American Cinematographer - August 2012 - 74

◗ Vampire Veto
Top: Lincoln
makes a journal
entry on a train
transporting a
shipment of
silver to Union
soldiers battling
Confederate
vampires.
Bottom: An older,
wiser Lincoln
attempts to
abolish slavery
and unify the
United States.
and separate all those tiny elements
well. That said, Timur had some good
ideas on how to utilize that volumetric
space. He suggested creating atmospheric
elements as an added layer of
3-D CGI. For example, for a picnic
scene featuring Lincoln and his wife,
Mary, they floated CG milkweed seeds
in the air to give it a more complete
3-D reality.”
Abraham Lincoln was filmed in
Louisiana, where Deschanel also shot
Killer Joe, and he brought on some of
the same crew, including gaffer Paul
74
August 2012
Olinde, key grip Richard Ball and dolly
grip Richard Hoover. “My primary
crew was some of my usual guys,
including first AC Tommy Tieche and
A-camera/Steadicam operator B.J.
McDonnell, who are great,” he adds.
When he spoke to AC,
Deschanel was in the midst of colortiming
the 3-D version of Abraham
Lincoln at Technicolor Hollywood with
senior/supervising colorist David Cole.
With a laugh, Deschanel says, “At first,
Timur and I had the idea that the movie
should be in black-and-white because
of the great, iconic Civil War photography
by Matthew Brady and others —
that’s such a part of our collective
psyche. After we wrapped, I went on to
another feature, and Timur and Dave
Cole experimented with some things.
Eventually, Dave and I came up with a
desaturated look that suggests the
appropriate feel and puts us in the right
period. Of course, a lot of that look
went by the wayside at the last minute
as they rushed to convert to 3-D.”
The cinematographer notes that
there are significant differences in
grading for 3-D vs. 2-D. “There are
multiple 3-D exhibition systems, and
depending on the process being used,
the picture might be projected at 31⁄2
foot-lamberts or 6 foot-lamberts. At
American Cinematographer
that level, the eye perceives color and
contrast differently than it does when
the image is presented at the standard
15 or 16 foot-lamberts. So the timing of
the 3-D version is completely different.
“We have a lot more control over
the image today, so there are many more
choices as well, and those two things
don’t always line up exactly right,” he
concludes. “But I’m always looking to
try something new, and Abraham
Lincoln, with its mash-up of high-brow
and low-brow ideas, was exactly that. It
allowed me to fully immerse myself in
something completely different.” ●
TECHNICAL SPECS
2.40:1
Digital Capture and
4-perf Super 35mm
Arri Alexa, 435;
Vision Research Phantom Flex
Zeiss Ultra Prime,
Arri/Fujinon Alura
Kodak Vision3 200T 5213,
500T 5219
Digital Intermediate
Stereoscopic Conversion

American Cinematographer - August 2012

Table of Contents for the Digital Edition of American Cinematographer - August 2012

American Cinematographer - August 2012
Contents
Editor’s Note
Short Takes: New York Story
Production Slate: 360 • Midnight in Paris/To Rome with Love
Batman to the Max
Web-Slinging in Stereo
Memory Upgrade
Vampire Veto
Post Focus: Man, Chicks Are Just Different
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: David Boyd
American Cinematographer - August 2012 - American Cinematographer - August 2012
American Cinematographer - August 2012 - Cover2
American Cinematographer - August 2012 - 1
American Cinematographer - August 2012 - 2
American Cinematographer - August 2012 - Contents
American Cinematographer - August 2012 - 4
American Cinematographer - August 2012 - 5
American Cinematographer - August 2012 - 6
American Cinematographer - August 2012 - 7
American Cinematographer - August 2012 - Editor’s Note
American Cinematographer - August 2012 - 9
American Cinematographer - August 2012 - 10
American Cinematographer - August 2012 - 11
American Cinematographer - August 2012 - Short Takes: New York Story
American Cinematographer - August 2012 - 13
American Cinematographer - August 2012 - 14
American Cinematographer - August 2012 - 15
American Cinematographer - August 2012 - 16
American Cinematographer - August 2012 - 17
American Cinematographer - August 2012 - Production Slate: 360 • Midnight in Paris/To Rome with Love
American Cinematographer - August 2012 - 19
American Cinematographer - August 2012 - 20
American Cinematographer - August 2012 - 21
American Cinematographer - August 2012 - 22
American Cinematographer - August 2012 - 23
American Cinematographer - August 2012 - 24
American Cinematographer - August 2012 - 25
American Cinematographer - August 2012 - 26
American Cinematographer - August 2012 - 27
American Cinematographer - August 2012 - 28
American Cinematographer - August 2012 - 29
American Cinematographer - August 2012 - Batman to the Max
American Cinematographer - August 2012 - 31
American Cinematographer - August 2012 - 32
American Cinematographer - August 2012 - 33
American Cinematographer - August 2012 - 34
American Cinematographer - August 2012 - 35
American Cinematographer - August 2012 - 36
American Cinematographer - August 2012 - 37
American Cinematographer - August 2012 - 38
American Cinematographer - August 2012 - 39
American Cinematographer - August 2012 - 40
American Cinematographer - August 2012 - 41
American Cinematographer - August 2012 - 42
American Cinematographer - August 2012 - 43
American Cinematographer - August 2012 - 44
American Cinematographer - August 2012 - 45
American Cinematographer - August 2012 - Web-Slinging in Stereo
American Cinematographer - August 2012 - 47
American Cinematographer - August 2012 - 48
American Cinematographer - August 2012 - 49
American Cinematographer - August 2012 - 50
American Cinematographer - August 2012 - 51
American Cinematographer - August 2012 - 52
American Cinematographer - August 2012 - 53
American Cinematographer - August 2012 - 54
American Cinematographer - August 2012 - 55
American Cinematographer - August 2012 - 56
American Cinematographer - August 2012 - 57
American Cinematographer - August 2012 - Memory Upgrade
American Cinematographer - August 2012 - 59
American Cinematographer - August 2012 - 60
American Cinematographer - August 2012 - 61
American Cinematographer - August 2012 - 62
American Cinematographer - August 2012 - 63
American Cinematographer - August 2012 - 64
American Cinematographer - August 2012 - 65
American Cinematographer - August 2012 - 66
American Cinematographer - August 2012 - 67
American Cinematographer - August 2012 - Vampire Veto
American Cinematographer - August 2012 - 69
American Cinematographer - August 2012 - 70
American Cinematographer - August 2012 - 71
American Cinematographer - August 2012 - 72
American Cinematographer - August 2012 - 73
American Cinematographer - August 2012 - 74
American Cinematographer - August 2012 - 75
American Cinematographer - August 2012 - Post Focus: Man, Chicks Are Just Different
American Cinematographer - August 2012 - 77
American Cinematographer - August 2012 - 78
American Cinematographer - August 2012 - 79
American Cinematographer - August 2012 - New Products & Services
American Cinematographer - August 2012 - 81
American Cinematographer - August 2012 - 82
American Cinematographer - August 2012 - 83
American Cinematographer - August 2012 - 84
American Cinematographer - August 2012 - 85
American Cinematographer - August 2012 - International Marketplace
American Cinematographer - August 2012 - Classified Ads
American Cinematographer - August 2012 - Ad Index
American Cinematographer - August 2012 - 89
American Cinematographer - August 2012 - Clubhouse News
American Cinematographer - August 2012 - 91
American Cinematographer - August 2012 - ASC Close-Up: David Boyd
American Cinematographer - August 2012 - Cover3
American Cinematographer - August 2012 - Cover4
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