American Cinematographer July 2013 US

J ULY 2013
$5.95 Canada $6.95

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2013 Red.com, Inc. All rights reserved.
The smallest camera makes the biggest images.
This still frame was pulled from 5k RED EPIC
motion footage. The Great Gatsby 2013 Warner Bros Entertainment Inc. All Rights Reserved.
After shooting The Knowing on the RED ONE, I was looking

forward to shooting on the RED EPIC and it turned out to be the
perfect camera for our 3D feature The Great Gatsby. The look
and resolution of the images from the EPIC are nothing short of incredible.
On 300 Rise of an Empire, the EPIC was faultless and the end
result was simply stunning 96fps imagery.
Simon Duggan, ACS

The International Journal of Motion Imaging
32 Prime Target
Anna Foerster, ASC coordinates chaos on White House Down
44 Wild Planet
Peter Suschitzky, ASC employs a 4K workflow on
After Earth
56 An Indie Twist on Shakespeare
Jay Hunter shoots Much Ado About Nothing on a
12-day schedule
64 Tournament of Death
Gil Hubbs, ASC celebrates the 40th anniversary of
Enter the Dragon
DEPARTMENTS
FEATURES
VISIT WWW.THEASC.COM
On Our Cover: Policeman John Cale (Channing Tatum) picks his way through rubble after
terrorists launch an all-out assault on 1600 Pennsylvania Ave. in White House Down, shot
by Anna Foerster, ASC. (Photo by Reiner Bajo, courtesy of Sony Pictures Entertainment.)
10 Editors Note
12 Presidents Desk
14 Short Takes: Dreamland
20 Production Slate: Laurence Anyways Post Tenebras Lux
76 New Products & Services
82 International Marketplace
83 Classified Ads
84 Ad Index
86 Clubhouse News
88 ASC Close-Up: Don Burgess
J U L Y 2 0 1 3 V O L . 9 4 N O . 7
44
56
64
The International Journal of Motion Imaging
In an exclusive online podcast, cinematographer Nancy Schreiber, ASC and director Dan Mirvish will discuss their collabo-
ration on Between Us, a darkly comedic drama about two couples, Grace and Carlo (played by Julia Stiles and Taye Diggs)
and Sharyl and Joel (Melissa George and David Harbour), who reunite over the course of two heated evenings. The first
encounter takes place in the huge Midwestern home of the wealthy Sharyl and Joel; the second occurs a few years later in
New York, when the couples find that their fortunes have turned. Schreiber and Mirvish will discuss how they transcended
the limitations of low-budget filmmaking while adapting Joe Hortuas Off-Broadway play for the screen.
Left: Julia Stiles, Melissa George,
David Harbour and Taye Diggs star in
Between Us. Right: Cinematographer
Nancy Schreiber, ASC blocks out a
scene with director Dan Mirvish
(wearing hat) and crewmembers.
(Photos courtesy of Bugeater Filmed
Entertainment, LLC.)
J U L Y 2 0 1 3 V O L . 9 4 N O . 7
Adrian Sierkowski: The Lexington Hotel
sequence from Road to Perdition [shot by Con-
rad Hall, ASC]. Its an amazing shot on a tech-
nical level, beautifully lit, and though very intri-
cate its not overly flashy or distracting. It shows
what it needs to show and really builds tension
as we move closer and closer to a murder.
Blake Larson: The opening scene of The
Godfather, shot by Gordon Willis, ASC. It ush-
ered in an entirely new era of dramatic cine-
matography.
Richard Vialet: The beautifully composed
shot of Anju stepping out into the lake in San-
sho the Bailiff [shot by Kazuo Miyagawa].
J.J. Islas: The scene in Touch of Evil [shot by
Russell Metty, ASC] when Hank Quinlan [Orson
Welles] murders Uncle Joe Grandi [Akim
Tamiroff]. Ive never seen any other sequence
quite like it.
Matt Croyle: The school bus/hallway
sequence in Donnie Darko [shot by Steven
Poster, ASC]. Its a marriage of soundtrack and
camera. The change of speed, the highlighting
of each character its simply too fun not to
get swept up in it.
Frank Salvatierra: The final scene of Fallen
Angels [shot by Christopher Doyle, HKSC] a
beautiful, simple, abstract combination of cine-
matography, music and performance.
David Golden: The most epic shootout ever
committed to film: Heat [shot by Dante Spinot-
ti, ASC, AIC]. I watched that and remember
saying to my girlfriend at the time, I wanna do
that! Twenty-odd years later, I am. Life-defin-
ing moment!
Adrian Shahrizad: The Gods-eye view
from Taxi Driver [shot by Michael Chapman,
ASC] right after the climax. This type of camera
angle puts you in a position to judge, and after
that scene, thats exactly what you need.
Clark Mayer: I always thought the scene in
Jurassic Park [shot by Dean Cundey, ASC],
when Grant [Sam Neill] pulls Lexs [Ariana
Richards] leg up through the ceiling before the
raptor bites it is one of the single most sus-
penseful shots I have ever seen. Its the kind of
shot rewind and slow-motion frame skipping
were invented for.
Filipe Carvalho: All of The Tree of Life [shot
by Emmanuel Lubezki, ASC, AMC].
Tony Murphy: The hula-hoop sequence in
The Hudsucker Proxy [shot by Roger Deakins,
ASC, BSC]. Like every great sequence, its a
movie in itself.
Elias le Daaboul: Grace Kelly going in for
the kiss in Rear Window [shot by Robert
Burks, ASC].
Lance Mazmanian: The handheld, full-
magazine follow/master with multiple expo-
sure changes in Steven Spielbergs Duel [shot
by Jack Marta, ASC] the scene when Den-
nis Weaver walks from daylight outside, into
the diner, through the diner, to the dimly lit
bathroom, where he talks to the mirror and
then goes back out to consider all the patrons
while standing in the middle of the diner. All
one shot, in a 1971 made-for-TV movie!
Denis Buckley: The house-fire sequence in
Tarkovskys The Mirror [shot by Georgi
Rerberg]. The language of film is its own
music.
