American Cinematographer - December 2011 - 60
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Through a Child’s Eyes
size of the 3-D rig with a wry smile, I’d remind him that the ‘Enchanted Cottage’ [a nickname for the bulky three-strip Technicolor camera] created a great number of brilliant films,” he adds. It was Portelli’s responsibility to adjust the interocular (IO) distance and convergence for each shot; this often involved pulling one, the other or both while the cameras were rolling. “I pull live with a wireless Preston [FI+Z] because during the shot, something or someone might get closer to the camera than I anticipated, and then I have to gradually bring down the IO and perhaps the convergence,” says Portelli. “It’s not my place to call ‘cut,’ so I have to be prepared. There really is a difference between capturing 3-D live with two cameras on a rig [and shooting 2-D and converting in post]. True 3-D is very beautiful and very remarkable. Every frame in Hugo was a commitment to the medium, and we’re proud of that.” Richardson, who operated the camera rig whenever he could, acknowledges that he was initially confounded by the subtle changes to the framing that resulted from Portelli’s wireless work. “Marty is extremely precise about composition, just as I am,” says the cinematographer. “I would be viewing a shot, and without my altering the framing I would find the composition drifting. At first I didn’t understand what the issue was — I thought it might be the mirror. But I soon located the culprit: Demetri.” Portelli’s adjustments to IO and convergence during a take meant physical changes on the 3-D rig, with one camera either moving farther away from the other or rotating on an axis. “When you put two cameras on a rig, you only want one eyepiece, and, of course, you want it to be on the static camera,” explains Portelli. “We couldn’t do that initially because for those first few weeks, there was no way to flip the fixed-eye camera into the eyepiece, as that camera was seeing a mirror reflection. So the camera Bob was operating
This series of frames showing Hugo’s father (Jude Law) at work depicts the Alexa’s Log C file (top), the on-set viewing LUT applied (middle), and the final grade with Autochrome emulation (bottom).
60
December 2011
American Cinematographer
American Cinematographer - December 2011
Table of Contents for the Digital Edition of American Cinematographer - December 2011
American Cinematographer - December 2011
Contents
Editor’s Note
President's Desk
Short Takes: OK Go’s “Muppet Show Theme Song”
Production Slate: Melancholia • Tinker Tailor Soldier Spy
Stepping into the Shadows
Through a Child’s Eyes
Silent Splendor
It’s Time to Raise the Curtain
Filmmakers’ Forum: David Stump, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
2011 AC Index
In Memoriam: Andrew Laszlo, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Luciano Tovoli, ASC, AIC
American Cinematographer - December 2011 - American Cinematographer - December 2011
American Cinematographer - December 2011 - Cover2
American Cinematographer - December 2011 - 1
American Cinematographer - December 2011 - 2
American Cinematographer - December 2011 - Contents
American Cinematographer - December 2011 - 4
American Cinematographer - December 2011 - 5
American Cinematographer - December 2011 - 6
American Cinematographer - December 2011 - 7
American Cinematographer - December 2011 - Editor’s Note
American Cinematographer - December 2011 - 9
American Cinematographer - December 2011 - President's Desk
American Cinematographer - December 2011 - 11
American Cinematographer - December 2011 - Short Takes: OK Go’s “Muppet Show Theme Song”
American Cinematographer - December 2011 - 13
American Cinematographer - December 2011 - 14
American Cinematographer - December 2011 - 15
American Cinematographer - December 2011 - 16
American Cinematographer - December 2011 - 17
American Cinematographer - December 2011 - Production Slate: Melancholia • Tinker Tailor Soldier Spy
American Cinematographer - December 2011 - 19
American Cinematographer - December 2011 - 20
American Cinematographer - December 2011 - 21
American Cinematographer - December 2011 - 22
American Cinematographer - December 2011 - 23
American Cinematographer - December 2011 - 24
American Cinematographer - December 2011 - 25
American Cinematographer - December 2011 - 26
American Cinematographer - December 2011 - 27
American Cinematographer - December 2011 - 28
American Cinematographer - December 2011 - 29
American Cinematographer - December 2011 - 30
