American Cinematographer - October 2008 - 53
watch dailies and talk about the next day’s work.” In post, the filmmakers decided to alter the look of the lighting in certain scenes to suggest additional outages in the city’s power supply. “We took Xavier’s original photography and added lighting fluctuations to make the environment feel a bit more precarious,” explains Durst. “That can look fake if you simply do an overall darkening or lightening of the frame, so we also dimmed the practicals in the shots up and down. We had to really dig deep into the detail on the original negative and bring out the filaments of the lights so we could alter them. It was then a 2-D compositing process, for which our main tools were [Apple] Shake and [Adobe] After Effects. It gave the story an extra sense of urgency.” At press time, the filmmakers were in the midst of the digital intermediate at EFilm in Hollywood. “We decided this movie’s design is already very baroque and rich in texture and color, so we’re now playing with those ideas and tweaking them to get them to the right spot,” says Grobet. “From the beginning, I had a very clear sense of the basic palette, the design of the lighting, and how I wanted it to play emotionally on the screen,” says Kenan. “The process of working with Xavier supercharged that, and our experimentation led to something better than my preconceived notions.” Grobet is equally enthusiastic about the director: “Gil has a very strong vision and he pursues his ideas, which are what make this movie very interesting. I thought of reading the book before the shoot, but I decided not to. That way, I could come into this world for the first time. I wanted to achieve our version of Ember, and that’s what we created.” I TECHNICAL SPECS 2.40:1 Super 35mm Arricam Lite, Studio; Arri 235 Cooke, Angenieux and Zeiss lenses Kodak Vision2 500T 5218 Digital Intermediate Printed on Kodak Vision 2383 FOCUS IN NEW DIMENSIONS WITH THE PIVOTING HAND GRIP FOLLOW FOCUS „STUDIO“ Adjustable hand knob sensibility Adjustable overload savety Unique operation-ergonomy due to panable hand knob 45° 0° 40° www.denz-deniz.com · Tel: +49 89 - 62 98 66 0 · Fax: +49 89 - 62 98 66 20 53
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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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