American Cinematographer - November 2012 - 40
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Promoting “The Cause”
Top: Dodd interviews Quell aboard his yacht in an attempt to analyze his personality. Bottom: Intimate close-ups lend the sequence extra intensity.
that pulling focus for Emmanuel Lubezki, ASC, AMC on The Tree of Life (AC Aug ’11) taught him the importance of sensing how an actor will move and behave. This “divining approach” was particularly helpful on The Master because every take tended to involve a variation on the previous attempt. Blocking rehearsals or focus marks were a rarity. As an example, Brown cites the 400' dolly shot in which Quell spots Dodd’s yacht in the harbor and then jumps aboard before it pulls away from the pier. A-camera operator Colin Anderson followed Phoenix with the 65HSSM on an Arri geared head, while Brown racked focus back-and-forth between the actor and the boat on a 75mm System 65 lens at T21⁄3. “The fundamentals of the shot never
40 November 2012
changed,” Brown explains. “The dolly always started at Point A and ended at Point B, but the timing by which it got from A to B, and the way Joaquin walked through the frame, were always different. As the focus puller, you don’t know which take will be the magic one, so every take needs to be perfect.” Brown pulled focus using a Cinematography Electronics Cinetape module linked to a Preston remote unit. Being free of the camera enabled him to find a more advantageous position from which to gauge distance, and spared the actors and the operator any distractions. “You play a zone defense,” he says. “Know how big the space is, and do the mental math.” To light the shot, Malaimare’s crew positioned an 80' Condor on land directly next to the boat, and hung a
American Cinematographer
large softbox containing four 6-light HPL Maxi-Brutes through 12'x12' Light Grid. Also in play through the shipyard were 1K Pars, 9-Light Maxis, 10Ks and all eight of the production’s 20Ks. Bauman credits rigging gaffer James Kumarelas with figuring out costeffective ways to light the boats and other details. “For the yacht, we used a bunch of hardware-store clip lights and 200-watt tungsten bulbs,” Bauman reveals. “The reflector on the clip light made for a nice, large source that looked great in the background.” Quell’s peculiar manner — and his talent for concocting head-spinning moonshines — compels Dodd to take him aboard as a crewmember. Most of the yacht scenes were shot over two weeks while the vessel was actually out on the water. “Even if you don’t neces-
American Cinematographer - November 2012
Table of Contents for the Digital Edition of American Cinematographer - November 2012
American Cinematographer - November 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Kick Start Theft
Production Slate: Middle of Nowhere • Husbands
Promoting “The Cause”
Creative Conspiracies
Deep Shih Tzu
Bedlam’s New Address
First-Rate Fare
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Deming
American Cinematographer - November 2012 - American Cinematographer - November 2012
American Cinematographer - November 2012 - Cover2
American Cinematographer - November 2012 - 1
American Cinematographer - November 2012 - 2
American Cinematographer - November 2012 - Contents
American Cinematographer - November 2012 - 4
American Cinematographer - November 2012 - 5
American Cinematographer - November 2012 - 6
American Cinematographer - November 2012 - 7
American Cinematographer - November 2012 - Editor’s Note
American Cinematographer - November 2012 - 9
American Cinematographer - November 2012 - President’s Desk
American Cinematographer - November 2012 - 11
American Cinematographer - November 2012 - Short Takes: Kick Start Theft
American Cinematographer - November 2012 - 13
American Cinematographer - November 2012 - 14
American Cinematographer - November 2012 - 15
American Cinematographer - November 2012 - 16
American Cinematographer - November 2012 - 17
American Cinematographer - November 2012 - 18
American Cinematographer - November 2012 - 19
American Cinematographer - November 2012 - Production Slate: Middle of Nowhere • Husbands
American Cinematographer - November 2012 - 21
American Cinematographer - November 2012 - 22
American Cinematographer - November 2012 - 23
American Cinematographer - November 2012 - 24
American Cinematographer - November 2012 - 25
American Cinematographer - November 2012 - 26
American Cinematographer - November 2012 - 27
American Cinematographer - November 2012 - 28
American Cinematographer - November 2012 - 29
American Cinematographer - November 2012 - 30
American Cinematographer - November 2012 - 31
American Cinematographer - November 2012 - Promoting “The Cause”
American Cinematographer - November 2012 - 33
American Cinematographer - November 2012 - 34
American Cinematographer - November 2012 - 35
American Cinematographer - November 2012 - 36
American Cinematographer - November 2012 - 37
American Cinematographer - November 2012 - 38
American Cinematographer - November 2012 - 39
American Cinematographer - November 2012 - 40
American Cinematographer - November 2012 - 41
American Cinematographer - November 2012 - 42
American Cinematographer - November 2012 - 43
American Cinematographer - November 2012 - 44
American Cinematographer - November 2012 - 45
American Cinematographer - November 2012 - 46
American Cinematographer - November 2012 - 47
American Cinematographer - November 2012 - 48
American Cinematographer - November 2012 - 49
American Cinematographer - November 2012 - 50
American Cinematographer - November 2012 - 51
American Cinematographer - November 2012 - Creative Conspiracies
American Cinematographer - November 2012 - 53
American Cinematographer - November 2012 - 54
American Cinematographer - November 2012 - 55
American Cinematographer - November 2012 - 56
American Cinematographer - November 2012 - 57
American Cinematographer - November 2012 - 58
American Cinematographer - November 2012 - 59
American Cinematographer - November 2012 - 60
American Cinematographer - November 2012 - 61
American Cinematographer - November 2012 - 62
American Cinematographer - November 2012 - 63
American Cinematographer - November 2012 - 64
American Cinematographer - November 2012 - 65
American Cinematographer - November 2012 - Deep Shih Tzu
American Cinematographer - November 2012 - 67
American Cinematographer - November 2012 - 68
American Cinematographer - November 2012 - 69
American Cinematographer - November 2012 - 70
American Cinematographer - November 2012 - 71
American Cinematographer - November 2012 - 72
American Cinematographer - November 2012 - 73
American Cinematographer - November 2012 - 74
American Cinematographer - November 2012 - 75
American Cinematographer - November 2012 - Bedlam’s New Address
American Cinematographer - November 2012 - 77
American Cinematographer - November 2012 - 78
American Cinematographer - November 2012 - 79
American Cinematographer - November 2012 - 80
American Cinematographer - November 2012 - 81
American Cinematographer - November 2012 - 82
American Cinematographer - November 2012 - 83
American Cinematographer - November 2012 - 84
American Cinematographer - November 2012 - 85
American Cinematographer - November 2012 - First-Rate Fare
American Cinematographer - November 2012 - 87
American Cinematographer - November 2012 - New Products & Services
American Cinematographer - November 2012 - 89
American Cinematographer - November 2012 - 90
American Cinematographer - November 2012 - 91
American Cinematographer - November 2012 - 92
American Cinematographer - November 2012 - 93
American Cinematographer - November 2012 - International Marketplace
American Cinematographer - November 2012 - Classified Ads
American Cinematographer - November 2012 - Ad Index
American Cinematographer - November 2012 - 97
American Cinematographer - November 2012 - Clubhouse News
American Cinematographer - November 2012 - 99
American Cinematographer - November 2012 - ASC Close-Up: Peter Deming
American Cinematographer - November 2012 - Cover3
American Cinematographer - November 2012 - Cover4
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