Matt Manning: In Lawrence of Arabia [shot
by Freddie Young, BSC], as Lawrence ventures
into the desert, the sense of scale is amazing.
The men and their camels are hardly visible
among the towering cliffs.
SEE AND HEAR MORE CINEMATOGRAPHY COVERAGE AT WWW.THEASC.COM
THIS MONTHS ONLINE QUESTION: Which shots or sequences have inspired you the most?
To read more replies, visit the magazines Facebook page: www.facebook.com/AmericanCinematographer
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American Cinematographer (ISSN 0002-7928), established 1920 and in its 93rd year of publication, is published
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American Society of Cine ma tog ra phers
The ASC is not a labor union or a guild, but
an educational, cultural and pro fes sion al
or ga ni za tion. Membership is by invitation
to those who are actively en gaged as
di rec tors of photography and have
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At some point in his career, Roland Emmerich must have
been denied a VIP tour of the White House. How else to
explain the directors apparent grudge against the presiden-
tial residence? Having already blown 1600 Pennsylvania Ave.
to smithereens in Independence Day, Emmerich retargeted
the site for White House Down, this time enlisting Anna
Foerster, ASC to help him demolish the seat of Americas
power. The two had previously collaborated on the period
drama Anonymous (whose climax still allowed Emmerich to
torch the Rose Theatre), but on White House Down, Foerster
knew the action would be amped to the max. However, as
she tells Michael Goldman (Prime Target, page 32), she
embraced the idea of creating eye-catching images of
carnage: I became intrigued by the possibility of shooting an action movie without serving
all the usual visual clichs.
M. Night Shyamalan and Peter Suschitzky, ASC shot devastation on an even grander
scale while mounting the futuristic thriller After Earth, in which humans have entirely aban-
doned their toxic planet. The first feature to go into production with Sonys F65 camera
Oblivion was released in theaters first the project was also the first to adopt a 4K work-
flow for all aspects other than visual effects. Shyamalan initially intended to shoot the movie
on film, but Suschitzkys camera tests convinced him to go digital. I was a staunch film guy,
so the switch to digital wasnt taken lightly, Shyamalan tells Benjamin B (Wild Planet, page
44). It was earned by this camera and, in my mind, only this camera could have convinced
me to do it. It has a kind of richness that I associate with film, and it has a capacity to render
colors that I think exceeds film.
Director Joss Whedon and cinematographer Jay Hunter provide an arty alternative to
popcorn movies with Much Ado About Nothing, their ultra-indie take on Shakespeares
famed romantic farce. Shot in 12 days, this contemporary version serves up black-and-white
images, minimal lighting and backyard drama staged, quite literally, at Whedons house.
Attempts to film Shakespeare frequently take a very traditional, proscenium-style approach,
and Joss and I [both wanted] to avoid that, Hunter tells Jean Oppenheimer (An Indie Twist
on Shakespeare, page 56). We wanted to get the camera inside the scenes to keep the
camera close to the actors and move around with them.
Naturally, we could not let the 40th anniversary of Enter the Dragon pass without
applause, so we recruited one of the movies most enthusiastic fans, former AC staffer David
E. Williams, to craft an impassioned homage (Tournament of Death, page 64). After soak-
ing in a screening of an original 35mm Technicolor dye-transfer print at the Academy of
Motion Picture Arts and Sciences, Williams sat down with Gil Hubbs, ASC to discuss the cine-
matographers contributions to the martial-arts classic that made Bruce Lee a worldwide
sensation. When he took the job, Hubbs had never been to Asia and had never shot an
anamorphic movie. So, on the flight over, I got out my American Cinematographer Manual
and looked up anamorphic, he recalls. Fortunately, it seemed to be a pretty understand-
able thing.
Stephen Pizzello
Executive Editor
Editors Note
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We are occasionally asked, What is the American Society of Cinematogra-
phers? Many people think we are a guild or union; we are not. We are an
honorary group whose members invite other cinematographers to join based
on the excellence of their work. Written recommendations from three active
ASC members are required before a cinematographer is invited to become part
of the Society.
Although the ASC recognizes career work in feature films and television
projects, we occasionally accept into membership cinematographers who have
extraordinary accomplishments in other realms, including documentaries,
commercials and music videos. A complete roster of our members can be
found on our website, www.theasc.com, and is published in this magazine on
a quarterly basis (most recently last month).
The ASCs mission is twofold: to celebrate excellence in cinematography,
which we do with our annual ASC Awards ceremony; and to educate, which
we do with our publications, chiefly American Cinematographer magazine and
the American Cinematographer Manual (now in its 10th edition), and with the
countless hours our members devote to mentoring, teaching and speaking in
various forums around the world. One of our vice presidents, Richard Crudo,
ASC, has remarked that all ASC members are teachers through our individ-
ual and collective efforts.
In Malcolm Gladwells book Outliers: The Story of Success, it is
suggested that 10,000 hours of practice are necessary for success in almost any
serious profession. At a music conservatory, success in performance was plotted against hours spent in rehearsal, and a direct
correlation was found: The more you practice, the better you become. It seems to us that the same is true with cine-
matography, but in a world of 24-hour filmmaking competitions and one-button videography, it is a radical notion that so
much time is needed for mastery. Ten thousand hours is probably about a third of the way through a typical career, and as
our mastery of the art and craft increases, so do the wisdom and knowledge we need to be effective collaborators and
storytellers. Mastery of cinematography is experience dependent; the more we shoot, the longer our careers, the better we
get.
There are organizations similar to the ASC in every profession because celebrating excellence in any field is good for
that field as a whole. Recognizing great achievements in cinematography is good not only for cinematographers, but also
for the community of labs, equipment manufacturers and technical experts that serve us. No one is born a master. Only with
hard work and collaboration do masterpieces result.
