American Cinematographer - July 2009 - 18

Above left: Bell begins to question his sanity as events aboard the ship take a mysterious turn. Above right: The astronaut’s only companion on the mission is a robot, Gerty. Below: To achieve shots of the two Sam clones interacting in the relatively cramped set, visual-effects supervisors Gavin Rothery and Simon Stanley Clamp employed the Sprog, a new motion-control rig. these scenes was Michael Light’s book Full Moon, which features NASA photos from Apollo missions. To re-create the stark light that is unfiltered by atmosphere and surrounded by darkness, “we used a single 20K lamp,” says Shaw. “It had to look unrelenting, quite hard and nasty. There were a few supplementary pieces and quite a few practicals inside the Rover; we used flashing lights, a very small Kino here and there to fill in, and the odd bit of poly to bounce it back.” Shaw’s biggest challenge with the greenscreen work was not losing Rockwell in his reflective helmet. “It was like a chrome bowl covering his entire head, and it took a lot of flagging to keep the green off it,” says the cinematographer. “We brought in big blacks and isolated the area where Sam was. That was the only way to do it.” Miniatures specialist Peter Talbot was brought in for five days of model photography, and for that work, too, harsh light was paramount. “Having studied just about every photo and footage of the moon’s surface, I knew I’d have to achieve long, hard, deep shadows to emphasize the clarity created by the lack of atmosphere and the sheer distance of the sun,” says Talbot. “Naturally, that’s the hardest thing to create in a studio. Standard Fresnel studio lamps don’t give the hard, sharp light, especially at close-up inspection. In lunar photography, there is no atmosphere to create fill, so the sun’s light is the dominant source, and any fill comes from the moon’s surface. The high contrast ratio was a very delicate balance.” When lunar vehicles drive to the dark side of the moon, that balance shifted. “There, I used a soft, overhead key light with a slightly higher-thannormal fill ratio to bring out the subtle tones and deep shadows,” says Talbot. “Although a soft light was used, it had the appearance of a hard light source, so visually, the moon’s surface was slightly darker than the millions of stars and galaxies visible in the sky. Scenarios like that are where Kodak [Vision3 500T] 5219 comes into its own.” Talbot photographed all the miniatures work on the new 500-speed stock. “The moon’s surface, having a monotone texture, needs a film stock that has an incredibly clean tonal range, from the deepest black to the brightest highlight, without contaminating the scene with colored 18 July 2009

American Cinematographer - July 2009

Table of Contents for the Digital Edition of American Cinematographer - July 2009

American Cinematographer - July 2009
Contents
Editor’s Note
Short Takes: Puppy Love
Production Slate: Moon and Séraphine
Big Guns
Impressionistic Cinema
Risk and Valor
Terror on the Tracks
Post Focus: Mega Playground’s DP Dailies
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Jack Cardiff, BSC
Clubhouse News
ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - American Cinematographer - July 2009
American Cinematographer - July 2009 - Cover2
American Cinematographer - July 2009 - 1
American Cinematographer - July 2009 - 2
American Cinematographer - July 2009 - Contents
American Cinematographer - July 2009 - 4
American Cinematographer - July 2009 - 5
American Cinematographer - July 2009 - 6
American Cinematographer - July 2009 - 7
American Cinematographer - July 2009 - Editor’s Note
American Cinematographer - July 2009 - 9
American Cinematographer - July 2009 - Short Takes: Puppy Love
American Cinematographer - July 2009 - 11
American Cinematographer - July 2009 - 12
American Cinematographer - July 2009 - 13
American Cinematographer - July 2009 - Production Slate: Moon and Séraphine
American Cinematographer - July 2009 - 15
American Cinematographer - July 2009 - 16
American Cinematographer - July 2009 - 17
American Cinematographer - July 2009 - 18
American Cinematographer - July 2009 - 19
American Cinematographer - July 2009 - 20
American Cinematographer - July 2009 - 21
American Cinematographer - July 2009 - 22
American Cinematographer - July 2009 - 23
American Cinematographer - July 2009 - Big Guns
American Cinematographer - July 2009 - 25
American Cinematographer - July 2009 - 26
American Cinematographer - July 2009 - 27
American Cinematographer - July 2009 - 28
American Cinematographer - July 2009 - 29
American Cinematographer - July 2009 - 30
American Cinematographer - July 2009 - 31
American Cinematographer - July 2009 - 32
American Cinematographer - July 2009 - 33
American Cinematographer - July 2009 - Impressionistic Cinema
American Cinematographer - July 2009 - 35
American Cinematographer - July 2009 - 36
American Cinematographer - July 2009 - 37
American Cinematographer - July 2009 - 38
American Cinematographer - July 2009 - 39
American Cinematographer - July 2009 - 40
American Cinematographer - July 2009 - 41
American Cinematographer - July 2009 - 42
American Cinematographer - July 2009 - 43
American Cinematographer - July 2009 - Risk and Valor
American Cinematographer - July 2009 - 45
American Cinematographer - July 2009 - 46
American Cinematographer - July 2009 - 47
American Cinematographer - July 2009 - 48
American Cinematographer - July 2009 - 49
American Cinematographer - July 2009 - 50
American Cinematographer - July 2009 - 51
American Cinematographer - July 2009 - Terror on the Tracks
American Cinematographer - July 2009 - 53
American Cinematographer - July 2009 - 54
American Cinematographer - July 2009 - 55
American Cinematographer - July 2009 - 56
American Cinematographer - July 2009 - 57
American Cinematographer - July 2009 - 58
American Cinematographer - July 2009 - 59
American Cinematographer - July 2009 - Post Focus: Mega Playground’s DP Dailies
American Cinematographer - July 2009 - 61
American Cinematographer - July 2009 - 62
American Cinematographer - July 2009 - 63
American Cinematographer - July 2009 - New Products & Services
American Cinematographer - July 2009 - 65
American Cinematographer - July 2009 - 66
American Cinematographer - July 2009 - 67
American Cinematographer - July 2009 - International Marketplace
American Cinematographer - July 2009 - Classified Ads
American Cinematographer - July 2009 - Ad Index
American Cinematographer - July 2009 - 71
American Cinematographer - July 2009 - In Memoriam: Jack Cardiff, BSC
American Cinematographer - July 2009 - 73
American Cinematographer - July 2009 - Clubhouse News
American Cinematographer - July 2009 - 75
American Cinematographer - July 2009 - ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - Cover3
American Cinematographer - July 2009 - Cover4
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