American Cinematographer - August 2008 - 47

fantastic reflective material,” says the cinematographer. For the many night exteriors, he decided to shoot day-for-night. “It’s not done much anymore, but on an island like that, there’s no way you can light with any depth. What’s the point of sitting on a beach and lighting it when you won’t see anything? I did a lot of testing and found we could accomplish day-for-night with ND filters, some grads, Sunpath software, a compass, and an 18K above the lens. That’s the formula!” In Greece, Zambarloukos shot mainly with Kodak Vision2 50D 5201, whereas most stage material was shot on Vision2 500T 5218. “That combination worked well, I thought. Since it was an anamorphic show, we were using the full negative, and the clarity you get with 5201 was suited to real locations, where we wanted to look deeply into the frame, to the horizon. When we were in the studio and wanted less depth of field for the backdrop, the faster stock helped by having slightly less definition.” As is his habit, Zambarloukos overexposed the stocks by 1⁄3 of a stop. “It’s an old trick, but it works.” When he spoke to AC, the cinematographer was midway through the digital intermediate [DI] at Technicolor’s New York facility, where he was working with colorist John Persichetti. He is especially pleased that producer Gary Goetzman convinced Universal to print from original digital negatives, thus bypassing additional IN/IP stages. In the color-correction, Zambarloukos found that his moving-light backdrop matched the location material with remarkable accuracy. “The only thing with the backing is that it’s consistent, whereas location footage is naturally inconsistent,” he says. “So, for some shots, we’ve made the sky a little hotter, or brought the blue in a bit more, depending on what preceded and followed those shots. Overall, it worked really well.” I TECHNICAL SPECS 2.40:1 Anamorphic 35mm Panaflex Millennium XL Panavision C-Series, E-Series lenses Kodak Vision2 50D 5201, 200T 5217, 250D 5205, 500T 5218 Digital Intermediate Printed on Kodak Vision 2383 DIRECTOR‘S VIEWFINDER NEW OIC 35 Eyepiece adjustable from -4 to +4 diopter Eyepiece adjustable to right or left eye For all lenses with 54 PL-mount For Arriﬂex 435/535 ground glasses Pivot holder for easy grip OIC 1 6 Eyepiece adjustable from -5 to +5 diopters 7 integrated ground glass markings Therefore no exchange of any ground glasses Immediate change from format to format For all lenses with 54 PL-mount Pivot holder for easy grip www.denz-deniz.com · Tel: +49 89 - 62 98 66 0 · Fax: +49 89 - 62 98 66 20 47

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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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