American Cinematographer - August 2010 - 66

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A Magical Manhattan
the test screenings and studio screenings are based on those dailies, so there’s good reason for you to make them as tidy as possible. People become used to that look. “I believe strongly that you cannot create the look in post,” the cinematographer continues. “In post, I finish shaping the sculpture. I do use those tools extensively to take the look further, but I like to carve the biggest, deepest cut in the wood at the moment of photography.” For the final grade, Company 3 scanned the negative at 4K and did the rest of the work at 2K. Bazelli calls Company 3 colorist and ASC associate member Stefan Sonnenfeld “the first eye on the images as they are coming together. I have great faith in him, and he deserves great credit, along with the other people who do this work for me. The quality of the shot depends on them as much as it depends on me and my crew.” At press time, the team was planning to film out to Kodak’s new intermediate stock, Vision3 5254, and then strike release prints on Kodak Vision 2383. “5254 was designed to work with the latest film recorders, and it’s Estarbased, which means that each negative created can be used to make up to 800 prints,” says Bazelli. “We plan to make about seven digital negatives on this new stock, and because of that, we expect the prints to look great everywhere, not just at the premiere and in a few major cities.” ●

Above: Bazelli checks the frame for a shot in the subway. Right: Gaffer Tony Nakonechnyj (holding light) and Bcamera/Steadicam operator Stephen Consentino follow Baruchel and Teresa Palmer into the subway.

with scrollers, RGB LED Blazes, Atomic 3000 strobes and 5K Fresnels. Bazelli adds that the unusual love scene was shot with a Zeiss Ultra Prime 8R (T2.8) lens as the camera circled the couple. “With the rectilinear lens, the angle of view is that of a fisheye lens but the lines are straight,” he notes. “The approach was so unconventional that we also filmed the scene with a more ‘normal’ lens. But the 8R shot is the one in the movie, and it allows you to see the full scale of that great set.” Footage captured by aerial cinematographer Hans Bjerno helps place the magical story in modern-day New York. Spacecam provided the gyrostabilized helicopter mounts, and Bazelli notes that the company “reconfigured its system to accept an Arri with a PL
66 August 2010

mount so we could use Master Prime lenses and get the extra stop. Hans got amazing, beautiful shots of New York at night; these were shot on [Kodak Vision3 500T] 5219 because we needed the speed.” The production’s negative was processed at Deluxe New York, and the dailies, timed by Sean Dunckley, were created nearby at Company 3. Bazelli is a firm believer in establishing a film’s look in the dailies. “Sitting with the dailies timer means getting less sleep during the shoot, but it takes my worries away,” he says. “Every morning before I went to the set, I’d stop by [Company 3] and sit with Sean for as long as I could. After a while, the colorist gets to know you and your style, and it gets easier. All the editing and all
American Cinematographer

TECHNICAL SPECS
2.40:1 4-perf Super 35mm Arricam Lite, Studio; Arri 435 Cooke, Arri and Zeiss lenses Kodak Vision3 250D 5207, 500T 5219 Digital Intermediate Printed on Kodak Vision 2383



American Cinematographer - August 2010

Table of Contents for the Digital Edition of American Cinematographer - August 2010

