American Cinematographer - December 2012 - 39
lenses down to T4-T5.6 when shooting directly at the screens, or less when shooting side-on. (Most other interiors were exposed at T2-T2.8.) Higgins notes, “If we were only seeing a quarter of the screen in shot and we wanted to maintain the exposure level, we could map that quarter electronically and take it down a stop or two without any color shift, leaving the rest of the screen running brighter to keep the ambient up. It was a very flexible system.” Deakins adds, “I did use some small LED panels off-screen to augment for closer work, but we basically shot without any other light source. That was just as well because we had a lot of shots to do in very little time.” (The LED panels used for augmentation were simply individual panels from the modular systems used for the big screens outside the windows.) Although a good light level was achieved on the set, Deakins speculates that he would have struggled to shoot this scene on film. “Not only were there extreme ranges of contrast and color, but there was also very little light at the far side of the set from the LED panels, as there were something like 10 sheets of very thick glass in the way,” he says. “That was a situation where seeing the exact image I was shooting and knowing exactly where my exposure was in terms of the contrast of the image on the LED screen was a real advantage. For me, the difference with digital is the comfort factor of seeing it and the freedom to push it further than I might on film. That Shanghai set made me realize we’d made the right choice of format. It was one of the first things we shot and was quite complicated, so it was a relief when we managed to get through 12 setups and it all looked pretty good.” For this sequence and many others in Skyfall, Deakins made use of a Power-Pod remote head mounted on an Aerocrane jib arm, a technique he has often used in the past. In fact, much of his camerawork followed the approach he and Mendes had developed on their previous collaborations: a mix of careful planning and spontaneity. “It stays the
Top: Eve gives Bond a tour of the new MI6 headquarters. Middle: M approves Bond for active duty despite the reservations of her skeptical government superior, Gareth Mallory (Ralph Fiennes, center). Bottom: M and Bond attempt to interrogate Silva, who taunts them from a high-tech holding cell.
www.theasc.com
December 2012
39
http://www.theasc.com
American Cinematographer - December 2012
Table of Contents for the Digital Edition of American Cinematographer - December 2012
American Cinematographer - December 2012
Contents
Editor's Note
President's Desk
Short Takes: Swimmer
Production Slate: Rust and Bone • It’s a SpongeBob Christmas!
MI6 Under Siege
Ravishing Romance
Freedom Fighter
An A-Plus Event
New Products & Services
International Marketplace
Classified Ads
Ad Index
2012 AC Index
In Memoriam: Harris Savides, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Jerzy Zielinski, ASC, PSC
American Cinematographer - December 2012 - American Cinematographer - December 2012
American Cinematographer - December 2012 - Cover2
American Cinematographer - December 2012 - 1
American Cinematographer - December 2012 - 2
American Cinematographer - December 2012 - Contents
American Cinematographer - December 2012 - 4
American Cinematographer - December 2012 - 5
American Cinematographer - December 2012 - 6
American Cinematographer - December 2012 - 7
American Cinematographer - December 2012 - Editor's Note
American Cinematographer - December 2012 - 9
American Cinematographer - December 2012 - President's Desk
American Cinematographer - December 2012 - 11
American Cinematographer - December 2012 - Short Takes: Swimmer
American Cinematographer - December 2012 - 13
American Cinematographer - December 2012 - 14
American Cinematographer - December 2012 - 15
American Cinematographer - December 2012 - 16
American Cinematographer - December 2012 - 17
American Cinematographer - December 2012 - Production Slate: Rust and Bone • It’s a SpongeBob Christmas!
