American Cinematographer - November 2011 - 50

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All for One

A full-scale mockup of Buckingham’s airship, which did double duty as the war vessel of Cardinal Richelieu, was constructed on the massive Marlene Dietrich stage at Studio Babelsberg. The set piece measured 108' long and the rest of the vessels were completed with CGI. The lighting diagram on the facing page, provided by gaffer Ron Schwarz, outlines MacPherson’s approach to the airship set. The top diagram shows the airship with a sky backing around it; the second shows the airship with a greenscreen backing. “We had to light the heck out of the sky backing to make it look real, and we had all the 10Ks on a sequencer to simulate travel through the clouds,” the cinematographer says. “We dialed down the cyc strips for the greenscreen.”

dusk, and then we were just trying to get the right quality of light coming from the right direction,” MacPherson notes. Using T1.3 Arri Master Primes on all four of his 3-D Alexa rigs, the cinematographer hovered around an aperture of T2.8, though he’d stop
50 November 2011

down as far as T8 when necessary. MacPherson didn’t feel pushed to conform to any generally accepted notions of how one should photograph 3-D. He even broke some of the typical rules, like shooting with long lenses and a shallow depth of field. “Some people
American Cinematographer

want to make shooting 3-D into a big hassle, but it doesn’t have to be,” he maintains. “When your scene calls for a 100mm, you have to remember that this isn’t a movie about 3-D — you’re just using it to tell the story.” Accordingly, the filmmakers sometimes chose to reduce the 3-D effect to accommodate their handheld, Steadicam, aerial, Technocrane and Cablecam shots. The cinematographer calls attention to the one aspect of The Three Musketeers that was affected by shooting 3-D: the fight choreography. “In 2-D you shoot a lot of long lenses, shake the camera, do quick cuts,” he says. “The actors don’t really hit or stab each other, so you use a lot of tricks to compress the action.” Knowing that a wide, steady frame and a slower pace in editing help to alleviate eyestrain when viewing 3-D, the filmmakers worked within these boundaries to create more elaborately choreographed fight scenes. “All of our actors trained hard for the swordfighting scenes and got really good at it, so



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 MarleneAmerica 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 MarleneAmerica 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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