American Cinematographer - October 2012 - 35
existed in the Seventies. Greig suggested that Panavision anamorphic lenses in tandem with the kind of lighting style we wanted would produce a really creamy image, and we shot a lot of tests with Panavision lenses on his [Canon EOS 5D Mark II] DSLR. Then it was a matter of coming up with a look [on film] that would match what we were getting on the 5D, because we loved that. It was a very shallow depth-of-field with layered grays — there were no real blacks in it. That look is pretty impossible to duplicate on film, I think, because once you get down to the release print, moving away from contrasty images is kind of tough.” A new film stock, Kodak 500T 5230, proved to be key, according to Fraser. “We were the first feature to use it, and it has a beautiful creamy quality,” he says. “I didn’t test much of it, mind you, because we didn’t have enough time. We shot some as we drove around L.A., printed it, and thought the results looked amazing. We then put in an order for about 200,000 feet of it, which gave them a little shock up there in Rochester! But they came through. “We shot most of the movie on that stock, all the night interiors and exteriors,” he continues. “It’s not as contrasty as [Kodak Vision3 500T]
Unit photography by Melinda Sue Gordon, SMPSP. Photos and frame grabs courtesy of Plan B, EFilm and The Weinstein Co.
Opposite: Jackie Cogan (Brad Pitt) finishes off a hit in a unit still from Killing Them Softly. This page: A nervous Frankie (Scoot McNairy) tries to keep it together while robbing a high-stakes poker game with an unreliable pal. The images on this page are frame grabs from EFilm.
5219. Comparing 5219 to 5230 is like comparing photo prints on glossy paper and matte paper. 5219 is glossy, and 5230 is matte. 5219 zings; it’s sharp. With 5230, the blacks absorb
www.theasc.com
you a bit more; they take a little more effort to welcome you in. You can almost feel the textures and touch the tones.” Some of the images in Killing
October 2012 35
http://www.theasc.com
American Cinematographer - October 2012
Table of Contents for the Digital Edition of American Cinematographer - October 2012
American Cinematographer - October 2012
Contents
Editor’s Note
President’s Desk
Short Takes: ASC Andrew Laszlo Heritage Awards
Production Slate: Chasing Ice • Arbitrage
Dead Man’s Hand
A Very Tough Beat
Payback Time
Hitchcock Blonde
Post Focus: Blinding
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Robert Primes
American Cinematographer - October 2012 - American Cinematographer - October 2012
American Cinematographer - October 2012 - Cover2
American Cinematographer - October 2012 - 1
American Cinematographer - October 2012 - 2
American Cinematographer - October 2012 - Contents
American Cinematographer - October 2012 - 4
American Cinematographer - October 2012 - 5
American Cinematographer - October 2012 - 6
American Cinematographer - October 2012 - 7
American Cinematographer - October 2012 - Editor’s Note
American Cinematographer - October 2012 - 9
American Cinematographer - October 2012 - President’s Desk
American Cinematographer - October 2012 - 11
American Cinematographer - October 2012 - Short Takes: ASC Andrew Laszlo Heritage Awards
American Cinematographer - October 2012 - 13
American Cinematographer - October 2012 - 14
American Cinematographer - October 2012 - 15
American Cinematographer - October 2012 - 16
American Cinematographer - October 2012 - 17
American Cinematographer - October 2012 - 18
American Cinematographer - October 2012 - 19
American Cinematographer - October 2012 - Production Slate: Chasing Ice • Arbitrage
American Cinematographer - October 2012 - 21
American Cinematographer - October 2012 - 22
American Cinematographer - October 2012 - 23
American Cinematographer - October 2012 - 24
American Cinematographer - October 2012 - 25
American Cinematographer - October 2012 - 26
American Cinematographer - October 2012 - 27
American Cinematographer - October 2012 - 28
American Cinematographer - October 2012 - 29
American Cinematographer - October 2012 - 30
American Cinematographer - October 2012 - 31
American Cinematographer - October 2012 - 32
American Cinematographer - October 2012 - 33
American Cinematographer - October 2012 - Dead Man’s Hand
American Cinematographer - October 2012 - 35
American Cinematographer - October 2012 - 36
American Cinematographer - October 2012 - 37
American Cinematographer - October 2012 - 38
American Cinematographer - October 2012 - 39
American Cinematographer - October 2012 - 40
American Cinematographer - October 2012 - 41
American Cinematographer - October 2012 - 42
American Cinematographer - October 2012 - 43
American Cinematographer - October 2012 - 44
American Cinematographer - October 2012 - 45
American Cinematographer - October 2012 - 46
American Cinematographer - October 2012 - 47
American Cinematographer - October 2012 - 48
American Cinematographer - October 2012 - 49
American Cinematographer - October 2012 - A Very Tough Beat
American Cinematographer - October 2012 - 51
American Cinematographer - October 2012 - 52
American Cinematographer - October 2012 - 53
American Cinematographer - October 2012 - 54
American Cinematographer - October 2012 - 55
American Cinematographer - October 2012 - 56
American Cinematographer - October 2012 - 57
American Cinematographer - October 2012 - 58
American Cinematographer - October 2012 - 59
American Cinematographer - October 2012 - 60
American Cinematographer - October 2012 - 61
American Cinematographer - October 2012 - 62
American Cinematographer - October 2012 - 63
American Cinematographer - October 2012 - Payback Time
American Cinematographer - October 2012 - 65
American Cinematographer - October 2012 - 66
American Cinematographer - October 2012 - 67
American Cinematographer - October 2012 - 68
American Cinematographer - October 2012 - 69
American Cinematographer - October 2012 - 70
American Cinematographer - October 2012 - 71
American Cinematographer - October 2012 - 72
American Cinematographer - October 2012 - 73
American Cinematographer - October 2012 - 74
American Cinematographer - October 2012 - 75
American Cinematographer - October 2012 - Hitchcock Blonde
American Cinematographer - October 2012 - 77
American Cinematographer - October 2012 - 78
American Cinematographer - October 2012 - 79
American Cinematographer - October 2012 - 80
American Cinematographer - October 2012 - 81
American Cinematographer - October 2012 - 82
American Cinematographer - October 2012 - 83
American Cinematographer - October 2012 - 84
American Cinematographer - October 2012 - 85
American Cinematographer - October 2012 - Post Focus: Blinding
American Cinematographer - October 2012 - 87
American Cinematographer - October 2012 - 88
American Cinematographer - October 2012 - 89
American Cinematographer - October 2012 - New Products & Services
American Cinematographer - October 2012 - 91
American Cinematographer - October 2012 - 92
American Cinematographer - October 2012 - 93
American Cinematographer - October 2012 - International Marketplace
American Cinematographer - October 2012 - Classified Ads
American Cinematographer - October 2012 - Ad Index
American Cinematographer - October 2012 - 97
American Cinematographer - October 2012 - Clubhouse News
American Cinematographer - October 2012 - 99
American Cinematographer - October 2012 - ASC Close-Up: Robert Primes
American Cinematographer - October 2012 - Cover3
American Cinematographer - October 2012 - Cover4
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