
American Cinematographer - June 2013 - 42
American Cinematographer - June 2013 - 43
American Cinematographer - June 2013 - 44
American Cinematographer - June 2013 - 45
American Cinematographer - June 2013 - 46
American Cinematographer - June 2013 - 47
American Cinematographer - June 2013 - Living Large
American Cinematographer - June 2013 - 49
American Cinematographer - June 2013 - 50
American Cinematographer - June 2013 - 51
American Cinematographer - June 2013 - 52
American Cinematographer - June 2013 - 53
American Cinematographer - June 2013 - 54
American Cinematographer - June 2013 - 55
American Cinematographer - June 2013 - 56
American Cinematographer - June 2013 - 57
American Cinematographer - June 2013 - 58
American Cinematographer - June 2013 - 59
American Cinematographer - June 2013 - A Killer with 2 Faces
American Cinematographer - June 2013 - 61
American Cinematographer - June 2013 - 62
American Cinematographer - June 2013 - 63
American Cinematographer - June 2013 - 64
American Cinematographer - June 2013 - I1
American Cinematographer - June 2013 - I2
American Cinematographer - June 2013 - I3
American Cinematographer - June 2013 - I4
American Cinematographer - June 2013 - I5
American Cinematographer - June 2013 - I6
American Cinematographer - June 2013 - I7
American Cinematographer - June 2013 - I8
American Cinematographer - June 2013 - I9
American Cinematographer - June 2013 - I10
American Cinematographer - June 2013 - I11
American Cinematographer - June 2013 - I12
American Cinematographer - June 2013 - 65
American Cinematographer - June 2013 - 66
American Cinematographer - June 2013 - 67
American Cinematographer - June 2013 - Utopian Dreams
American Cinematographer - June 2013 - 69
American Cinematographer - June 2013 - 70
American Cinematographer - June 2013 - 71
American Cinematographer - June 2013 - 72
American Cinematographer - June 2013 - 73
American Cinematographer - June 2013 - 74
American Cinematographer - June 2013 - 75
American Cinematographer - June 2013 - 76
American Cinematographer - June 2013 - 77
American Cinematographer - June 2013 - 78
American Cinematographer - June 2013 - 79
American Cinematographer - June 2013 - 80
American Cinematographer - June 2013 - 81
American Cinematographer - June 2013 - Filmmakers’ Forum: Edgar Burcksen, ACE
American Cinematographer - June 2013 - 83
American Cinematographer - June 2013 - 84
American Cinematographer - June 2013 - 85
American Cinematographer - June 2013 - New Products & Services
American Cinematographer - June 2013 - 87
American Cinematographer - June 2013 - 88
American Cinematographer - June 2013 - 89
American Cinematographer - June 2013 - 90
American Cinematographer - June 2013 - 91
American Cinematographer - June 2013 - 92
American Cinematographer - June 2013 - 93
American Cinematographer - June 2013 - 94
American Cinematographer - June 2013 - 95
American Cinematographer - June 2013 - 96
American Cinematographer - June 2013 - 97
American Cinematographer - June 2013 - 98
American Cinematographer - June 2013 - 99
American Cinematographer - June 2013 - International Marketplace
American Cinematographer - June 2013 - Classified Ads
American Cinematographer - June 2013 - Ad Index
American Cinematographer - June 2013 - 103
American Cinematographer - June 2013 - ASC Membership Roster
American Cinematographer - June 2013 - 105
American Cinematographer - June 2013 - Clubhouse News
American Cinematographer - June 2013 - 107
American Cinematographer - June 2013 - ASC Close-Up: Shelly Johnson
American Cinematographer - June 2013 - Cover3
American Cinematographer - June 2013 - Cover4
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