American Cinematographer - November, 2010 - 53

the scene, and then we followed the other actor,” continues Lenoir. “But soon we developed something more interesting that wasn’t tied to one actor: we started on one actor and then moved to the other actor when they crossed paths, and eventually to a third actor, all in the same shot. You can,of course,cross the line,but then you cross it twice and you respect the moment you cross the line on the second shot. That way,you can cut to the other shot at any moment, since the eyelines are always respected — the 180 rule. Another idea was to include the inserts in the shot. So,for example, we might go down from the actor’s face to what he’s holding and then back to his face, instead of cutting.” Le Saux recalls a great example of a one-shot scene, when Carlos is outside the French embassy that has been taken over by Japanese terrorists, and watches as a wounded policewoman is brought out on a stretcher.

The camera starts on Carlos, then follows an ambulance driver as he whizzes by, revealing the entrance of the building; a moment later,the stretcher is brought out, then Carlos walks back into frame and we follow him as he walks off. Assayas remembers that he designed the shot on the spot at the end of a long day, and that the shot was accomplished in 30 minutes. “It’s a miracle!” he says, laughing. Assayas emphasizes that he does not believe in storyboarding or shotlisting during prep. Rather, he designs all his shots on the day of the shoot. “I do my homework, but I don’t plan. I think movies are living organisms; they develop gradually, and you have to be in sync with that growth, which depends on the actors and whatever they have built themselves from scene to scene, on your locations, and on your crew. A movie has its own life.” ●

TECHNICAL SPECS
2.40:1 2-perf Super 35mm Aaton Penelope; Panaflex Platinum Panavision lenses Kodak Vision3 500T 5219; Vision2 100T 5212, 200T 5217 Digital Intermediate Printed on Kodak Vision 2383

www.panther.tv panther.tv tv

The Panther The Panther
A new dolly genera y generation
Lowest column dolly worldwide column dolly ly (lowest start position) (lo lowest start pos t ta t Equipped with the new High-Low Turnstile w w Turnstile Unique 3 column system column

Dolly Dolly ly
Trista tar
Steering options:

After over 25 years f experience designing After over 25 years of experience in designing and manufacturing elecf manufa uring elecfact tromechanic dollies, Panther is introducing a new generation of camera tromechanic dollies, Panther is introducing generation f camera dollies on the market. dollies market.

Camera movements from a sitting to a standing person are possiCamera movements from sitting to standing person are possible without any conversion of the dolly. ble without any conversion f dolly. Realise low camera positions without any conversion. Realise low camera positions without any conversion. A new period of working time efﬁciency and effectivity with a f working efﬁciency effectivity with camera dolly has begun. camera dolly has begun. Learn more about the Panther Tristar dolly by visting our t Panther Tristar dolly y ta ly webside at www.panther.tv at www.panther.tv

P AN T H E R GmbH PANTHER G mbH Raiffeisenallee 3 | 82041 Munich | Germany R a i f f e is e na ll e e 82041 Munich Germany T +49.89.613 900–01 | F +49.89.61 31 00 0 +49.89.613 900–01 +49.89.61 31 00 contact@panther.tv | www.panther.tv contact@panther.tv www.panther.tv

PANTHE R D o l l i e s & C r a n e s LLC PANTHER Dollies Cranes L LC 7358 Radford Ave. | Nor th Hollywood, CA 91605 7358 Radford Ave. North Hollywood, CA 91605 T +818-764-1234 contact@panther.us +818-764-1234 contact@panther.us www.panther.us www.panther.us

http://www.panther.tv http://www.panther.tv http://www.panther.tv http://www.panther.us

American Cinematographer - November, 2010

Table of Contents for the Digital Edition of American Cinematographer - November, 2010