American Cinematographer - November 2011 - 34
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Time Bandit
talked a number of times about collaborating on a picture, but our schedules never worked out,” Deakins reveals. “He first approached me about In Time while I was shooting True Grit, and I loved the idea.” Although the cinematographer had never shot a feature with digital cameras, he kept close tabs on the evolving technology, and after vetting the Arri Alexa, he decided he had found a digital camera that suited his creative and technical needs. “When Andrew and I first started talking about In Time, he asked me, ‘You still shoot film, right?’ And I replied, ‘Yes, of course.’ But after doing a pretty comprehensive series of tests with the Alexa, I thought it was the right tool to achieve the look we wanted. I called Andrew and said, ‘I’m not pressuring you either way, but I think you should see these tests.’ He came out, saw what I had done with the Alexa, and said, ‘Yeah. Why don’t we do it that way?’” Deakins confesses that he was initially “a little nervous about working with a digital camera,” but found the Alexa to be “a very intuitive, filmbased system — it really feels like a film camera. The great thing about digital is that you can see the results on set while you’re shooting, which makes it easier to sleep at night. We established the base look on set, and that tracked through dailies, editing and final color timing. It’s great for the director to really see what you’re shooting, because that makes your collaboration and conversations easier and more refined; you don’t have to try to explain how the image will look later. “The Alexa is a game-changer,” Deakins maintains. “This moment has been coming for a long time, really, but with the Alexa I believe digital has finally surpassed film in terms of quality. What is quality? It’s really in the eye of the viewer, but to me, the Alexa’s tonal range, color space and latitude exceed the capabilities of film. This is not to say that I
American Cinematographer
Will, a factory worker, shuffles through his daily grind on street sets futurized in Los Angeles by production designer Alex McDowell.
34
November 2011
American Cinematographer - November 2011
Table of Contents for the Digital Edition of American Cinematographer - November 2011
American Cinematographer - November 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “The Candidate”
Production Slate: Martha Marcy May Marlene • America in Primetime
Time Bandit
All for One
3-D on a Budget
Caught on Tape
Sharp Shooting
Filmmakers’ Forum: Juan-Ruiz Anchia, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Dan Mindel
American Cinematographer - November 2011 - American Cinematographer - November 2011
American Cinematographer - November 2011 - Cover2
American Cinematographer - November 2011 - 1
American Cinematographer - November 2011 - 2
American Cinematographer - November 2011 - Contents
American Cinematographer - November 2011 - 4
American Cinematographer - November 2011 - 5
American Cinematographer - November 2011 - 6
American Cinematographer - November 2011 - 7
American Cinematographer - November 2011 - Editor’s Note
American Cinematographer - November 2011 - 9
American Cinematographer - November 2011 - President’s Desk
American Cinematographer - November 2011 - 11
American Cinematographer - November 2011 - Short Takes: “The Candidate”
American Cinematographer - November 2011 - 13
American Cinematographer - November 2011 - 14
American Cinematographer - November 2011 - 15
American Cinematographer - November 2011 - 16
American Cinematographer - November 2011 - 17
American Cinematographer - November 2011 - Production Slate: Martha Marcy May Marlene • America in Primetime
American Cinematographer - November 2011 - 19
American Cinematographer - November 2011 - 20
American Cinematographer - November 2011 - 21
American Cinematographer - November 2011 - 22
American Cinematographer - November 2011 - 23
American Cinematographer - November 2011 - 24
American Cinematographer - November 2011 - 25
American Cinematographer - November 2011 - 26
American Cinematographer - November 2011 - 27
American Cinematographer - November 2011 - 28
American Cinematographer - November 2011 - 29
American Cinematographer - November 2011 - 30
American Cinematographer - November 2011 - 31
American Cinematographer - November 2011 - Time Bandit
American Cinematographer - November 2011 - 33
American Cinematographer - November 2011 - 34
American Cinematographer - November 2011 - 35
American Cinematographer - November 2011 - 36
American Cinematographer - November 2011 - 37
American Cinematographer - November 2011 - 38
American Cinematographer - November 2011 - 39
American Cinematographer - November 2011 - 40
American Cinematographer - November 2011 - 41
American Cinematographer - November 2011 - 42
American Cinematographer - November 2011 - 43
American Cinematographer - November 2011 - 44
American Cinematographer - November 2011 - 45
American Cinematographer - November 2011 - All for One
American Cinematographer - November 2011 - 47
American Cinematographer - November 2011 - 48
American Cinematographer - November 2011 - 49
American Cinematographer - November 2011 - 50
American Cinematographer - November 2011 - 51
American Cinematographer - November 2011 - 52
American Cinematographer - November 2011 - 53
American Cinematographer - November 2011 - 54
American Cinematographer - November 2011 - 55
American Cinematographer - November 2011 - 56
American Cinematographer - November 2011 - 57
American Cinematographer - November 2011 - 58
American Cinematographer - November 2011 - 59
American Cinematographer - November 2011 - 3-D on a Budget
American Cinematographer - November 2011 - 61
American Cinematographer - November 2011 - 62
American Cinematographer - November 2011 - 63
American Cinematographer - November 2011 - 64
American Cinematographer - November 2011 - 65
American Cinematographer - November 2011 - 66
American Cinematographer - November 2011 - 67
American Cinematographer - November 2011 - Caught on Tape
American Cinematographer - November 2011 - 69
American Cinematographer - November 2011 - 70
American Cinematographer - November 2011 - 71
American Cinematographer - November 2011 - 72
American Cinematographer - November 2011 - 73
American Cinematographer - November 2011 - 74
American Cinematographer - November 2011 - 75
American Cinematographer - November 2011 - 76
American Cinematographer - November 2011 - 77
American Cinematographer - November 2011 - Sharp Shooting
American Cinematographer - November 2011 - 79
American Cinematographer - November 2011 - Filmmakers’ Forum: Juan-Ruiz Anchia, ASC
American Cinematographer - November 2011 - 81
American Cinematographer - November 2011 - 82
American Cinematographer - November 2011 - 83
American Cinematographer - November 2011 - 84
American Cinematographer - November 2011 - 85
American Cinematographer - November 2011 - New Products & Services
American Cinematographer - November 2011 - 87
American Cinematographer - November 2011 - 88
American Cinematographer - November 2011 - 89
American Cinematographer - November 2011 - International Marketplace
American Cinematographer - November 2011 - Classified Ads
American Cinematographer - November 2011 - Ad Index
American Cinematographer - November 2011 - 93
American Cinematographer - November 2011 - Clubhouse News
American Cinematographer - November 2011 - 95
American Cinematographer - November 2011 - ASC Close-Up: Dan Mindel
American Cinematographer - November 2011 - Cover3
American Cinematographer - November 2011 - Cover4
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