American Cinematographer - October 2010 - 14

Top and middle: The skaters light up the bombedout landscape with Molotov cocktails and proceed to skate through the burning wreckage. Bottom: Evans (in white shirt) shows Ritzema (wearing leg brace) and company the proper technique for throwing an incendiary bottle.

specific areas where we needed a fire element to silhouette the skater at the climax of the trick. From there, we’d fill the frame with other flame bars, sparks and pools of water to obtain as many layers of
14 October 2010

light as possible.” The Par cans were used to add detail and help the skaters see where they were taking off and landing when the set wasn’t lit by fire. Even before the cameras started
American Cinematographer

rolling, the filmmakers were feeling the heat. Each team usually gets nine days to complete a project, but because of the subject matter, fire marshals had to be on set at all times. The set was an industrial warehouse in Carlsbad, Calif. The fire permit only allowed eight-hour days, and weekend work was prohibited. Once the schedule was worked out, Ritzema and Evans had just four days to shoot. Setups took place around one obstacle or ramp, and once it was lit on fire (using a flammable viscous paste called “burn butter”), six skaters sometimes had just two minutes to perform a trick. Ritzema describes the set as “total chaos. We’d have the skaters do their trick over and over. If they didn’t land it, they’d run around the camera and try it again until the burn butter went out. Often we shot for two minutes with every skater and wouldn’t land a single trick.” The pyrotechnics group monitored the heat in the warehouse ceiling to make sure the emergency sprinklers wouldn’t activate. After a few applications of burn butter, they’d shut the set down and open up the warehouse to let the smoke and heat evaporate. It took about 30 minutes to reapply the burn butter, turn on the lights, and get the skaters back into the warehouse to do it all again. “We only got one or two setups a day, about 10 tricks, because it was such painstaking work,” notes Ritzema. For each scene, Ritzema set up as many as six cameras to capture the tricks from different angles. He used a Red One (shooting 100 fps with the Mysterium-X chip), a Canon EOS 5D MKII (at 24 fps), two Canon EOS 7Ds (at 60 fps), a Rebel T2i (variable fps), and a Panasonic AG-HVX200 (variable fps), shooting coverage from different angles. Using flames as keylight made it difficult to judge exposure during setup time, so Ritzema had to wait until a given scene was blocked and the pyrotechnics were ready to go. Once the skaters started their first run, he’d roll camera and check the Red’s onboard waveform to make sure the exposure was proper, then run to the HDSLRs to match the look. By the time the athletes were ready for their second try, all the cameras were dialed in. “On the very first shot, I exposed



American Cinematographer - October 2010

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

American Cinematographer - October 2010
Contents
Editors Note
President’s Desk
Short Takes: “Lakairomania”
Production Slate: Enter the Void • Indie 3-D
With Friends Like These…
Zero-Sum Game
Bloody Valentine
Welcome to the Jungle
Post Focus: Advanced Digital Services
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - American Cinematographer - October 2010
American Cinematographer - October 2010 - Cover2
American Cinematographer - October 2010 - 1
American Cinematographer - October 2010 - 2
American Cinematographer - October 2010 - Contents
American Cinematographer - October 2010 - 4
American Cinematographer - October 2010 - 5
American Cinematographer - October 2010 - 6
American Cinematographer - October 2010 - 7
American Cinematographer - October 2010 - Editors Note
American Cinematographer - October 2010 - 9
American Cinematographer - October 2010 - President’s Desk
American Cinematographer - October 2010 - 11
American Cinematographer - October 2010 - Short Takes: “Lakairomania”
American Cinematographer - October 2010 - 13
American Cinematographer - October 2010 - 14
American Cinematographer - October 2010 - 15
American Cinematographer - October 2010 - 16
American Cinematographer - October 2010 - 17
American Cinematographer - October 2010 - Production Slate: Enter the Void • Indie 3-D
American Cinematographer - October 2010 - 19
American Cinematographer - October 2010 - 20
American Cinematographer - October 2010 - 21
American Cinematographer - October 2010 - 22
American Cinematographer - October 2010 - 23
American Cinematographer - October 2010 - 24
American Cinematographer - October 2010 - 25
American Cinematographer - October 2010 - 26
American Cinematographer - October 2010 - 27
American Cinematographer - October 2010 - With Friends Like These…
American Cinematographer - October 2010 - 29
American Cinematographer - October 2010 - 30
American Cinematographer - October 2010 - 31
American Cinematographer - October 2010 - 32
American Cinematographer - October 2010 - 33
American Cinematographer - October 2010 - 34
American Cinematographer - October 2010 - 35
American Cinematographer - October 2010 - 36
American Cinematographer - October 2010 - 37
American Cinematographer - October 2010 - 38
American Cinematographer - October 2010 - 39
American Cinematographer - October 2010 - 40
American Cinematographer - October 2010 - 41
American Cinematographer - October 2010 - Zero-Sum Game
American Cinematographer - October 2010 - 43
American Cinematographer - October 2010 - 44
American Cinematographer - October 2010 - 45
American Cinematographer - October 2010 - 46
American Cinematographer - October 2010 - 47
American Cinematographer - October 2010 - 48
American Cinematographer - October 2010 - 49
American Cinematographer - October 2010 - 50
American Cinematographer - October 2010 - 51
American Cinematographer - October 2010 - 52
American Cinematographer - October 2010 - 53
American Cinematographer - October 2010 - Bloody Valentine
American Cinematographer - October 2010 - 55
American Cinematographer - October 2010 - 56
American Cinematographer - October 2010 - 57
American Cinematographer - October 2010 - 58
American Cinematographer - October 2010 - 59
American Cinematographer - October 2010 - 60
American Cinematographer - October 2010 - 61
American Cinematographer - October 2010 - 62
American Cinematographer - October 2010 - 63
American Cinematographer - October 2010 - 64
American Cinematographer - October 2010 - 65
American Cinematographer - October 2010 - Welcome to the Jungle
American Cinematographer - October 2010 - 67
American Cinematographer - October 2010 - 68
American Cinematographer - October 2010 - 69
American Cinematographer - October 2010 - 70
American Cinematographer - October 2010 - 71
American Cinematographer - October 2010 - Post Focus: Advanced Digital Services
American Cinematographer - October 2010 - 73
American Cinematographer - October 2010 - 74
American Cinematographer - October 2010 - 75
American Cinematographer - October 2010 - 76
American Cinematographer - October 2010 - 77
American Cinematographer - October 2010 - New Products & Services
American Cinematographer - October 2010 - 79
American Cinematographer - October 2010 - 80
American Cinematographer - October 2010 - 81
American Cinematographer - October 2010 - 82
American Cinematographer - October 2010 - 83
American Cinematographer - October 2010 - 84
American Cinematographer - October 2010 - 85
American Cinematographer - October 2010 - International Marketplace
American Cinematographer - October 2010 - 87
American Cinematographer - October 2010 - Ad Index
American Cinematographer - October 2010 - 89
American Cinematographer - October 2010 - Clubhouse News
American Cinematographer - October 2010 - 91
American Cinematographer - October 2010 - ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - Cover3
American Cinematographer - October 2010 - Cover4
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