American Cinematographer - November 2009 - 61

Top: Longson prepares to confront Clough about his team selection in the Derby clubhouse. Bottom: In another Derby clubhouse scene, Taylor watches Clough prepare for Revie’s arrival. rectilinear 8mm on John Adams [2008]. Panavision doesn’t really have a flat-field 8mm, but I was quite glad of that because it might have been a step too far! “I wasn’t trying to keep to a particular stop,” he continues. “I’d shoot between T2 and T5.6 depending on whether we had lots of light or not very much. I tend to prefer Zeiss Super Speeds because I like to push [exposure] as far as I can. I don’t shoot T1.3 for shallow focus; I shoot it out of necessity, and if there were a T1.1 lens, I’d want it.” The Damned United contains various forms of original footage from the time, including black-andwhite and color pitch-side action coverage as well as television interviews. In order to match this original material and evoke the period, the filmmakers shot a number of different formats. “The majority of the film was shot on 35mm Fuji color negative, but we also shot some 16mm black-and-white and 16mm Ektachrome 100D [7285],” he says. “I used my own Bolex camera, and unfortunately, it broke halfway through the shoot, but we were able to borrow an Aaton XTR-Prod for a few days. We shot the black-andwhite material on Eastman [Double-X] 7222, which is one of the few stocks that hasn’t changed much over the years and still has a natural grain in it. The Ektachrome was a bit too sharp for what we wanted, so I pushed it 2 stops and had it cross-processed at Film and Photo London.” For TV-interview scenes that necessitated cutting between origi- nal footage of the interviewer and new footage of Sheen as Clough, Smithard made the bold decision to utilize vintage tube video cameras; he turned to a company called Golden Age Television Recreations for period-accurate cameras that could be used in shot. Dicky Howett at GATR explains, “We supplied three EMI 2001 cameras, two of which needed to provide live feeds. Because the 2001s are so old and Photos by Ben Smithard. American Cinematographer 61

American Cinematographer - November 2009

Table of Contents for the Digital Edition of American Cinematographer - November 2009

American Cinematographer - November 2009
Table of Contents
Editor’s Note
President’s Desk
Short Takes: Synaesthesia
Production Slate: The Private Lives of Pippa Lee; Cairo Time
Wild Kingdom
Pandora’s Predicament
Kicked Off the Pitch
The Root of All Evil
Quality Viewing
Post Focus: Restoring Apollo 11 Footage
New Products & Services
International Marketplace
Classified Ads/Ad Index
In Memoriam: Richard Moore, ASC
Clubhouse News
ASC Close-Up: Anastas Michos
American Cinematographer - November 2009 - Intro
American Cinematographer - November 2009 - American Cinematographer - November 2009
American Cinematographer - November 2009 - Cover2
American Cinematographer - November 2009 - 1
American Cinematographer - November 2009 - 2
American Cinematographer - November 2009 - Table of Contents
American Cinematographer - November 2009 - 4
American Cinematographer - November 2009 - 5
American Cinematographer - November 2009 - 6
American Cinematographer - November 2009 - 7
American Cinematographer - November 2009 - Editor’s Note
American Cinematographer - November 2009 - 9
American Cinematographer - November 2009 - President’s Desk
American Cinematographer - November 2009 - 11
American Cinematographer - November 2009 - Short Takes: Synaesthesia
American Cinematographer - November 2009 - 13
American Cinematographer - November 2009 - 14
American Cinematographer - November 2009 - 15
American Cinematographer - November 2009 - 16
American Cinematographer - November 2009 - 17
American Cinematographer - November 2009 - Production Slate: The Private Lives of Pippa Lee; Cairo Time
American Cinematographer - November 2009 - 19
American Cinematographer - November 2009 - 20
American Cinematographer - November 2009 - 21
American Cinematographer - November 2009 - 22
American Cinematographer - November 2009 - 23
American Cinematographer - November 2009 - 24
American Cinematographer - November 2009 - 25
American Cinematographer - November 2009 - 26
American Cinematographer - November 2009 - 27
American Cinematographer - November 2009 - 28
American Cinematographer - November 2009 - 29
American Cinematographer - November 2009 - 30
American Cinematographer - November 2009 - 31
American Cinematographer - November 2009 - 32
American Cinematographer - November 2009 - 33
American Cinematographer - November 2009 - Wild Kingdom
American Cinematographer - November 2009 - 35
American Cinematographer - November 2009 - 36
American Cinematographer - November 2009 - 37
American Cinematographer - November 2009 - 38
American Cinematographer - November 2009 - 39
American Cinematographer - November 2009 - 40
American Cinematographer - November 2009 - 41
American Cinematographer - November 2009 - 42
American Cinematographer - November 2009 - 43
American Cinematographer - November 2009 - 44
American Cinematographer - November 2009 - 45
American Cinematographer - November 2009 - 46
American Cinematographer - November 2009 - 47
American Cinematographer - November 2009 - Pandora’s Predicament
American Cinematographer - November 2009 - 49
American Cinematographer - November 2009 - 50
American Cinematographer - November 2009 - 51
American Cinematographer - November 2009 - 52
American Cinematographer - November 2009 - 52a
American Cinematographer - November 2009 - 52b
American Cinematographer - November 2009 - 53
American Cinematographer - November 2009 - 54
American Cinematographer - November 2009 - 55
American Cinematographer - November 2009 - 56
American Cinematographer - November 2009 - 57
American Cinematographer - November 2009 - Kicked Off the Pitch
American Cinematographer - November 2009 - 59
American Cinematographer - November 2009 - 60
American Cinematographer - November 2009 - 61
American Cinematographer - November 2009 - 62
American Cinematographer - November 2009 - 63
American Cinematographer - November 2009 - 64
American Cinematographer - November 2009 - 65
American Cinematographer - November 2009 - The Root of All Evil
American Cinematographer - November 2009 - 67
American Cinematographer - November 2009 - 68
American Cinematographer - November 2009 - 69
American Cinematographer - November 2009 - 70
American Cinematographer - November 2009 - 71
American Cinematographer - November 2009 - 72
American Cinematographer - November 2009 - 73
American Cinematographer - November 2009 - 74
American Cinematographer - November 2009 - 75
American Cinematographer - November 2009 - Quality Viewing
American Cinematographer - November 2009 - 77
American Cinematographer - November 2009 - Post Focus: Restoring Apollo 11 Footage
American Cinematographer - November 2009 - 79
American Cinematographer - November 2009 - 80
American Cinematographer - November 2009 - 81
American Cinematographer - November 2009 - 82
American Cinematographer - November 2009 - 83
American Cinematographer - November 2009 - New Products & Services
American Cinematographer - November 2009 - 85
American Cinematographer - November 2009 - 86
American Cinematographer - November 2009 - 87
American Cinematographer - November 2009 - 88
American Cinematographer - November 2009 - 89
American Cinematographer - November 2009 - 90
American Cinematographer - November 2009 - 91
American Cinematographer - November 2009 - International Marketplace
American Cinematographer - November 2009 - 93
American Cinematographer - November 2009 - Classified Ads/Ad Index
American Cinematographer - November 2009 - 95
American Cinematographer - November 2009 - In Memoriam: Richard Moore, ASC
American Cinematographer - November 2009 - 97
American Cinematographer - November 2009 - Clubhouse News
American Cinematographer - November 2009 - 99
American Cinematographer - November 2009 - ASC Close-Up: Anastas Michos
American Cinematographer - November 2009 - Cover3
American Cinematographer - November 2009 - Cover4
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