American Cinematographer - October 2008 - 39

would influence the color on the actors’ faces. I think we shot everything at T2.8 or T2.8 1⁄2, but without the footage, we didn’t know when there’d be a light or color change.” Rather than guess wrong, “we decided to use one color and do the alterations in the DI.” “Ridley wanted the Predator video screens to look a lot different from normal media, which are a warmish color,” says colorist Nakamura. “We graded all those background plates very cold, and Ridley came in for a session where we just painted all the background images. From there, I could take the foreground images of the guys in the control room and put a little colorcorrection in areas where the light would be bouncing off faces and control panels. We sent that material to Sony Pictures Imageworks, and they put it together.” The white light from the faux monitors created one problem: “It caused a little wraparound light that looks like a halo around the actors’ heads,” says Nakamura. “It didn’t lend itself to being an easy key, so they had to do a little more work there.” Back on location, the biggest ongoing challenge for Witt and his crew was keeping pace with Scott, who was always open to last-minute inspiration. “We might have something pre-rigged, even pre-lit, and Ridley would come in and say, ‘We’re going to change our direction completely and shoot over here,’” recalls Cronn. “So on the spot, we’d break down our unit and move as quickly as we could to whatever the new shot entailed.” Witt knows the drill well. “It happens in every shot,” he says with a laugh. “I think it’s difficult for many cinematographers. You have to put up lights for a three-camera scene and understand there’s a 95- percent chance Ridley will add a fourth camera that looks in that direction. This means you have to hang more lights than you normally would, and that takes time, but I enjoy the challenge.” I TECHNICAL SPECS 2.40:1 Super 35mm Arricam Lite, Studio; Arri 435, 235 Zeiss and Angenieux lenses Kodak Vision2 500T 5218, 250D 5205, 50D 5201 Digital Intermediate Printed on Kodak Vision 2383 39

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American Cinematographer - October 2008

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

American Cinematographer - October 2008
Contents
Editor's Note
Short Takes: DirecTV's "Fourth Wall" Campaign
Production Slate: Prison Break
Production Slate: Need for Speed: Undercover
Middle East Intrigue
Kingdom of Light
Memoirs of a Spook
Landmark Gains
Post Focus: An Overview of the ASC CDL
Filmmakers' Forum: Roger Deakins, ASC, BSC
New Products & Services
International Marketplace
Classified Ads
Clubhouse News
ASC Close-Up: Ross Berryman
American Cinematographer - October 2008 - American Cinematographer - October 2008
American Cinematographer - October 2008 - Cover2
American Cinematographer - October 2008 - 1
American Cinematographer - October 2008 - 2
American Cinematographer - October 2008 - Contents
American Cinematographer - October 2008 - 4
American Cinematographer - October 2008 - 5
American Cinematographer - October 2008 - 6
American Cinematographer - October 2008 - 7
American Cinematographer - October 2008 - Editor's Note
American Cinematographer - October 2008 - 9
American Cinematographer - October 2008 - Short Takes: DirecTV's "Fourth Wall" Campaign
American Cinematographer - October 2008 - 11
American Cinematographer - October 2008 - 12
American Cinematographer - October 2008 - 13
American Cinematographer - October 2008 - 14
American Cinematographer - October 2008 - 15
American Cinematographer - October 2008 - Production Slate: Need for Speed: Undercover
American Cinematographer - October 2008 - 17
American Cinematographer - October 2008 - 18
American Cinematographer - October 2008 - 19
American Cinematographer - October 2008 - 20
American Cinematographer - October 2008 - 21
American Cinematographer - October 2008 - 22
American Cinematographer - October 2008 - 23
American Cinematographer - October 2008 - 24
American Cinematographer - October 2008 - 25
American Cinematographer - October 2008 - 26
American Cinematographer - October 2008 - 27
American Cinematographer - October 2008 - Middle East Intrigue
American Cinematographer - October 2008 - 29
American Cinematographer - October 2008 - 30
American Cinematographer - October 2008 - 31
American Cinematographer - October 2008 - 32
American Cinematographer - October 2008 - 33
American Cinematographer - October 2008 - 34
American Cinematographer - October 2008 - 35
American Cinematographer - October 2008 - 36
American Cinematographer - October 2008 - 37
American Cinematographer - October 2008 - 38
American Cinematographer - October 2008 - 39
American Cinematographer - October 2008 - Kingdom of Light
American Cinematographer - October 2008 - 41
American Cinematographer - October 2008 - 42
American Cinematographer - October 2008 - 43
American Cinematographer - October 2008 - 44
American Cinematographer - October 2008 - 45
American Cinematographer - October 2008 - 46
American Cinematographer - October 2008 - 47
American Cinematographer - October 2008 - 48
American Cinematographer - October 2008 - 49
American Cinematographer - October 2008 - 50
American Cinematographer - October 2008 - 51
American Cinematographer - October 2008 - 52
American Cinematographer - October 2008 - 53
American Cinematographer - October 2008 - Memoirs of a Spook
American Cinematographer - October 2008 - 55
American Cinematographer - October 2008 - 56
American Cinematographer - October 2008 - 57
American Cinematographer - October 2008 - 58
American Cinematographer - October 2008 - 59
American Cinematographer - October 2008 - 60
American Cinematographer - October 2008 - 61
American Cinematographer - October 2008 - 62
American Cinematographer - October 2008 - 63
American Cinematographer - October 2008 - Landmark Gains
American Cinematographer - October 2008 - 65
American Cinematographer - October 2008 - 66
American Cinematographer - October 2008 - 67
American Cinematographer - October 2008 - 68
American Cinematographer - October 2008 - 69
American Cinematographer - October 2008 - 70
American Cinematographer - October 2008 - 71
American Cinematographer - October 2008 - 72
American Cinematographer - October 2008 - 73
American Cinematographer - October 2008 - Post Focus: An Overview of the ASC CDL
American Cinematographer - October 2008 - 75
American Cinematographer - October 2008 - 76
American Cinematographer - October 2008 - 77
American Cinematographer - October 2008 - Filmmakers' Forum: Roger Deakins, ASC, BSC
American Cinematographer - October 2008 - 79
American Cinematographer - October 2008 - 80
American Cinematographer - October 2008 - 81
American Cinematographer - October 2008 - 82
American Cinematographer - October 2008 - 83
American Cinematographer - October 2008 - New Products & Services
American Cinematographer - October 2008 - 85
American Cinematographer - October 2008 - 86
American Cinematographer - October 2008 - 87
American Cinematographer - October 2008 - 88
American Cinematographer - October 2008 - 89
American Cinematographer - October 2008 - International Marketplace
American Cinematographer - October 2008 - 91
American Cinematographer - October 2008 - Classified Ads
American Cinematographer - October 2008 - 93
American Cinematographer - October 2008 - Clubhouse News
American Cinematographer - October 2008 - 95
American Cinematographer - October 2008 - ASC Close-Up: Ross Berryman
American Cinematographer - October 2008 - Cover3
American Cinematographer - October 2008 - Cover4
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