American Cinematographer - July 2011 - 74

Top: Matlosz also employed a Phantom camera for a Chicago Blackhawks spot he directed. Bottom: The author (left) takes five while shooting a casino commercial.

of a boxer who has just been punched, you might choose a sharp shutter angle. But at 1,000 fps, a 180-degree shutter angle is 1/2,000th of a second, and the water will still sparkle and dance through the air with a little bit of motion blur. I usually use a 180degree shutter angle no matter what the frame rate is, but with a digital camera, you can open up all the way to 360 degrees, which gives you an extra stop in your back pocket. N o matter what the rules are, the
74 July 2011

decisions you make depend on your aesthetic preferences. I was a fan of tungsten lighting even before I started shooting high speed. I’m an organic guy, so if you give me a choice between a cold, blue light and a warm, orange glow, I’m going to choose the warm glow. That isn’t always appropriate for the job, but it’s what I’m going to lean toward. Another difference between HMI and tungsten lighting is that HMIs don’t provide you with full-spectrum light. HMI
American Cinematographer

light has no yellows or reds, so you have to add those colors with gels.Changing to the digital format has certainly affected the way I work. As my good friend Rodney Taylor, ASC, told me, “We’re all working from within a box now,” the box being your histogram and waveform. I am completely floored by the quality Vision Research has given us with the Phantom camera. The new Phantom Flex shoots up to 2,500 fps and has a true 800 ASA. What I love about that is that I can add a polarizer and still work at around 200 ASA. I’m a big fan of the polarizer; it’s the only filter I cannot imitate in post. I use it to knock down highlights and make colors pop. I know if I give my post team a nice, colorful image with reduced kicks from intense highlights, I’m giving them a better image to work with. Digital cameras have made highspeed cinematography accessible to the point where it’s being used on low-budget shoots. Instead of rolling over 1 million feet of film, you can walk away with a few terabytes of data. The great thing about shooting high speed is the discovery. Many of us who have shot high speed for a long time have developed what we call our “high-speed eye,” which allows us to see things we believe other people can’t. When I’m driving down the freeway at 65 mph and something gets kicked up off the road, I can identify what it is as it goes flying by my car. I guess it’s just because I’m used to looking at something in real time and having to know how it did or didn’t work at 1,000 fps. It took me more than 20 years to get to that point. My advice to those just starting out would be to do as much research as you can. Read books about cinematography. Watch movies and commercials that speak to you. Call a cinematographer. Work as an assistant. Spend time on set. Find an aesthetic you like and do the research to find out how it was achieved. The more knowledge and experience you have, the more your job will become like second nature. ●



American Cinematographer - July 2011

Table of Contents for the Digital Edition of American Cinematographer - July 2011

American Cinematographer - July 2011
Contents
Editor’s Note
President’s Desk
Letters
Production Slate: Larry Crowne • Mortal Kombat
Monster Out of the Box
Ring of Power
Shot Down in Flames
A Cultural Cataclysm
Ascending Cinematography’s Summit
Post Focus: Prime Focus New York
Filmmakers’ Forum: Jim Matlosz
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Gerald Perry Finnerman, ASC
Clubhouse News
ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - American Cinematographer - July 2011
American Cinematographer - July 2011 - Cover2
American Cinematographer - July 2011 - 1
American Cinematographer - July 2011 - 2
American Cinematographer - July 2011 - Contents
American Cinematographer - July 2011 - 4
American Cinematographer - July 2011 - 5
American Cinematographer - July 2011 - 6
American Cinematographer - July 2011 - 7
American Cinematographer - July 2011 - Editor’s Note
American Cinematographer - July 2011 - 9
American Cinematographer - July 2011 - President’s Desk
American Cinematographer - July 2011 - 11
American Cinematographer - July 2011 - Letters
American Cinematographer - July 2011 - 13
American Cinematographer - July 2011 - Production Slate: Larry Crowne • Mortal Kombat
American Cinematographer - July 2011 - 15
American Cinematographer - July 2011 - 16
American Cinematographer - July 2011 - 17
American Cinematographer - July 2011 - 18
American Cinematographer - July 2011 - 19
American Cinematographer - July 2011 - 20
American Cinematographer - July 2011 - 21
American Cinematographer - July 2011 - 22
American Cinematographer - July 2011 - 23
American Cinematographer - July 2011 - Monster Out of the Box
American Cinematographer - July 2011 - 25
American Cinematographer - July 2011 - 26
American Cinematographer - July 2011 - 27
American Cinematographer - July 2011 - 28
American Cinematographer - July 2011 - 29
American Cinematographer - July 2011 - 30
American Cinematographer - July 2011 - 31
American Cinematographer - July 2011 - 32
American Cinematographer - July 2011 - 33
American Cinematographer - July 2011 - 34
American Cinematographer - July 2011 - 35
American Cinematographer - July 2011 - Ring of Power
American Cinematographer - July 2011 - 37
American Cinematographer - July 2011 - 38
American Cinematographer - July 2011 - 39
American Cinematographer - July 2011 - 40
American Cinematographer - July 2011 - 41
American Cinematographer - July 2011 - 42
American Cinematographer - July 2011 - 43
American Cinematographer - July 2011 - 44
American Cinematographer - July 2011 - 45
American Cinematographer - July 2011 - Shot Down in Flames
American Cinematographer - July 2011 - 47
American Cinematographer - July 2011 - 48
American Cinematographer - July 2011 - 49
American Cinematographer - July 2011 - 50
American Cinematographer - July 2011 - 51
American Cinematographer - July 2011 - 52
American Cinematographer - July 2011 - 53
American Cinematographer - July 2011 - A Cultural Cataclysm
American Cinematographer - July 2011 - 55
American Cinematographer - July 2011 - 56
American Cinematographer - July 2011 - 57
American Cinematographer - July 2011 - 58
American Cinematographer - July 2011 - 59
American Cinematographer - July 2011 - 60
American Cinematographer - July 2011 - 61
American Cinematographer - July 2011 - Ascending Cinematography’s Summit
American Cinematographer - July 2011 - 63
American Cinematographer - July 2011 - 64
American Cinematographer - July 2011 - 65
American Cinematographer - July 2011 - 66
American Cinematographer - July 2011 - 67
American Cinematographer - July 2011 - 68
American Cinematographer - July 2011 - 69
American Cinematographer - July 2011 - Post Focus: Prime Focus New York
American Cinematographer - July 2011 - 71
American Cinematographer - July 2011 - Filmmakers’ Forum: Jim Matlosz
American Cinematographer - July 2011 - 73
American Cinematographer - July 2011 - 74
American Cinematographer - July 2011 - 75
American Cinematographer - July 2011 - New Products & Services
American Cinematographer - July 2011 - 77
American Cinematographer - July 2011 - 78
American Cinematographer - July 2011 - 79
American Cinematographer - July 2011 - International Marketplace
American Cinematographer - July 2011 - Classified Ads
American Cinematographer - July 2011 - Ad Index
American Cinematographer - July 2011 - 83
American Cinematographer - July 2011 - In Memoriam: Gerald Perry Finnerman, ASC
American Cinematographer - July 2011 - 85
American Cinematographer - July 2011 - Clubhouse News
American Cinematographer - July 2011 - 87
American Cinematographer - July 2011 - ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - Cover3
American Cinematographer - July 2011 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com