Stephen Lighthill
ASC President
Presidents Desk
12 July 2013 American Cinematographer
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Eyes on the Ball
By Peter Tonguette
In the Iraq of the short film Dreamland, directed by Alla
Volkova and shot by Ashley Barron, a soccer ball ends up being as
frustratingly elusive as peace. The story takes place over the course
of a single afternoon during which young Samir (Ameer Zhowandai)
sees his prized possession snatched, misplaced and even deflated as
he struggles to make it to a game with friends. It is important that
he not lose the ball; as he explains to his widowed mother, it is the
only one his team has.
Barron recalls that when she first heard producer Alexander
Brodzkis story, she envisioned a textured image. I thought, Great,
were going to be able to shoot this on film, she says. When the
decision was made to shoot digitally, she chose an older camera, a
Panavision Genesis. A lot of people are afraid of the Genesis
because of its slow speed, its weight and its somewhat archaic
nature compared to other digital cameras, but of all the formats
available at the time, it offered the most texture I could obtain with-
out detriment to the image, she says. Nowadays everyone wants
the image as clean as possible, but thats not always appropriate for
the story.
Barron rated the Genesis at ISO 400 for interiors and ISO 320
for the daylit exteriors. The film opens with Samir waking from a
dream in his dark bedroom. With the Genesis, the darker the envi-
ronment, the more gain there is, and you get more noise, Barron
says. To help mitigate this, she and gaffer Ellie Ann Fenton placed a
Mole-Richardson 10K outside to create a ray of harsh daylight,
suggesting the light just barely reaching into the darkness of
Samirs existence, she says.
In keeping with her wish for textured visuals, Barron selected
Panavision Superspeed prime lenses, a 32mm, a 40mm and a
50mm. Ive always loved the older lenses, she notes. They have
a beautiful feel before you put any other filtration in front. She
used light filtration consistently, choosing Tiffen Black Pro-Mists for
interiors and Schneider Classic Softs for exteriors.
The Superspeeds light weight was important because much
of the film was shot on a Steadicam. Our Steadicam operator,
Grant Culwell, was great, Barron says. We had an AJA Ki Pro Mini
attached to the back; it took the place of the SRW toaster thats
usually used with the Genesis. My first AC, Uxue Jimenez, had a
plan for stripping it down so that we didnt need all the extra bits
and pieces when we could avoid it.
Stylistically, the filmmakers main reference was Andrea
Arnolds Fish Tank, photographed by Robbie Ryan, BSC (AC Feb.
10). The camera stays very close to the main character, either right
behind her ear or right in front of her, Barron explains. The result
is an incredible intimacy. In Dreamland, when Samir runs through
a busy street, the camera runs with him, often focusing on the
soccer ball he carries and providing only transitory glimpses of the
people around him. The one thing we wanted to avoid at all costs
was to make this a film about war, Barron notes.
At one point, when a roadside bomb goes off, the camera
stays with Samir instead of surveying the action. When a fuller
picture of the carnage is revealed, we see it from Samirs POV. The
incident temporarily separates Samir from his soccer ball. In the
melee following the bombing, the ball gets kicked into a dark,
empty building, and when Samir follows it inside, the camera again
Short Takes
Samir (Ameer
Zhowandai) cares
for his most
prized
possession, a
soccer ball, in
Dreamland.
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stays with his POV. The presence of a soldier
is revealed when Samir, crouched in a
corner, catches the sight of boots approach-
ing. Barron lit this scene by bouncing 5Ks
and 10Ks into 12'x12' UnltraBounce.
The filmmakers chose to frame in
1.85:1 to emphasize the intimate perspec-
tive. Alla and I considered widescreen, but
we never really wanted it to be about the
setting, says the cinematographer. I think
2.40 works really well when the location is
a character, when you have multiple char-
acters, or when you want to play with
imbalanced frames, but all we really wanted
to do was be with the kid. Alla has a real
knack for childrens stories.
Dreamland was Barrons second
collaboration with Volkova, who was a
classmate at the American Film Institute.
They first worked together on the 16mm
short Clown, made during their first year at
AFI. We got along quite well, Barron
recalls. Also, were both Russian, so it was
nice to work with someone from the Moth-
erland!
Volkova prefers to storyboard the
entire film before shooting, which suits
Barron fine. She had it all drawn out, and
shes very good at drawing. When you look
at one of her storyboards, you can immedi-
ately get the idea.
One of Dreamlands most striking
images comes at the end. Having retrieved
his ball from the building after finding
help to mend a puncture Samir finally
reaches a field surrounded by hills where his
friends are playing. The camera, which is
following the boy from behind, starts to
hang back as he approaches the hill. There
is a cut to a close-up as a smile comes across
Samirs face, and then a wide shot as he
runs down the hill to join the game. Up to
this point, Barron observes, the films
settings comprise confined spaces or
crowds. It was always a journey towards this
dreamland, essentially. We wanted to finally
introduce a primary color, green, when he
gets there, and also for the first time breathe
and step back with him. All around them
war is going on, but these kids are just being
kids. The film lingers on this sight before
fading to black.
The production lasted six days: two
in downtown Los Angeles, where the interi-
ors were shot, and four at Blue Cloud Ranch
in Santa Clarita, Calif., which stood in for
Iraq. There were a few standing sets that
we redressed, Barron says. Before produc-
tion began, she studied the light at the
ranch. I made plenty of trips up to Santa
Clarita, and I just sat there watching how
the sun moves. We were lucky, in that we
had a couple of overcast days on our shoot.
In fact, when we shot most of the dialogue,
it was overcast, and when we were going
through all of the chaos, the sun sort of
peered out. It was easy to balance it out in
the color correction.
On set, Barron relied on a waveform
Above: Samirs
soccer ball is
important
because it is the
only one his
team has, but
hanging onto it
proves difficult.
Right: Barron
stands behind
Volkova as they
discuss a shot
on set.
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monitor and light meter, though a Genesis
Display Processor was available. I exposed
the way that I wanted it to be, so we
knew how it would look in the final. We
provided our colorist, Mike Wolf, with
reference images ahead of time, and when
we came in, we just went through it. Most
of the grading was just balancing the
exteriors, because it was in and out of cloud
coverage.
