American Cinematographer - October 2011 - 45
bright daylight, high-contrast situations and dark nights,” he adds. “As for the grain, we embraced it!” The 52-day schedule involved locations in Detroit, standing in for Pittsburgh, and the area around Johannesburg, South Africa, standing in for Sudan and Uganda. After Schaefer tested Hawk VSeries anamorphic lenses and experimented with Arri Relativity, a software package that facilitates grain management, he and Forster decided to shoot a few large-scale wide shots in Africa and Michigan on 35mm. “When you shoot very-wide-angle shots in Super 16, shots with a lot of distance and depth and small objects deep in the frame, you sometimes lose a bit of the detail because the resolution isn’t the same as with 35mm film,” explains the cinematographer. “So we shot some of the very big wide shots on 35mm, and we went spherical because I knew I wouldn’t use the full negative. I knew I could cut into those images and use Relativity to finetune the grain so it would match the 16mm material.” Schaefer’s prep also included testing every 16mm negative available. “I took everything into account — look, grain structure, color rendition,” he says. “We decided to use Kodak [Vision3 250D] 7207 for day exteriors and most day interiors, and [Vision3 500T] 7219 for night scenes and some darker day interiors.” Over the course of their collaborations, which have included Quantum of Solace (AC Nov. ’08), The Kite Runner (AC Nov. ’07) and Monster’s Ball, Schaefer and Forster have refined their planning method. “We come up with a plan book that includes every location or set drawing,” says Schaefer, “and we spend weeks going over it. Marc tells me where he wants the actors and how the action should happen. I’ll take notes and make diagrams with arrows that indicate movement based on how I feel the scene should be represented and shot. I’ll make camera positions and lens notations, and say when there should be a crane, a Steadicam, dolly or handheld. The
Unit photography by Phil Bray and Ilze Kitshoff, courtesy of Relativity Media and MGP Productions, LLC.
Opposite page: Sam Childers (Gerard Butler) prepares to confront the Lord’s Resistance Army in Sudan. This page, top: After robbing a crack house, Childers and a friend (Michael Shannon, right) make a fateful decision to give a stranger a ride. Middle: Childers embarks on a new path by choosing to be baptized. Bottom: Roberto Schaefer, ASC, AIC (left) confers with director Marc Forster.
ww.theasc.com w
October 2011
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http://ww.theasc.com
American Cinematographer - October 2011
Table of Contents for the Digital Edition of American Cinematographer - October 2011
American Cinematographer - October 2011
Contents
Editor’s Note
President’s Desk
Short Takes: Woolite “Torture”
Production Slate: The Skin I Live In • Margin Call
Road Warriors
Man of Action
Home Invasion
King of New York
Post Focus: Restoring A Trip to the Moon
Filmmakers’ Forum: Karl Walter Lindenlaub, ASC, BVK
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Takuo “Tak” Miyagishima
Clubhouse News
ASC Close-Up: Xavier Grobet
American Cinematographer - October 2011 - American Cinematographer - October 2011
American Cinematographer - October 2011 - Cover2
American Cinematographer - October 2011 - 1
American Cinematographer - October 2011 - 2
American Cinematographer - October 2011 - 3
American Cinematographer - October 2011 - 4
American Cinematographer - October 2011 - Contents
American Cinematographer - October 2011 - 6
American Cinematographer - October 2011 - 7
American Cinematographer - October 2011 - Editor’s Note
American Cinematographer - October 2011 - 9
American Cinematographer - October 2011 - President’s Desk
American Cinematographer - October 2011 - 11
American Cinematographer - October 2011 - Short Takes: Woolite “Torture”
American Cinematographer - October 2011 - 13
American Cinematographer - October 2011 - 14
American Cinematographer - October 2011 - 15
American Cinematographer - October 2011 - Production Slate: The Skin I Live In • Margin Call
American Cinematographer - October 2011 - 17
American Cinematographer - October 2011 - 18
American Cinematographer - October 2011 - 19
American Cinematographer - October 2011 - 20
American Cinematographer - October 2011 - 21
American Cinematographer - October 2011 - 22
American Cinematographer - October 2011 - 23
American Cinematographer - October 2011 - 24
American Cinematographer - October 2011 - 25
American Cinematographer - October 2011 - 26
American Cinematographer - October 2011 - 27
American Cinematographer - October 2011 - Road Warriors
American Cinematographer - October 2011 - 29
American Cinematographer - October 2011 - 30
American Cinematographer - October 2011 - 31
American Cinematographer - October 2011 - 32
American Cinematographer - October 2011 - 32a
American Cinematographer - October 2011 - 32b
American Cinematographer - October 2011 - 33
American Cinematographer - October 2011 - 34
American Cinematographer - October 2011 - 35
American Cinematographer - October 2011 - 36
American Cinematographer - October 2011 - 37
American Cinematographer - October 2011 - 38
American Cinematographer - October 2011 - 39
American Cinematographer - October 2011 - 40
American Cinematographer - October 2011 - 41
American Cinematographer - October 2011 - 42
American Cinematographer - October 2011 - 43
American Cinematographer - October 2011 - Man of Action
American Cinematographer - October 2011 - 45
American Cinematographer - October 2011 - 46
American Cinematographer - October 2011 - 47
American Cinematographer - October 2011 - 48
American Cinematographer - October 2011 - 49
American Cinematographer - October 2011 - 50
American Cinematographer - October 2011 - 51
American Cinematographer - October 2011 - Home Invasion
American Cinematographer - October 2011 - 53
American Cinematographer - October 2011 - 54
American Cinematographer - October 2011 - 55
American Cinematographer - October 2011 - 56
American Cinematographer - October 2011 - 57
American Cinematographer - October 2011 - 58
American Cinematographer - October 2011 - 59
American Cinematographer - October 2011 - 60
American Cinematographer - October 2011 - 61
American Cinematographer - October 2011 - King of New York
American Cinematographer - October 2011 - 63
American Cinematographer - October 2011 - 64
American Cinematographer - October 2011 - 65
American Cinematographer - October 2011 - 66
American Cinematographer - October 2011 - 67
American Cinematographer - October 2011 - Post Focus: Restoring A Trip to the Moon
American Cinematographer - October 2011 - 69
American Cinematographer - October 2011 - 70
American Cinematographer - October 2011 - 71
American Cinematographer - October 2011 - 72
American Cinematographer - October 2011 - 73
American Cinematographer - October 2011 - Filmmakers’ Forum: Karl Walter Lindenlaub, ASC, BVK
American Cinematographer - October 2011 - 75
American Cinematographer - October 2011 - 76
American Cinematographer - October 2011 - 77
American Cinematographer - October 2011 - New Products & Services
American Cinematographer - October 2011 - 79
American Cinematographer - October 2011 - 80
American Cinematographer - October 2011 - 81
American Cinematographer - October 2011 - International Marketplace
American Cinematographer - October 2011 - Classified Ads
American Cinematographer - October 2011 - Ad Index
American Cinematographer - October 2011 - 85
American Cinematographer - October 2011 - In Memoriam: Takuo “Tak” Miyagishima
American Cinematographer - October 2011 - Clubhouse News
American Cinematographer - October 2011 - ASC Close-Up: Xavier Grobet
American Cinematographer - October 2011 - Cover3
American Cinematographer - October 2011 - Cover4
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