The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
Features
Cat and Mouse (Salt)
Girl Trouble (Pilgrim vs. the World)
A Magical Manhattan (The Sorcerer’s Apprentice)
True Colors (Get Low)
Departments
Editor’s Note
President’s Desk
Short Takes: Quiksilver ad campaign
Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
Post Focus: True Blood Workflow
Filmmakers’ Forum: Steven Fierberg, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
American Cinematographer - August 2010 - Cover2
American Cinematographer - August 2010 - 1
American Cinematographer - August 2010 - 2
American Cinematographer - August 2010 - 3
American Cinematographer - August 2010 - 4
American Cinematographer - August 2010 - 5
American Cinematographer - August 2010 - 6
American Cinematographer - August 2010 - 7
American Cinematographer - August 2010 - Editor’s Note
American Cinematographer - August 2010 - 9
American Cinematographer - August 2010 - President’s Desk
American Cinematographer - August 2010 - 11
American Cinematographer - August 2010 - Short Takes: Quiksilver ad campaign
American Cinematographer - August 2010 - 13
American Cinematographer - August 2010 - 14
American Cinematographer - August 2010 - 15
American Cinematographer - August 2010 - Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
American Cinematographer - August 2010 - 17
American Cinematographer - August 2010 - 18
American Cinematographer - August 2010 - 19
American Cinematographer - August 2010 - 20
American Cinematographer - August 2010 - 21
American Cinematographer - August 2010 - 22
American Cinematographer - August 2010 - 23
American Cinematographer - August 2010 - 24
American Cinematographer - August 2010 - 25
American Cinematographer - August 2010 - 26
American Cinematographer - August 2010 - 27
American Cinematographer - August 2010 - Cat and Mouse (Salt)
American Cinematographer - August 2010 - 29
American Cinematographer - August 2010 - 30
American Cinematographer - August 2010 - 31
American Cinematographer - August 2010 - 32
American Cinematographer - August 2010 - 33
American Cinematographer - August 2010 - 34
American Cinematographer - August 2010 - 35
American Cinematographer - August 2010 - 36
American Cinematographer - August 2010 - 37
American Cinematographer - August 2010 - 38
American Cinematographer - August 2010 - 39
American Cinematographer - August 2010 - 40
American Cinematographer - August 2010 - 41
American Cinematographer - August 2010 - Girl Trouble (Pilgrim vs. the World)
American Cinematographer - August 2010 - 43
American Cinematographer - August 2010 - 44
American Cinematographer - August 2010 - 45
American Cinematographer - August 2010 - 46
American Cinematographer - August 2010 - 47
American Cinematographer - August 2010 - 48
American Cinematographer - August 2010 - 49
American Cinematographer - August 2010 - 50
American Cinematographer - August 2010 - 51
American Cinematographer - August 2010 - 52
American Cinematographer - August 2010 - 53
American Cinematographer - August 2010 - 54
American Cinematographer - August 2010 - 55
American Cinematographer - August 2010 - A Magical Manhattan (The Sorcerer’s Apprentice)
American Cinematographer - August 2010 - 57
American Cinematographer - August 2010 - 58
American Cinematographer - August 2010 - 59
American Cinematographer - August 2010 - 60
American Cinematographer - August 2010 - 61
American Cinematographer - August 2010 - 62
American Cinematographer - August 2010 - 63
American Cinematographer - August 2010 - 64
American Cinematographer - August 2010 - 65
American Cinematographer - August 2010 - 66
American Cinematographer - August 2010 - 67
American Cinematographer - August 2010 - True Colors (Get Low)
American Cinematographer - August 2010 - 69
American Cinematographer - August 2010 - 70
American Cinematographer - August 2010 - 71
American Cinematographer - August 2010 - 72
American Cinematographer - August 2010 - 73
American Cinematographer - August 2010 - 74
American Cinematographer - August 2010 - 75
American Cinematographer - August 2010 - Post Focus: True Blood Workflow
American Cinematographer - August 2010 - 77
American Cinematographer - August 2010 - 78
American Cinematographer - August 2010 - 79
American Cinematographer - August 2010 - Filmmakers’ Forum: Steven Fierberg, ASC
American Cinematographer - August 2010 - 81
American Cinematographer - August 2010 - New Products & Services
American Cinematographer - August 2010 - 83
American Cinematographer - August 2010 - 84
American Cinematographer - August 2010 - 85
American Cinematographer - August 2010 - 86
American Cinematographer - August 2010 - 87
American Cinematographer - August 2010 - 88
American Cinematographer - August 2010 - 89
American Cinematographer - August 2010 - International Marketplace
American Cinematographer - August 2010 - Classified Ads
American Cinematographer - August 2010 - Ad Index
American Cinematographer - August 2010 - 93
American Cinematographer - August 2010 - Clubhouse News
American Cinematographer - August 2010 - 95
American Cinematographer - August 2010 - ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - Cover3
American Cinematographer - August 2010 - Cover4
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