American Cinematographer - November, 2010 - 63
view that we ended up with, we had them all wandering from the greenscreen toward the camera. They were backlit by the 20K, which wasaimed right down the barrel of the Red. It’s an illusion of going in and out [of the hereafter]. Extracting that stuff wasn’t very difficult because we weren’t trying to do a hard extraction; we shot these elements that we could then blow out, process, dissolve, and so on. In that sense, we kind of got away with murder — it was a highly unusual greenscreen shoot.” To ensure that the film’s various effects and color palettes played their proper roles, Technicolor’s Bogdanowicz massaged the entire movie on her DaVinci Resolve system. According to Stern, the starting point for this process is“where we put the blacks. Clint likes really solid blacks, so that’s always where we’ll start, even if we take the look somewhere else by the end of the process.”
Bogdanowicz emphasizes that “we didn’t push the desaturation to the degree we did on Flags of Our Fathers , but it is there to some degree. You’ll also notice that the flesh tones are not too warm or red. Clint doesn’t believe people have really warm, yellow or pink skin — it’s more neutral than that. So his general, desaturated aesthetic is a nice place to start; beyond that, I simply follow Tom’s photography, and I rarely have to do anything crazy.” The final result of the entire team’s effortsrepresents another evolution for the 80-year-old Eastwood, and Stern appreciates his collaborator’s ability to adaptboth creatively and technically. “We’re testing digital cameras and different film stocks all the time,” Stern reflects. “We started with the DI about six years ago, and there was tension about it back then; now, it’s a standard part of what we do. The point is, as technologies become stable, more interesting tools become available. Clint will
always take a conservative approach, but things do evolve, and we’re open to whatever develops.” ●
TECHNICAL SPECS
2.40:1 Anamorphic 35mm and Digital Capture Panaflex Platinum, Millennium XL; Red One Panavision lenses Fuji Eterna Vivid 160 8543, 500 8547 Digital Intermediate Printed on Kodak Vision 2383
THE MUST HAVE ACCESSORY
Easy controlling via the on-screen display from monitor
Quick and easy to use (self-explanatory) 100 % Precision – Accuracy to 1 Micron (Collimator Technique) Power Supply: DC 3 V (battery), AC mains adapter 5 V DC
Representative in U.S.: camadeus Film Technologies www.sl-x.us
www.denz-deniz.com
info@denz-deniz.com
We accept
63
http://www.denz-deniz.com
http://www.sl-x.us
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
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com