American Cinematographer - November, 2010 - 16
of specialty prisms. After discovering the Gates Deep Red housing, however, they realized they could make the rainbows feel more three-dimensional by arranging the prisms along the curve of the housing’s acrylic dome. Certain scenes in “Sextape” have a look reminiscent of the “night vision” settings on some DV camcorders; the effect was achieved in-camera by lighting with a pure green spectrum of laser light and applying a -100 magenta tint in the camera’s image settings. “We fell in love with the subtle texture the single channel gave us for those scenes, preferring the natural color, saturation and noise levels of the Mysterium-X sensor to performing the color correction in post. We’ve always loved what happens to brighter colors when they clip in the older firmware builds, and we lit certain things with that in mind and processed them with older versions of RedAlert.” This approach is apparent in the middle section of the video, as memories flash by while the characters literally pull on and become entangled in the fabric of the storyline. “We wanted these scenes to have the futuristic sense of nostalgia you might find in a [William] Gibson-esque home movie from the future,” the filmmakers say. “We achieved this by shooting Redcode 28 processed with Build 16 at a half-standard debayer, which gave us a lower resolution and noisier image,and also gave the highlights a pleasingly dissonant clip gradient.” While editing “Sextape,” Forrest and Liebenguth eschewed all computer effects, transitions and fades in favor of straight cuts. “We try to get it to a point where the images simply morph into one another and the narrative flows across the screen in one continuous, kinetic piece,” the directors remark. “A stronger, deeper narrative always emerges in the editing process. Because the video was not shot upfront with this in mind, this new narrative is hidden and we are the only people who know the secret stories of each video.” ●
Top and middle: Underwater sequences were shot with the Red One in a Gates Deep Red housing and various fixtures sealed in military-grade zipper bags. Bottom: Forrest readies multiple fixtures above the swimming pool used for the video’s underwater action.
Erratum Gaffer Paul Samaniego’s name was misspelled in our September Short Takes column (“Taking Arri’s Alexa to the World Cup,” page 12).
16
November 2010
American Cinematographer
American Cinematographer - November, 2010
Table of Contents for the Digital Edition of American Cinematographer - November, 2010
American Cinematographer - November 2010
Contents
Editor’s Note
President’s Desk
Short Takes: “Sextape”
Production Slate: The LXD • Monsters
Horse Power
The World’s Most Wanted Man
A Modern Romance
King of Cool
Primetime Artistry
Post Focus: New Hat
Tricks of the Trade
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Phedon Papamichael
American Cinematographer - November, 2010 - American Cinematographer - November 2010
American Cinematographer - November, 2010 - Cover2
American Cinematographer - November, 2010 - 1
American Cinematographer - November, 2010 - 2
American Cinematographer - November, 2010 - Contents
American Cinematographer - November, 2010 - 4
American Cinematographer - November, 2010 - 5
American Cinematographer - November, 2010 - 6
American Cinematographer - November, 2010 - 7
American Cinematographer - November, 2010 - Editor’s Note
American Cinematographer - November, 2010 - 9
American Cinematographer - November, 2010 - President’s Desk
American Cinematographer - November, 2010 - 11
American Cinematographer - November, 2010 - Short Takes: “Sextape”
American Cinematographer - November, 2010 - 13
American Cinematographer - November, 2010 - 14
American Cinematographer - November, 2010 - 15
American Cinematographer - November, 2010 - 16
American Cinematographer - November, 2010 - 17
American Cinematographer - November, 2010 - Production Slate: The LXD • Monsters
American Cinematographer - November, 2010 - 19
American Cinematographer - November, 2010 - 20
American Cinematographer - November, 2010 - 21
American Cinematographer - November, 2010 - 22
American Cinematographer - November, 2010 - 23
American Cinematographer - November, 2010 - 24
American Cinematographer - November, 2010 - 25
American Cinematographer - November, 2010 - 26
American Cinematographer - November, 2010 - 27
American Cinematographer - November, 2010 - 28
American Cinematographer - November, 2010 - 29
American Cinematographer - November, 2010 - Horse Power
American Cinematographer - November, 2010 - 31
American Cinematographer - November, 2010 - 32
American Cinematographer - November, 2010 - 33
American Cinematographer - November, 2010 - 34
American Cinematographer - November, 2010 - 35
American Cinematographer - November, 2010 - 36
American Cinematographer - November, 2010 - 37
American Cinematographer - November, 2010 - 38
American Cinematographer - November, 2010 - 39
American Cinematographer - November, 2010 - 40
American Cinematographer - November, 2010 - 41
American Cinematographer - November, 2010 - The World’s Most Wanted Man
American Cinematographer - November, 2010 - 43
American Cinematographer - November, 2010 - 44
American Cinematographer - November, 2010 - 45
American Cinematographer - November, 2010 - 46
American Cinematographer - November, 2010 - 47
American Cinematographer - November, 2010 - 48
American Cinematographer - November, 2010 - 49
American Cinematographer - November, 2010 - 50
American Cinematographer - November, 2010 - 51
American Cinematographer - November, 2010 - 52
American Cinematographer - November, 2010 - 53
American Cinematographer - November, 2010 - A Modern Romance
American Cinematographer - November, 2010 - 55
American Cinematographer - November, 2010 - 56
American Cinematographer - November, 2010 - 57
American Cinematographer - November, 2010 - 58
American Cinematographer - November, 2010 - 59
American Cinematographer - November, 2010 - 60
American Cinematographer - November, 2010 - 61
American Cinematographer - November, 2010 - 62
American Cinematographer - November, 2010 - 63
American Cinematographer - November, 2010 - King of Cool
American Cinematographer - November, 2010 - 65
American Cinematographer - November, 2010 - 66
American Cinematographer - November, 2010 - 67
American Cinematographer - November, 2010 - 68
American Cinematographer - November, 2010 - 69
American Cinematographer - November, 2010 - 70
American Cinematographer - November, 2010 - 71
American Cinematographer - November, 2010 - 72
American Cinematographer - November, 2010 - 73
American Cinematographer - November, 2010 - 74
American Cinematographer - November, 2010 - 75
American Cinematographer - November, 2010 - 76
American Cinematographer - November, 2010 - 77
American Cinematographer - November, 2010 - 78
American Cinematographer - November, 2010 - 79
American Cinematographer - November, 2010 - Primetime Artistry
American Cinematographer - November, 2010 - 81
American Cinematographer - November, 2010 - Post Focus: New Hat
American Cinematographer - November, 2010 - 83
American Cinematographer - November, 2010 - 84
American Cinematographer - November, 2010 - 85
American Cinematographer - November, 2010 - Tricks of the Trade
American Cinematographer - November, 2010 - 87
American Cinematographer - November, 2010 - New Products & Services
American Cinematographer - November, 2010 - 89
American Cinematographer - November, 2010 - 90
American Cinematographer - November, 2010 - 91
American Cinematographer - November, 2010 - 92
American Cinematographer - November, 2010 - 93
American Cinematographer - November, 2010 - International Marketplace
American Cinematographer - November, 2010 - 95
American Cinematographer - November, 2010 - Ad Index
American Cinematographer - November, 2010 - 97
American Cinematographer - November, 2010 - Clubhouse News
American Cinematographer - November, 2010 - 99
American Cinematographer - November, 2010 - ASC Close-Up: Phedon Papamichael
American Cinematographer - November, 2010 - Cover3
American Cinematographer - November, 2010 - Cover4
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