American Cinematographer - November 2013 - 41

through in real time. This is something
Alfonso and I discovered on Y Tu
Mamá También and Children of Men."
Cuarón notes that whenever he
was tempted "to do a camera move just
because it was cool, Chivo would not
allow that to happen." He cites the
example of the opening take, which
ends with Stone drifting away toward
open space. "When we were doing the
previs, as she started floating away, I
said, 'We don't need to cut. We can keep
following her in the same shot, so the
first two shots would be just one shot.'
But Chivo said, 'I think when she's
floating away is the perfect moment to
cut. If this were the chapter of a book,
this would be the last phrase of the
chapter.' And he was right. Otherwise,
we would have started calling attention
to the long take and creating an expectation that that's what the film was
about. But that's not what it's about.
The camerawork serves ... I don't want
to say it serves the story, because I have
my problems with that. For me, the
story is like the cinematography, the
sound, the acting and the color. They
are tools for cinema, and what you have
to serve is cinema, not story."
In another memorable camera
move, the frame starts on Stone's point
of view, looking through her helmet and
its reflections, and then goes through
the headpiece glass, ending on an external wide shot. Cuarón explains, "There's
a purpose there. At the beginning of the
film, we wanted to present a kind of
objective reality, where we just see a
routine mission. After disaster strikes,
we continue to follow Stone objectively
until we grab a POV and go to a subjective experience. The interesting thing is
that from the moment it comes out of
that helmet, the camera is no longer
either objective or subjective. It
becomes an immersive experience, as if
the viewer is right next to her."
After the creation of the previs
animation with virtual camera moves,
the next stage was the prelight, when
Lubezki defined the CG lighting in
concert with the team at Framestore.
"Working with a lot of digital gaffers, I

This progression sequence begins with the previs phase, followed by images that show the live-action
footage captured in the "LED Box," the first-pass integration of the live action with virtual elements, and
the final image.

www.theasc.com

November 2013

41


http://www.theasc.com

American Cinematographer - November 2013

Table of Contents for the Digital Edition of American Cinematographer - November 2013

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
American Cinematographer - November 2013 - 12
American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
American Cinematographer - November 2013 - 15
American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
American Cinematographer - November 2013 - 26
American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
American Cinematographer - November 2013 - 30
American Cinematographer - November 2013 - 31
American Cinematographer - November 2013 - 32
American Cinematographer - November 2013 - 33
American Cinematographer - November 2013 - 34
American Cinematographer - November 2013 - 35
American Cinematographer - November 2013 - 36
American Cinematographer - November 2013 - 37
American Cinematographer - November 2013 - 38
American Cinematographer - November 2013 - 39
American Cinematographer - November 2013 - 40
American Cinematographer - November 2013 - 41
American Cinematographer - November 2013 - 42
American Cinematographer - November 2013 - 43
American Cinematographer - November 2013 - 44
American Cinematographer - November 2013 - 45
American Cinematographer - November 2013 - 46
American Cinematographer - November 2013 - 47
American Cinematographer - November 2013 - 48
American Cinematographer - November 2013 - 49
American Cinematographer - November 2013 - 50
American Cinematographer - November 2013 - 51
American Cinematographer - November 2013 - 52
American Cinematographer - November 2013 - 53
American Cinematographer - November 2013 - 54
American Cinematographer - November 2013 - 55
American Cinematographer - November 2013 - 56
American Cinematographer - November 2013 - 57
American Cinematographer - November 2013 - 58
American Cinematographer - November 2013 - 59
American Cinematographer - November 2013 - 60
American Cinematographer - November 2013 - 61
American Cinematographer - November 2013 - 62
American Cinematographer - November 2013 - 63
American Cinematographer - November 2013 - 64
American Cinematographer - November 2013 - 65
American Cinematographer - November 2013 - 66
American Cinematographer - November 2013 - 67
American Cinematographer - November 2013 - 68
American Cinematographer - November 2013 - 69
American Cinematographer - November 2013 - 70
American Cinematographer - November 2013 - 71
American Cinematographer - November 2013 - 72
American Cinematographer - November 2013 - 73
American Cinematographer - November 2013 - 74
American Cinematographer - November 2013 - 75
American Cinematographer - November 2013 - 76
American Cinematographer - November 2013 - 77
American Cinematographer - November 2013 - 78
American Cinematographer - November 2013 - 79
American Cinematographer - November 2013 - 80
American Cinematographer - November 2013 - 81
American Cinematographer - November 2013 - 82
American Cinematographer - November 2013 - 83
American Cinematographer - November 2013 - 84
American Cinematographer - November 2013 - 85
American Cinematographer - November 2013 - 86
American Cinematographer - November 2013 - 87
American Cinematographer - November 2013 - 88
American Cinematographer - November 2013 - 89
American Cinematographer - November 2013 - 90
American Cinematographer - November 2013 - 91
American Cinematographer - November 2013 - 92
American Cinematographer - November 2013 - 93
American Cinematographer - November 2013 - 94
American Cinematographer - November 2013 - 95
American Cinematographer - November 2013 - 96
American Cinematographer - November 2013 - 97
American Cinematographer - November 2013 - 98
American Cinematographer - November 2013 - 99
American Cinematographer - November 2013 - 100
American Cinematographer - November 2013 - 101
American Cinematographer - November 2013 - 102
American Cinematographer - November 2013 - 103
American Cinematographer - November 2013 - 104
American Cinematographer - November 2013 - 105
American Cinematographer - November 2013 - 106
American Cinematographer - November 2013 - 107
American Cinematographer - November 2013 - 108
American Cinematographer - November 2013 - 109
American Cinematographer - November 2013 - 110
American Cinematographer - November 2013 - 111
American Cinematographer - November 2013 - 112
American Cinematographer - November 2013 - Cover3
American Cinematographer - November 2013 - Cover4
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