American Cinematographer - August 2008 - 14

Above: Shooting with Panavision E-Series anamorphic lenses, Kim strove to capture wide anamorphic flares as the band performed in Los Angeles’ National Cold Storage, where temperatures never topped 30ºF. Below: StewartAhn shoots with a handheld Panasonic HVX200 on location in Cambodia. “No matter what situation we were in,” he says, “I wanted us to look like tourists.” anywhere else. It’s a beautiful environment, but there’s also a weird sadness to the place. With all the decay, everything looks like it’s held together with thread.” The next stop was Japan, where the plan was to shoot in and around Tokyo. On a whim, the crew took a train to Hokkaido, the country’s northernmost island. “We didn’t research anything about it beforehand,” Stewart-Ahn admits. “I wanted us to be as lost as our character was.” During the journey, the train broke out into an area where it ran along the edge of a cliff above the ocean. It was magic hour, and everyone realized that by the time they reached their destination, daylight would be gone. They stopped at Asari, and the final shot of the video was taken there, at the ocean. “It was an exciting, pure moment,” says the director. Back in Los Angeles, Kim was making final preparations for his portion of the video. He booked a single day of shooting at National Cold Storage, just east of downtown; there were two sets at the location, and the one Kim describes as “slightly warmer” was 30°F. “The band had never really done a pure performance video before,” notes Kim, who also shot Death Cab’s “Title & Registration” video. “It was important for them to get that on film, and this was a good environment to do it in.” Kim was shooting 35mm — Kodak Vision3 500T 5219 — and he and Stewart-Ahn initially considered making their footage look as similar as possible. Eventually, they decided it would be better to remain true to each medium. “We didn’t try to meet halfway,” says Kim. He shot anamorphic 2.40:1 with an Arri 435 and protected for 1.78:1. The band was keen to see wide anamorphic flares in their performance footage. Kim chose Panavision E-Series lenses because he felt they lent an additional sense of coldness to the image. Special preparations had to be made to acclimate the lenses to different room temperatures. Kim had one set of primes that he split into two smaller sets. “It was a matter of deciding which shots we wanted in which space,” he explains. “We didn’t have a huge budget, so we didn’t have all the lenses I wanted. We ended up using the 35mm, 75mm and 180mm in one room and the 28mm, 50mm and 100mm in the other.” Once the lenses have been in a given temperature for about an hour, they have to be kept there. “Panavision anamorphics are so big that they tend to hold their temperatures a lot longer, but if you make the mistake of taking your lenses out of a 10-degree room into the hallway, you’ll have condensation the rest of the day, and those lenses will be worthless,” warns Kim. He advised Panavision that the lenses would be used in cold temperatures, allowing the camera techs to prep the gear accordingly. The 35mm footage was transferred to 1080p HD masters for editing and color-correction. With a final running time of over eight minutes, “I Will Possess Your Heart” makes extensive use of both filmmakers’ work. Stewart-Ahn says the unusual project taught him at least one lesson: “Next time, I’m hiring a camera assistant because I missed being able to confer with someone about the cinematography. I kind of wish I’d brought a cinematographer, too. That was the least amount of sleep I’ve ever gotten in my life.” I To view “I Will Possess Your Heart” in standard definition, visit http://otaku-house.com/forac.mov. 14 August 2008
http://otaku-house.com/forac.mov

American Cinematographer - August 2008

Table of Contents for the Digital Edition of American Cinematographer - August 2008