American Cinematographer - December 2012 - 19
American Cinematographer - December 2012 - 20
American Cinematographer - December 2012 - 21
American Cinematographer - December 2012 - 22
American Cinematographer - December 2012 - 23
American Cinematographer - December 2012 - 24
American Cinematographer - December 2012 - 25
American Cinematographer - December 2012 - 26
American Cinematographer - December 2012 - 27
American Cinematographer - December 2012 - 28
American Cinematographer - December 2012 - 29
American Cinematographer - December 2012 - 30
American Cinematographer - December 2012 - 31
American Cinematographer - December 2012 - 32
American Cinematographer - December 2012 - 33
American Cinematographer - December 2012 - MI6 Under Siege
American Cinematographer - December 2012 - 35
American Cinematographer - December 2012 - 36
American Cinematographer - December 2012 - 37
American Cinematographer - December 2012 - 38
American Cinematographer - December 2012 - 39
American Cinematographer - December 2012 - 40
American Cinematographer - December 2012 - 41
American Cinematographer - December 2012 - 42
American Cinematographer - December 2012 - 43
American Cinematographer - December 2012 - 44
American Cinematographer - December 2012 - 45
American Cinematographer - December 2012 - 46
American Cinematographer - December 2012 - 47
American Cinematographer - December 2012 - 48
American Cinematographer - December 2012 - 49
American Cinematographer - December 2012 - Ravishing Romance
American Cinematographer - December 2012 - 51
American Cinematographer - December 2012 - 52
American Cinematographer - December 2012 - 53
American Cinematographer - December 2012 - 54
American Cinematographer - December 2012 - 55
American Cinematographer - December 2012 - 56
American Cinematographer - December 2012 - 57
American Cinematographer - December 2012 - 58
American Cinematographer - December 2012 - 59
American Cinematographer - December 2012 - 60
American Cinematographer - December 2012 - 61
American Cinematographer - December 2012 - 62
American Cinematographer - December 2012 - 63
American Cinematographer - December 2012 - 64
American Cinematographer - December 2012 - 65
American Cinematographer - December 2012 - Freedom Fighter
American Cinematographer - December 2012 - 67
American Cinematographer - December 2012 - 68
American Cinematographer - December 2012 - 69
American Cinematographer - December 2012 - 70
American Cinematographer - December 2012 - 71
American Cinematographer - December 2012 - 72
American Cinematographer - December 2012 - 73
American Cinematographer - December 2012 - 74
American Cinematographer - December 2012 - 75
American Cinematographer - December 2012 - 76
American Cinematographer - December 2012 - 77
American Cinematographer - December 2012 - An A-Plus Event
American Cinematographer - December 2012 - 79
American Cinematographer - December 2012 - 80
American Cinematographer - December 2012 - 81
American Cinematographer - December 2012 - 82
American Cinematographer - December 2012 - 83
American Cinematographer - December 2012 - 84
American Cinematographer - December 2012 - 85
American Cinematographer - December 2012 - 86
American Cinematographer - December 2012 - 87
American Cinematographer - December 2012 - 88
American Cinematographer - December 2012 - 89
American Cinematographer - December 2012 - New Products & Services
American Cinematographer - December 2012 - 91
American Cinematographer - December 2012 - 92
American Cinematographer - December 2012 - 93
American Cinematographer - December 2012 - 94
American Cinematographer - December 2012 - 95
American Cinematographer - December 2012 - 96
American Cinematographer - December 2012 - 97
American Cinematographer - December 2012 - International Marketplace
American Cinematographer - December 2012 - Classified Ads
American Cinematographer - December 2012 - Ad Index
American Cinematographer - December 2012 - 2012 AC Index
American Cinematographer - December 2012 - 102
American Cinematographer - December 2012 - 103
American Cinematographer - December 2012 - 104
American Cinematographer - December 2012 - 105
American Cinematographer - December 2012 - In Memoriam: Harris Savides, ASC
American Cinematographer - December 2012 - 107
American Cinematographer - December 2012 - ASC Membership Roster
American Cinematographer - December 2012 - 109
American Cinematographer - December 2012 - Clubhouse News
American Cinematographer - December 2012 - 111
American Cinematographer - December 2012 - ASC Close-Up: Jerzy Zielinski, ASC, PSC
American Cinematographer - December 2012 - Cover3
American Cinematographer - December 2012 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com