American Cinematographer - December 2011 - 64

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Through a Child’s Eyes
McConkey and CPG’s engineers spent the next six weeks developing a rig that built upon a patent-pending design Pace originally developed for Avatar (AC Jan. ’10). The team focused on shedding weight wherever possible and incorporating a counterbalance system that would compensate for IO and convergence adjustments during a take. It was vital for McConkey and Portelli to work together closely throughout the shoot. Portelli recalls, “I would try to be considerate [of Larry] in my choices of when to pull. For example, Larry might suggest that I should adjust as he went through a doorway.” “Each shot ended up being a little dance between me and Demetri,” says McConkey. “If he was very consistent — and he was — then I knew when Richardson lines up a shot of Moretz in the clock-tower set. He recalls, “When Marty would [note] those changes were coming, and I could the size of the 3-D rig, I’d remind him that the ‘Enchanted Cottage’ [3-strip Technicolor camera] build them into my sensory expectacreated a great number of brilliant films.” tions.” [FilmLight] Baselight he could do color going to concentrate on the actors, so it’s Scorsese wanted most of the corrections while the [Quantel] Pablo your job not to miss any 3-D opportuimages to suggest Hugo’s perspective, made 3-D corrections in the same nities.’ In those instances, I’d take the which meant a lot of low-angle shots. “I room.” script and Marty’s notes and try to bring investigated using a modified Segway to Fisher created a display LUT for the best 3-D depth to every shot.” get low-mode shots,” says McConkey. the projected dailies, and a version of the Hugo (Asa Butterfield) spends “It was a very liberating way of doing same LUT was made for the monitors much of his time inside the Paris train fast shots through a crowd, and I ended on set. “This helped the filmmakers station, for which a vast, detailed set was up using it for a little chase scene. After with 3-D decisions on set, as the images created at Shepperton by Dante the first take, we heard Marty yelling had a similar tonal curve to the Ferretti. Long, flowing takes showing and screaming. We thought something projected images,” says Fisher. “There is the boy’s movements through the hustle was terribly wrong, but it turned out to a relationship between the grade of the and bustle of the station were achieved be because he loved it! image and how depth is perceived, so with Richardson operating a stabilized “The last shot in the movie is a getting the monitors close to what we head on a mobile crane. However, it single, long Steadicam shot that could were looking at projected ensured a became clear in prep that the skills of not have been accomplished any other better translation from set to the Larry McConkey, SOC, Scorsese’s way, or without the Fusion rig working theater.” long-time Steadicam operator, would as well as it did,” he adds. Using his own 3-D monitor as a also be required, and this presented a To allow as much freedom of reference, Scorsese “demanded an challenge: no practical Steadicam solu- movement as possible on the station set, aggressive approach to the 3-D, and he tion for the Fusion/Alexa rig existed. Richardson lit it mainly from above. would request more or less [of the “A couple of months before “We used soft boxes overhead that were effect] depending upon the sequence production, Bob called me up at about 5 gelled Full Blue, while the stage lip was and the intention he had in mind,” says in the morning and said, ‘Larry, you’ve surrounded by Dinos and Maxis,” he Richardson. “He would often push got to get on a plane to L.A. right now says. “Depending on the direction, we’d Demetri to go beyond the acceptable so you can work with Vince on design- use the Dinos to create a general backand then pull back to where he felt the ing this gear!’” recalls McConkey. light, adding gel when necessary. The 3-D worked best.” “That’s how it started for me. When I reasoning behind overheads with Blue “I would sometimes hear Marty’s got to L.A., the CPG team showed me was that I could alter the color tempervoice on the radio telling me to use what they had for a Steadicam, and I ature of the Alexa without filters or a more IO or less IO,” recalls Portelli. “At started to laugh because it was just so loss in stop. If I wanted a white top, I’d other times, he’d say, ‘Demetri, I’m impossible.” set the camera at 5,600°K and not use

64

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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