American Cinematographer - August 2008
Contents
Editor's Note
Letters
Short Takes: Death Cab for Cutie’s “I Will Possess Your Heart”
Production Slate: Pineapple Express
Production Slate: Frozen River
Dark Matters
Fathers of the Bride
The Emperor Strikes Back
An Eye-Popping Adventure
Post Focus: Dalsa’s 4K Workflow
Filmmakers’ Forum: Billy Dickson, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Clifford H. Poland Jr., ASC
Clubhouse News
ASC Close-Up: John S. Bartley
American Cinematographer - August 2008 - American Cinematographer - August 2008
American Cinematographer - August 2008 - Cover2
American Cinematographer - August 2008 - 1
American Cinematographer - August 2008 - 2
American Cinematographer - August 2008 - Contents
American Cinematographer - August 2008 - 4
American Cinematographer - August 2008 - 5
American Cinematographer - August 2008 - 6
American Cinematographer - August 2008 - 7
American Cinematographer - August 2008 - Editor's Note
American Cinematographer - August 2008 - 9
American Cinematographer - August 2008 - Letters
American Cinematographer - August 2008 - 11
American Cinematographer - August 2008 - Short Takes: Death Cab for Cutie’s “I Will Possess Your Heart”
American Cinematographer - August 2008 - 13
American Cinematographer - August 2008 - 14
American Cinematographer - August 2008 - 15
American Cinematographer - August 2008 - Production Slate: Frozen River
American Cinematographer - August 2008 - 17
American Cinematographer - August 2008 - 18
American Cinematographer - August 2008 - 19
American Cinematographer - August 2008 - 20
American Cinematographer - August 2008 - 21
American Cinematographer - August 2008 - 22
American Cinematographer - August 2008 - 23
American Cinematographer - August 2008 - 24
American Cinematographer - August 2008 - 25
American Cinematographer - August 2008 - Dark Matters
American Cinematographer - August 2008 - 27
American Cinematographer - August 2008 - 28
American Cinematographer - August 2008 - 29
American Cinematographer - August 2008 - 30
American Cinematographer - August 2008 - 31
American Cinematographer - August 2008 - 32
American Cinematographer - August 2008 - 33
American Cinematographer - August 2008 - 34
American Cinematographer - August 2008 - 35
American Cinematographer - August 2008 - 36
American Cinematographer - August 2008 - 37
American Cinematographer - August 2008 - Fathers of the Bride
American Cinematographer - August 2008 - 39
American Cinematographer - August 2008 - 40
American Cinematographer - August 2008 - 41
American Cinematographer - August 2008 - 42
American Cinematographer - August 2008 - 43
American Cinematographer - August 2008 - 44
American Cinematographer - August 2008 - 45
American Cinematographer - August 2008 - 46
American Cinematographer - August 2008 - 47
American Cinematographer - August 2008 - The Emperor Strikes Back
American Cinematographer - August 2008 - 49
American Cinematographer - August 2008 - 50
American Cinematographer - August 2008 - 51
American Cinematographer - August 2008 - 52
American Cinematographer - August 2008 - 53
American Cinematographer - August 2008 - 54
American Cinematographer - August 2008 - 55
American Cinematographer - August 2008 - 56
American Cinematographer - August 2008 - 57
American Cinematographer - August 2008 - An Eye-Popping Adventure
American Cinematographer - August 2008 - 59
American Cinematographer - August 2008 - 60
American Cinematographer - August 2008 - 61
American Cinematographer - August 2008 - 62
American Cinematographer - August 2008 - 63
American Cinematographer - August 2008 - 64
American Cinematographer - August 2008 - 65
American Cinematographer - August 2008 - 66
American Cinematographer - August 2008 - 67
American Cinematographer - August 2008 - 68
American Cinematographer - August 2008 - 69
American Cinematographer - August 2008 - Post Focus: Dalsa’s 4K Workflow
American Cinematographer - August 2008 - 71
American Cinematographer - August 2008 - 72
American Cinematographer - August 2008 - 73
American Cinematographer - August 2008 - Filmmakers’ Forum: Billy Dickson, ASC
American Cinematographer - August 2008 - 75
American Cinematographer - August 2008 - New Products & Services
American Cinematographer - August 2008 - 77
American Cinematographer - August 2008 - 78
American Cinematographer - August 2008 - 79
American Cinematographer - August 2008 - International Marketplace
American Cinematographer - August 2008 - Classified Ads
American Cinematographer - August 2008 - Ad Index
American Cinematographer - August 2008 - 83
American Cinematographer - August 2008 - In Memoriam: Clifford H. Poland Jr., ASC
American Cinematographer - August 2008 - 85
American Cinematographer - August 2008 - Clubhouse News
American Cinematographer - August 2008 - 87
American Cinematographer - August 2008 - ASC Close-Up: John S. Bartley
American Cinematographer - August 2008 - Cover3
American Cinematographer - August 2008 - Cover4
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