Dreamland screened in the Student
Etudes competition at the 2012 Plus Camer-
image International Film Festival of the Art
of Cinematography. I think this movie will
stay with me as a one-of-a-kind project,
Barron reflects. You improve with every
picture, but I think this one will always have
a place in my heart because of the things we
achieved. In the end, she is not even sorry
she could not shoot on film. I guess film is
our ideal, but whatever the format, I try to
make the image look good to my eye and fit
the story. The Genesis was great for Dream-
land. It met all the technical requirements
we had for achieving what we wanted to
achieve.
Top: Samir flees the site of a roadside bombing. Middle: A soldier surveys the dark, empty
building where Samir has followed his soccer ball. Bottom: Volkova looks through her directors
viewfinder with Barron at her side.
An Unconventional Romance
By Jon D. Witmer
Upon turning 35, Laurence Emmanuel James Alia (Melvil
Poupaud), a writer and high-school teacher in Montreal, confesses
to his girlfriend, Frdrique Belair (Suzanne Clment), that he wants
to live as a woman. Over the next 10 years, Laurence and Fred grap-
ple with the public and private repercussions of Laurences transfor-
mation and struggle to anchor their individual identities, with their
love for one another alternately strengthened and pushed beyond
breaking.
Laurence Anyways, which had its U.S. premiere at the 2012
AFI Fest, was the first collaboration between 24-year-old director
Xavier Dolan and cinematographer Yves Blanger, CSC, whose cred-
its include the CSC Award-winning short Wildflowers and the
upcoming feature The Dallas Buyers Club. Blanger recently
discussed Dolans film with AC via Skype.
American Cinematographer : How much prep time did
you have with Xavier?
Yves Blanger, CSC: We started shooting in Montreal in
February [2011], but I was with him right after the holidays. He said
he wanted a mix of handheld, very rough scenes and scenes that
were very precise, almost Fellini-esque. The movie he showed me
right away was Fish Tank, shot by Robbie Ryan [BSC; AC Feb. 10]. I
wrote to Robbie, and he wrote me back and told me what equip-
ment he used, so I said to Xavier, Lets use the same things. So, we
used a Panaflex Millennium XL with Primo lenses and Fuji negative.
We used Eterna 250D 8563 and F-64D 8522 for day exteriors, and
Eterna 500T 8573 for everything else. Half of the story takes place
in winter and half in the summer. We started with the winter scenes,
then Xavier edited for a few months, and when we came back in
the summer, he knew he didnt need [to shoot] certain scenes and
had added a few new ones. Im 28 years older than Xavier, and Id
never had a luxury like that.
Was the fact that Fish Tank was shot in 1.33:1 the
primary reason you chose that format?
Blanger: When Xavier was doing the color timing for his
second movie, Heartbeats, the technician made a mistake and
screened 10 minutes in 4:3. Xavier said, Its so good! I feel more
inside these characters! So he asked me right away to frame
[Laurence] full negative, 4:3. Also, he wanted to have only the
actors face in the frame. With 2.40:1 we would have had all this
empty space, with everything out-of-focus in the background, and
he didnt want that.
Tell me about working with production designer Anne
Pritchard.
Blanger: Anne is a legend. She did Obsession with Brian De
Palma, and all these movies all over the world. Xavier was very
involved [in the production design], and hes not afraid to express his
opinion. There were great conversations; I would just listen. I would
Production Slate
Laurence (Melvil
Poupaud, left)
and Fred
(Suzanne
Clment)
struggle to keep
their
relationship
afloat after
Laurence reveals
his need to live
as a woman in
Laurence
Anyways,
directed by
Xavier Dolan
and shot by
Yves Blanger,
CSC.
I
www.theasc.com July 2013 21
almost say Anne was overqualified, because
a lot of times we were shooting for two
hours in some weird location, and then we
were on to the next place. But she was very
precise and always had great ideas. I would
say, If she put it there, were going to shoot
it!
Did Xavier come to you with
specific shots, or notes for the lighting?
Blanger: He is very visual. Hes very
well prepared and knows what he wants,
but he is also open to changing things. For
example, in the scene where Laurence goes
to see his mom, Julienne [Nathalie Baye],
Xavier said, I want to suddenly cut outside,
where well shoot them in slow motion
from the house, so you see the street and
that its raining. But when we got to the
location, [it was a clear day with] a big,
strong winter sun. I said, We dont have
enough equipment or crew to cut the sun
for this angle; it will never look like a rainy
day. I didnt want to shoot it like in L.A.,
where its raining but its sunny at the same
time I find that very disturbing. So,
instead of shooting them from the house
and seeing the street, I suggested we go to
the street and shoot them with the house in
the background, and then the rain would
be backlit. Thats what we did.
What camera did you use for the
high-speed work?
Blanger: We talked about renting
a Phantom, but its very expensive, and
Xavier didnt want to use digital, so we
carried a [Panavised] Arri 435 for the high-
speed and Steadicam work. We had
normal slow motion, which could be 40,
60 or 90 fps, and big slow motion, which
was 150 fps. I operated everything except
the Steadicam. It was basically a one-
camera shoot.
The scene showing Laurence and
Fred at a nightclub early in the film has
a bold look, with the actors backlit by
laser lights.
Blanger: That was an homage to
the music videos of the 1980s and 90s; we
shot it at 4 fps. It was a nightclub, but [we
treated it] like a set. We hung black velvet
and brought in some laser lights, the kind
used in discos. My gaffer did the research
and showed me a couple, and I picked one.
I didnt check the name of the fixture,
though; I just looked at the result. I work so
much by instinct, if I have to reshoot some-
thing a month later, I might not remember
what I did! For the scene [when Fred
attends] a big ball, we had 250 extras, and
it was also meant to be an homage to 80s
and 90s rock videos. It was quite funny to
work with a director born in 1989, the year
I became a director of photography, who
wanted to make a movie about this period.
How did you determine the
approach to the scene in which
Laurence walks through a cemetery
and sits down at a tree? You follow
him from a distance and slowly zoom
in.