American Cinematographer - December 2011 - 31
American Cinematographer - December 2011 - 32
American Cinematographer - December 2011 - 33
American Cinematographer - December 2011 - 34
American Cinematographer - December 2011 - 35
American Cinematographer - December 2011 - Stepping into the Shadows
American Cinematographer - December 2011 - 37
American Cinematographer - December 2011 - 38
American Cinematographer - December 2011 - 39
American Cinematographer - December 2011 - 40
American Cinematographer - December 2011 - 41
American Cinematographer - December 2011 - 42
American Cinematographer - December 2011 - 43
American Cinematographer - December 2011 - 44
American Cinematographer - December 2011 - 45
American Cinematographer - December 2011 - 46
American Cinematographer - December 2011 - 47
American Cinematographer - December 2011 - 48
American Cinematographer - December 2011 - 49
American Cinematographer - December 2011 - 50
American Cinematographer - December 2011 - 51
American Cinematographer - December 2011 - 52
American Cinematographer - December 2011 - 53
American Cinematographer - December 2011 - Through a Child’s Eyes
American Cinematographer - December 2011 - 55
American Cinematographer - December 2011 - 56
American Cinematographer - December 2011 - 57
American Cinematographer - December 2011 - 58
American Cinematographer - December 2011 - 59
American Cinematographer - December 2011 - 60
American Cinematographer - December 2011 - 61
American Cinematographer - December 2011 - 62
American Cinematographer - December 2011 - 63
American Cinematographer - December 2011 - 64
American Cinematographer - December 2011 - 65
American Cinematographer - December 2011 - 66
American Cinematographer - December 2011 - 67
American Cinematographer - December 2011 - Silent Splendor
American Cinematographer - December 2011 - 69
American Cinematographer - December 2011 - 70
American Cinematographer - December 2011 - 71
American Cinematographer - December 2011 - 72
American Cinematographer - December 2011 - 73
American Cinematographer - December 2011 - 74
American Cinematographer - December 2011 - 75
American Cinematographer - December 2011 - 76
American Cinematographer - December 2011 - 77
American Cinematographer - December 2011 - It’s Time to Raise the Curtain
American Cinematographer - December 2011 - 79
American Cinematographer - December 2011 - 80
American Cinematographer - December 2011 - 81
American Cinematographer - December 2011 - 82
American Cinematographer - December 2011 - 83
American Cinematographer - December 2011 - 84
American Cinematographer - December 2011 - 85
American Cinematographer - December 2011 - 86
American Cinematographer - December 2011 - 87
American Cinematographer - December 2011 - 88
American Cinematographer - December 2011 - 89
American Cinematographer - December 2011 - 90
American Cinematographer - December 2011 - 91
American Cinematographer - December 2011 - 92
American Cinematographer - December 2011 - 93
American Cinematographer - December 2011 - Filmmakers’ Forum: David Stump, ASC
American Cinematographer - December 2011 - 95
American Cinematographer - December 2011 - 96
American Cinematographer - December 2011 - 97
American Cinematographer - December 2011 - 98
American Cinematographer - December 2011 - 99
American Cinematographer - December 2011 - New Products & Services
American Cinematographer - December 2011 - 101
American Cinematographer - December 2011 - 102
American Cinematographer - December 2011 - 103
American Cinematographer - December 2011 - International Marketplace
American Cinematographer - December 2011 - Classified Ads
American Cinematographer - December 2011 - Ad Index
American Cinematographer - December 2011 - 2011 AC Index
American Cinematographer - December 2011 - 108
American Cinematographer - December 2011 - 109
American Cinematographer - December 2011 - 110
American Cinematographer - December 2011 - 111
American Cinematographer - December 2011 - 112
American Cinematographer - December 2011 - 113
American Cinematographer - December 2011 - In Memoriam: Andrew Laszlo, ASC
American Cinematographer - December 2011 - 115
American Cinematographer - December 2011 - ASC Membership Roster
American Cinematographer - December 2011 - 117
American Cinematographer - December 2011 - Clubhouse News
American Cinematographer - December 2011 - 119
American Cinematographer - December 2011 - ASC Close-Up: Luciano Tovoli, ASC, AIC
American Cinematographer - December 2011 - Cover3
American Cinematographer - December 2011 - Cover4
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