American Cinematographer - August 2014 - 41

work done at Mr. X included tiling
techniques to multiply the crowds at
several of the concerts.
In two instances, Goldblatt
sought to include brief time-lapse
sequences, one to suggest the passage of
seasons and another that would chart
light changing over the course of a day.
"I needed something I could put in a
tree in the middle of a Mississippi forest
and just leave there - and that would
have sufficient power to run [unattended] for up to three months," he
observes. His research led him to
Harbortronics, where he liaised with
Mark Roberts. The company supplied
two Canon EOS 1100D Rebel T3s,
each with a Canon 18-55mm f3.5-5.6
zoom lens. "Each camera came in its
own [waterproof ] fiberglass housing,
with a 5-watt solar panel that provided
a sort of roof," the cinematographer
continues. "The cameras took hi-res
JPEG stills at set intervals for three
months."

Goldblatt offers effusive praise
for his crew, most of whom have
worked with him for decades, while
noting that he enjoyed working for the
first time with DIT Miller and dailies
colorist Jeremy Voissem. Voissem used
Frame Logic hardware and software to
interpret Miller's color decision lists and
produce dailies on location. Goldblatt
also collaborated once again with his
longtime digital colorist, ASC associate
Steve Scott, Technicolor's vice president
of theatrical imaging and supervising
digital colorist. At press time, the pair
had not yet begun final grading, but
Goldblatt stressed the importance of
their ongoing partnership.
The cinematographer believes
strongly that dailies should be projected
on a large screen and that key members
of the production, both above and
below the line, should watch the
footage together. "It creates a feeling of
camaraderie and amity between everybody on the show," he maintains.

Furthermore, "if I want to make something darker or lighter, or to show Tate
an alternate possibility, Jeremy can do it
in 30 seconds, right then and there, and
we can then continue with the dailies. I
take my hat off to Robin Fisichella,
because when I asked for projected
dailies on this rather remote Mississippi
location, she made it happen and didn't
treat me as if I was deranged!"
‚óŹ

TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa;
Canon Cinema EOS C500,
EOS 1100D;
Ikegami EC-35
Angenieux Optimo;
Panavision Primo;
Canon Cinema, EF

41


http://www.kinoflo.com http://www.kinoflo.com

American Cinematographer - August 2014

Table of Contents for the Digital Edition of American Cinematographer - August 2014

Contents
American Cinematographer - August 2014 - Cover1
American Cinematographer - August 2014 - Cover2
American Cinematographer - August 2014 - 1
American Cinematographer - August 2014 - 2
American Cinematographer - August 2014 - Contents
American Cinematographer - August 2014 - 4
American Cinematographer - August 2014 - 5
American Cinematographer - August 2014 - 6
American Cinematographer - August 2014 - 7
American Cinematographer - August 2014 - 8
American Cinematographer - August 2014 - 9
American Cinematographer - August 2014 - 10
American Cinematographer - August 2014 - 11
American Cinematographer - August 2014 - 12
American Cinematographer - August 2014 - 13
American Cinematographer - August 2014 - 14
American Cinematographer - August 2014 - 15
American Cinematographer - August 2014 - 16
American Cinematographer - August 2014 - 17
American Cinematographer - August 2014 - 18
American Cinematographer - August 2014 - 19
American Cinematographer - August 2014 - 20
American Cinematographer - August 2014 - 21
American Cinematographer - August 2014 - 22
American Cinematographer - August 2014 - 23
American Cinematographer - August 2014 - 24
American Cinematographer - August 2014 - 25
American Cinematographer - August 2014 - 26
American Cinematographer - August 2014 - 27
American Cinematographer - August 2014 - 28
American Cinematographer - August 2014 - 29
American Cinematographer - August 2014 - 30
American Cinematographer - August 2014 - 31
American Cinematographer - August 2014 - 32
American Cinematographer - August 2014 - 33
American Cinematographer - August 2014 - 34
American Cinematographer - August 2014 - 35
American Cinematographer - August 2014 - 36
American Cinematographer - August 2014 - 37
American Cinematographer - August 2014 - 38
American Cinematographer - August 2014 - 39
American Cinematographer - August 2014 - 40
American Cinematographer - August 2014 - 41
American Cinematographer - August 2014 - 42
American Cinematographer - August 2014 - 43
American Cinematographer - August 2014 - 44
American Cinematographer - August 2014 - 45
American Cinematographer - August 2014 - 46
American Cinematographer - August 2014 - 47
American Cinematographer - August 2014 - 48
American Cinematographer - August 2014 - 49
American Cinematographer - August 2014 - 50
American Cinematographer - August 2014 - 51
American Cinematographer - August 2014 - 52
American Cinematographer - August 2014 - 53
American Cinematographer - August 2014 - 54
American Cinematographer - August 2014 - 55
American Cinematographer - August 2014 - 56
American Cinematographer - August 2014 - 57
American Cinematographer - August 2014 - 58
American Cinematographer - August 2014 - 59
American Cinematographer - August 2014 - 60
American Cinematographer - August 2014 - 61
American Cinematographer - August 2014 - 62
American Cinematographer - August 2014 - 63
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American Cinematographer - August 2014 - 84
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American Cinematographer - August 2014 - 88
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