Blanger: It felt romantic, and it
was an homage to the movies of the 70s
that Xavier and I love. We had the Panavi-
sion [LWZ-1] 27-68mm and the big 11:1
Primo [24-275mm]. A good zoom has its
place. Theres nothing like it!
Did you ever use filtration in
front of the lens?
Blanger: Only some very subtle
[Schneider] Classic Soft for Nathalie Baye.
We also had a scene that is very short now
[in the final edit], a big supper with these
snobby people. Xavier and I were watching
an old costume movie, and I told him cine-
matographers used to put a womans
stocking on the lens. He said, Lets try that
for this scene. We didnt burn any holes
with a cigarette so the eyes would be clear,
like they used to do. We just put a black silk
stocking straight on the front of the lens
very basic.
Was there a particular T-stop you
liked to maintain?
Blanger: I always light by eye, and
it usually winds up being T2.8 right
between 2.8 and 4. A lot of directors like to
shoot wide open, so I sometimes have to
use some ND filters, but Xavier wanted a
little depth-of-field. Except for some night
scenes and certain close-ups of Laurence,
we were never under T2.8. Sometimes
we would have a two-shot close-up at a bit
of an angle, and I hate it when both actors
are not in focus, so I might go to T5.6 in
that case.
There are a lot of close-ups in the
film, and so much of the movie is about
reading the emotions on the actors
faces.
Blanger: Thats also why we chose
the Primo lenses: theyre so nice for the skin.
We wanted the close-ups to be pretty, so I
tried to have only one reflection in the
actors eyes. A lot of the lighting on set was
coming from windows so we could move
around easily. I like to do general lighting
from a window with HMIs on location, or
tungsten if its in the studio. Then, I hide
small Litepanels LEDs behind furniture to
put some detail in the shadows. Its a tech-
nique I discovered with my gaffer, Bruno
Ferland, who has worked with me for 15
years. I also love to use Kino Flo Image 80s.
Theyre simple to control, and you dont
need 10 flags. Xavier wanted crisp colors, so
sometimes we decided to enhance the
color of a wall with the lighting. For exam-
ple, if we had a blue wall, I would light it
with a blue-gelled light. They used to do L
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Fred attends a
large ball in a
dynamic
sequence that
Blanger says
was meant to
be an homage
to 80s and 90s
rock videos.
that in the crazy years of Technicolor.
How did you light the scene
showing Laurence getting into a fight
in the red-and-blue bar?
Blanger: I only used a few lights.
We left everything else dark. I had one 575-
watt HMI coming through a little round
window [in the background], and I lit the
actors with 1,000-watt Par cans that were
gelled red. I also used a small Litepanel LED
with a red gel to flare the lens. It was like
doing a kind of fogging or flashing in-
camera, where even the shadows are red.
Was the apartment that Laurence
and Fred share a real location?
Blanger: It was a set built at Michel
Trudels [La Cit du Cinma] studio, but we
decided right away that we wanted a hard
ceiling, and we wanted to light it like a loca-
tion. When youre in a studio and you dont
have ceilings, you tend to put light where its
impossible. We were trying to make things
look real.
Tell us about your post process.
Blanger: Technicolor [Montreal] did
our processing, dailies and DI. Each morn-
ing, I would have some images of each shot
in my e-mail, and during lunch I could
review the DVD. Xavier wanted to be tradi-
tional with [the timing], but we had to do a
DI so we could make a print that had black
bars on the side [of the 1.33:1 frame].
Robbie [Ryan] warned me about that,
because all the theater projectors have a
1.85:1 or 1.66:1 gate. We had a great
colorist, Charlotte Mazzinghi, who learned
with the famous French color timer Yvan
Lucas. She is young, but she thinks and talks
in terms of points, the way we used to talk
with a traditional color timer. My philosophy
with the DI is to only do something I know
would be possible photochemically. You can
get crazy with digital timing. It can feel like
you have to use something just because its
there, but no, you dont.
TECHNICAL SPECS
1.33:1
35mm
Panaflex Millennium XL, Arri 435
Panavision Primo, LWZ-1, Macro SM
Fujifilm Eterna 250D 8563, 500T 8573;
F-64D 8522
Digital Intermediate
Top: His
transformation
complete,
Laurence steps
outside in one of
the films many
slow-motion
shots. Middle: As
Fred is caught in
a swirl of
conflicting
emotions, the
wall behind her
begins to cry.
Bottom: Blanger
considers a setup
inside Laurence
and Freds
apartment, a set
built onstage in
Montreal.
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A Singular Vision
By John Calhoun
A little girl wanders alone on a field
at dusk, surrounded by dogs, cows and
horses. The camera observes her closely at
eye level, and we soon notice that outside a
sharply focused circle of view in the center of
the square frame, the image is blurred,
sometimes doubled. The scene shifts to
what looks like early morning, inside a dark-
ened house, where a red-silhouetted demon
wanders, carrying a toolbox. The home
belongs to Juan (Adolfo Jimnez Castro), an
urban exile to the countryside, whose
stream of consciousness seems to be struc-
turing the narrative. Acts of senseless brutal-
ity burst from nowhere and recede, and the
protagonists small children abruptly grow
several years older before returning to
preschool age in the next scene. Without
context, scenes of a bathhouse orgy and an
English-schoolboy rugby match pop up at
random.
This is the strange world of Mexican
filmmaker Carlos Reygadas Post Tenebras
Lux, which won the Best Director prize at the
2012 Cannes Film Festival. To call the story
non-linear does not quite to do it justice,
and the visual strategy Reygadas devised
with director of photography Alexis Zabe
was equally unorthodox. To describe the
style as first-person POV is not precise,
Zabe explains. We wanted the camera
inside the mind of the character, not looking
at the world through his eyes, but looking at
the world through his mind. A friend of
mine recently wrote that he appreciated the
films mental point of view, which I think is
a nice way of describing it.
