American Cinematographer - December 2014 - 20

Top: The boy places the glasses upon his father's face after learning the truth about himself.
Bottom (left to right): Grip Paul McKenna, Munden and camera operator Peter Taylor discuss a scene.

and a slider as well, so the camera could
track and slide at the same time," explains
Munden, who worked with key grip Max
MacGechan and grip Paul McKenna. "It
was very rarely handheld. Giacomo likes
considered compositions. We discussed
using other ways to control the camera, but
the dolly and track worked for us."
The production team had a total of
six shooting days, with two of them
devoted to the fight scene at the end. "We
did about 12 setups a day, sometimes
20

December 2014

more," Munden recalls. "It was hard work,
and a lot of it." There was no on-set monitoring of visual effects - "We had to use
our imagination," the cinematographer
jokes - but the filmmakers, including
Nouchy, did watch dailies every day at
lunch or in the evening.
For Munden, the climactic fight
sequence was the most challenging aspect
of The Nostalgist. "This was the first time
I'd worked with a character that wasn't
actually on-set," he says, referring to a
American Cinematographer

robot that was created digitally and
composited in post. (Nouchy did occasionally employ a green pole to mark where the
robot would ultimately appear in the shot.)
"The camera had to follow characters who
weren't there. But I learned that I could do
it. With preparation, it wasn't as difficult as
I thought it would be. And filming is preparation, isn't it?"
The final digital grade took place at
Company 3 in London, where Munden
worked with DI producer Kira Fitzpatrick
and colorist Greg Fisher, using DaVinci
Resolve. The film was finished and output at
2K resolution.
The Nostalgist played at the Palm
Springs International ShortFest Short Film
Festival and Film Market, where it was
awarded second-place honors in the category of Best Live Action Short Over 15
Minutes. At press time, the film was also
scheduled to play at the BFI London Film
Festival in mid-October. According to
Munden, Cimini plans to distribute The
Nostalgist just as he did City in the Sky: on
iTunes. "People do buy short films," he says.
"The Nostalgist was a good experience for both Giacomo and me," the cinematographer concludes. "We had good
resources and were well-funded. And we
were lucky to have a good crew."
‚óŹ



American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
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American Cinematographer - December 2014 - 11
American Cinematographer - December 2014 - 12
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American Cinematographer - December 2014 - 14
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American Cinematographer - December 2014 - 28
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American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
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