All of the key photographic choices
the filmmakers made were designed to
achieve this subjective state. We are in Juans
mind, and what we see is framed in the clas-
sical 1.33:1 Academy ratio. That decision
was made early on, even while the filmmak-
ers grappled with matters of format and
lens choice. It took us a while to figure it
out, says Zabe, who briefly considered
shooting digitally until practical considera-
tions arose. The picture was primarily shot
around Tepotzln, in the mountains outside
Mexico City, during the rainy summer
season in 2011. We had a reduced crew,
and to set up a DIT tent on top of a moun-
tain seemed a bit difficult, the cinematog-
rapher says. The production company
owned a 20-plus-year-old Moviecam
Compact that Reygadas and Zabe had used
on their last feature, Silent Light. I knew
the camera well, and it just made sense to
use 35mm again, says Zabe.
More experimentation went into
finding a lens that would represent the
hazy-around-the-edges focus of Juans
mind. We tested Baltar and Kowa lenses
early in prep, but they were not strong
enough for the mental point-of-view we
sought, Zabe recalls. We even tried
putting Vaseline on filters, but that was way
too messy. He eventually settled on using
Vantage Films Squeeze Diopters to achieve
the desired look. The diopters, which
feature a polished 25mm-75mm neutral
zone in the center, are ordinarily used for a
subtle out-of-focus effect, but the result in
many sequences in Post Tenebras Lux is
much more pronounced. It took so long to
ship them from Germany to Mexico that we
ended up getting them one day before the
shoot, says Zabe. We put them on and
figured them out on the first morning. We
tried to see through the viewfinder what
they were doing, but couldnt get a very
clear idea. We got some dailies a couple of
days later, and the effect was a bit more
intense than anybody anticipated. But
Carlos is pretty brave as directors go, and he
said, I think it looks beautiful.
The effect is extreme because of
how the diopters were used, he explains.
Theyre designed to be used with long
lenses, but Carlos and I like to shoot with
wide lenses, and wide-angle lenses accentu-
ate the effect more. He used the Squeeze
Diopters with Arri Master Primes, usually an
18mm or 25mm, open to f2 or f2.8. Once
you put the diopters on 1.33, it kind of
creates a perfect sphere, with a very clear
vision inside the circle. It seemed like shoot-
ing a little planet or little world, which is
kind of what the mind is: its own little
planet. The diopters were used on more
than 80 percent of the movie, and their
effect is most pronounced in exterior
scenes.
The decision to use 1.33:1 also
related to the locations, which included
Reygadas house. Because of the tall
mountains, it seemed a logical decision, and
Carlos house is also very vertical, says the
cinematographer. It wasnt even Super 35
1.33; it was standard 35 1.33. The
Moviecam Compact is a beautifully built,
solid little tank. Itll just take anything and P
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Juan (Adolfo Jimnez Castro) takes a seat in a bathhouse in Post Tenebras Lux.
I
everything. We shot anamorphic with it on
Silent Light in very extreme conditions, and
we dealt with very extreme conditions on
this film as well.
The entire crew numbered 13, with
four devoted to camera: Zabe, 1st AC
Jonathan Leys, grip assistant Eduardo
Urbina and 2nd AC/grip assistant Joakim
Chardonnens. I interviewed a lot of
second ACs, but it was hard to find some-
one in the proper physical condition, notes
Zabe. Its hard on the system at that alti-
tude, which is about 2,500 meters [more
than 8,000']. Joakim, who flew in from
Switzerland, is a snowboarder and climber,
and Eduardo is a climber and also an inven-
tor, so he assisted with roping and tying
down the bounces. If we needed a bounce,
we would build it together and tie it down,
and if we needed to build a dolly, wed
build it together.
Shooting was accomplished almost
entirely with available light, controlled with
bounces. The Kodak negatives Vision2
50D 5201 for exteriors, Vision3 250D 5207
for daylight interiors, and Vision3 500T
5219 for night interiors were sensitive
enough to make this possible. It was tricky
for the 5207 to get enough level inside the
house, says Zabe. The windows were
small, and the bedroom scenes were chal-
lenging because that room featured very,
very dark wood. We had some 12-by-12
UltraBounces kind of far away, trying to get
something going into those windows. A
Chinese lantern was occasionally used to
diffuse the light indoors.
For the two scenes involving the red
demon, Zabe used or CTB on the
windows to cool the light and create an
early-dawn feel, he says. We had our first
AD, Alex Ezpeleta, who is tall and lanky,
dress in a greenscreen suit and walk around
with a toolbox. The effect was completed
at [visual-effects facility] Twin Pines in Spain.
The only other digital effect created was a
shot of an auto-decapitation.
For the bathhouse scene, Zabe
filtered some of the locations fluorescent
lights. We found red plastic tube covers in
a store in Mexico City, and used these to
filter about half the fluorescent lights, with
the other half left unfiltered, to create
contrast between the red and blue, he
says. As the scene progresses and the
Top: Against the
fading light of
dusk, the camera
follows Juans
daughter around
a field in the
films opening
sequence.
Middle: A demon
enters Juans
home in one of
the films few
shots with a
visual-effects
component.
Bottom:
Cinematographer
Alexis Zabe
frames a shot on
location.
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characters go deeper into the bathhouse,
we filtered more of the tubes, and in the
final shot, most tubes were filtered red. We
also did tests on the steam, trying to figure
out if we were going to use real steam or a
smoke machine. We ended up using a
combination.
Post Tenebras Lux features a number
of extended camera moves over rough
terrain, and these were mostly accom-
plished with an EasyRig, with a few
Steadicam moves thrown in for a varied
feel. The opening sequence of the young
girl on the field with the dogs and livestock,
shot around magic hour over three days,
was largely a Steadicam sequence. We
actually thought we could shoot it in two
days, but it was a very short window of
time, says Zabe, who operated the camera
when Reygadas did not. We didnt have a
Steadicam for the last day. There was some-
thing in the relationship between the girl
and the animals that wasnt quite there
with the Steadicam, so we did a third day
winging it on the EasyRig. Steadicam was
also used for two walking shots from the
POV of El Siete, a character who brings the
class conflicts at the movies heart into
semi-focus.
It was EasyRig all the way on a
precarious donkey ride up the mountain.
Reygadas operated a reverse shot with the
rider perched almost on the tail of the
donkey, Zabe recalls. That was done on a
wing and a prayer, basically minimum focus.
When we were on top of the mountain, we
had an EasyRig, some apple boxes, some
straps and sandbags, and a donkey, and we
were scratching our heads trying to figure
out how we would do it. Thats when ropes
and knots and that sort of stuff come in
very handy!
Because Reygadas and Zabe were so
familiar with the location, they knew what
to expect from the weather. They shot
during the rainy season partly because they
wanted fog in certain scenes. Still, weather
can be as difficult to direct as children and
animals, and it did not always cooperate.
We climbed to the top of the mountain a
couple of times thinking wed get the fog,
and then we didnt get it, so we just had to
go back down and try again another day,
says the cinematographer. That was a
pretty extreme hike, a couple of hours up
the mountain lugging the equipment.
But in all, its the way Zabe prefers to
work. He started out doing special-effects
photography primarily for Mexican com-
mercials and music videos, and moved on
to features with Duck Season (AC April 06).
He met Reygadas because that film shared
production offices with Battle of Heaven,
the directors second feature. We realized
there were coincidences in the way we
wanted to work, says Zabe. We were
both looking for a minimal crew and just a
different approach to filmmaking. In 2006,
they made Silent Light, a tale of adultery in
a Mennonite community that was a beau-
tiful experience for everybody. It was a long
shoot, a small crew almost a perfect
project.
Zabe speaks with great satisfaction
about the DIY nature of Post Tenebras
Lux, citing a scene in which the falling rain
gathers in what looks like pools of blood
on the ground. To achieve it, explains the
cinematographer, we rented a couple of
30,000-liter trucks and some hoses, put
some red food coloring into the trucks,
and then had that rain on everybody. We
tweaked it a tiny bit in the color correc-
tion, but not too much. It was pretty old
school. It was a romantic way of shooting.
We just went out with some friends to a
mountain.
TECHNICAL SPECS
1.33:1
35mm
Moviecam Compact
Arri Master Prime
Kodak Vision2 50D 5201;
Vision3 250D 5207, 500T 5219
Digital Intermediate
Above: A Vantage
Film Squeeze
Diopter creates a
blurred, doubling
effect around the
edges of the
frame during a
family outing to
the beach. Right:
The production
used director
Carlos Reygadas
house for scenes
set in and around
Juans home.
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W
hen director Roland Emmerich began prepping his
action thriller White House Down, one of his first calls
was to Anna Foerster, ASC, the director of photogra-
phy on his last feature, Anonymous (AC Sept. 11).
Emmerich calls Foersters work on that period thriller stun-
ning, and says he was determined to bring her aboard White
House Down. I told her she could make an action movie like
this really good looking, beautiful even, he says. The more
PrimeTarget
Roland Emmerich and
Anna Foerster, ASC lay siege to
the presidential residence for
White House Down.
By Michael Goldman
|
my favorite lens ever since, says the
director. We shot almost all of White
House Down with it, and it enabled us to
show the ceilings and the architecture of
the White House sets, which were very
elaborate. It can be tricky to light a
room so you can shoot that way, but
Anna used mirrors and other tricks to
make it happen.
realistic exterior light on massive sets
built onstage (at Mels La Cit du
Cinma in Montreal), a unique
approach to solving problems, and an
almost obsessive devotion to shooting
most of the picture on an ultra-wide
lens. Anna introduced me to the short
Arri [LWZ.2 15.5mm-45mm T2.6]
zoom on Anonymous, and it has been
Opposite: Police
officer John Cale
(Channing
Tatum) finds
himself fighting
to protect the
life of the
president (Jamie
Foxx) after
militants attack
the White House
in White House
Down, directed
by Roland
Emmerich and
shot by Anna
Foerster, ASC.
This page, top:
The invaders
search a tunnel
for President
Sawyer. Bottom:
Foerster with
Emmerich on
set.
we talked about it, the more interested
she became, and eventually, she
committed. And once Anna commits,
all you can say is, Wow!
Before Anonymous, I had almost
turned my back on camera work [in
favor of directing] because I wasnt sure
where I fell as a cinematographer I
had all this second-unit and visual-
effects work, but I wanted to do live
action, and there was the usual appre-
hension from producers about taking a
leap with someone who was not [an
established cinematographer], says
Foerster. But then Roland asked me to
shoot Anonymous, and it was an incred-
ible experience. When we began
discussing White House Down, I became
intrigued by the possibility of shooting
an action movie without serving all the
usual visual clichs.
White House Down details a para-
military assault on the White House
and the efforts of a lone policeman
(Channing Tatum) to protect the presi-
dent ( Jamie Foxx) and end the crisis.
According to Emmerich, what Foerster
brought to the project, among other
things, were a methodology for creating
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Shooting for a final aspect ratio of
2.40:1, the filmmakers chose to capture
digitally with the Arri Alexa Plus
because of its modest size, weight and
durability on remote heads on a variety
of platforms. They used three Pluses
during the course of the shoot, recording
in ArriRaw to Codex recorders and, as
backup, in Log C color space to SxS
cards in ProRes 4:4:4. The filmmakers
viewed imagery on Sony PVM OLED
monitors, relying on a single founda-
tional look-up table created in prep with
dailies colorist Trevor White of
Technicolor Montreal. The LUT was
also applied to all monitors on set
through Blackmagic HDLink systems.
In addition to that LUT, we had two
backup LUTs that I used occasionally to
compensate for bluescreen, Foerster
explains. So we basically had the same
look throughout, and occasionally went
just half a stop to 1 stop darker. There
was essentially no color tweaking on
set.
The production utilized Tech-
nicolors Digital Printer Lights on set
whenever there were questions about
the integrity of the Log C signal,
according to digital-imaging technician
Julie Garceau. DPL also helped every-
one on set who was in the visual-effects
chain, adds Garceau. The comp
system was based on Rec 709 color
space, so they could record the comp
and the live image together with a grade
Prime Target
Top: Secret Service Agent Walker (James Woods) pursues his target down a White
House hallway with fellow gunmen Stenz and Motts (Jason Clark and Falk Hentschel).
Middle: Cale takes aim at the enemy in a moment of confrontation. Bottom: Dolly grip
Richard Boucher inside the specially constructed Plexiglas shark cage dolly, designed to
safely film faux gunfire head-on.
that was compatible to both signals.
Once those looks were established,
quality control on set was easy.
Because the production was
headquartered on stages, its digital
workflow also included a fiber link with
Technicolor to reduce transfer time and
maintain extra security by sending
image data to separate locations during
production. Reports were generated at
every step of the way, and they were all
consolidated to cloud storage to give
[instant] access to all concerned depart-
ments, explains data wrangler Yann
Morgrain. Images were monitored and
QCd on set, and they were also verified
through the data-management process,
and again as they arrived in post. We
had lots of checks and balances.
Central to the visual aesthetic was
maintaining a short focal length, which
allowed Foerster to be more courageous
with the lighting and the look, she says.
She supplemented the Arri/Zeiss
LWZ.2 zoom with three Fujinon
Premier zooms: an 18-85mm T2.0, a
24-180mm T2.6 and a 75-400mm
T2.8-T3.8. Her team also carried a set
of Arri/Zeiss Master Primes, an Arri
8R, a 100mm Zeiss macro and an 8mm
fisheye, which was used to simulate
security-camera imagery.
We were around a T4 a lot for
interiors, and more like a T5.6-8 when
we simulated day exteriors onstage,
says the cinematographer. But it was all
lit more like a T11 and filtered down. I
had to do that to give the muzzle flashes
and interactive firelight a chance to look
realistic for exterior settings.
We used two cameras much of
the time, and with the wide lens it was
not always easy to find a good position
for the second camera, she continues.
And, of course, placement of lights was
also impacted. When possible, we had
lights built into the set, but I had to rely
a lot on light coming only from outside
[through windows]. There were times
when I had to fight for enough space in
front of the windows to give our [HMI]
sunlight enough distance to carry
through a big hallway. That was a big
challenge, and it got me thinking that
Top: Killick (Kevin Rankin) cautiously searches for Cale. Middle: Cale ducks behind a
sofa as bullets spray the room around him. Bottom: The camera crew on set with
Foerster at center.
we should lose the long, carpeted areas
in the hallways and foyers, which were
true to the real White House. When I
discussed my concerns with our produc-
tion designer, Kirk Petruccelli, he under-
stood immediately and offered up great
reflective textures and sheen on the
walls that proved crucial for our look.
We used HMIs primarily to bring in
daylight from the outside, and it mixed
with tungsten light inside and then
basically bounced off the floor [and
walls]. That gave us practical lights and
kicks from the windows to the floors,
and that made it much more visually
interesting.
Anna asked for shiny marble
floors, so we always had people polish-
ing and waxing them, Emmerich notes
with a chuckle.
Foerster pursued various other
tricks to bounce naturalistic light around
the White House sets. For example, she
had the art department create what A-
camera operator Franois Daignault
calls imperfect glass to enhance unique
light in certain rooms. Dealing with
clear windows onstage is always a bit of
a pain, he explains, but Anna asked the
art department to use plastic instead of
glass and then warp the plastic a bit with
a heat gun to make it resemble old glass.
It added character to the set, and it also
helped us see less outside and get nice
reflections a real win-win situation.
Gaffer Jean Courteau suggests
White House Down features a different
Top: This rigging diagram was used for a scene in which a limo bursts into the Oval Office.
Bottom: Sawyer with Walker inside the Oval Office.
Prime Target
lighting aesthetic than is typical for
action fare, with Foerster and
Emmerich eager to avoid pristine but
unnatural-looking lighting configura-
tions that would reveal action in inti-
mate detail. You expect this kind
of movie to be a little less dark, with
less chromatic difference, Courteau
observes. But Anna made the whole
thing darker. I was surprised by the
contrast, colors and levels of darkness
[we achieved]. She also used lots of
reflections and mirror action on most of
the sets. Its the kind of lighting you see
more often in dramas, and it works
beautifully here.
In many action movies, they put
light next to the actors, but that is not
natural, Emmerich notes. Sunlight
may not be coming directly into a room,
but maybe a tiny bit is, and then it
reflects. Anna worked a lot with mirrors
to create sun reflections everywhere [in
our sets]. Shes very smart about how
she does those things.
The lighting is meant to evolve
with the story, Foerster explains.
When the film starts, its quite opti-
mistic: A father and daughter are visit-
ing the White House, and everything is
normal. But when the White House is
taken over, the light becomes hard, even
brutal to a certain extent. There is defi-
Top left: This photo shows the mechanical rig used to make a helicopter tail crash through the
ceiling of the Oval Office. Top right: Emily Cale (Joey King) runs from a downed helicopter in
front of the White House. Middle: A wider look at the White House exterior set with the
crashed helicopter. Bottom: HMIs were shone in through the White House set windows to
create exterior light.
nitely heavy contrast.
Complicating this agenda was
the fact that most of the picture was
shot onstage, and the filmmakers had to
frequently simulate bright day exteriors
and also shoot believable exterior light
beaming into the White House.
Courteaus team typically built light for
exterior setups by bouncing 18K
ArriMaxes onto white ceilings, and then
adding four or five 24Ks gelled with
CTS to mimic sunbeams, with much
smaller lights on the actors as needed.
Almost every setup was big, and
creating big exteriors [onstage] is always
difficult to do in a naturalistic way, says
Courteau. There is a lot of ambience;
shadows are filled in most of the time.
So you need a lot of big lights and big
ambience. We needed a lot of depth; we
shot a lot of bright exterior scenes at
Prime Target
Top: This diagram of the pool set was used to ensure continuity for back-to-back scenes in
the film that were shot on different days. Bottom: Crewmembers film Woods as he runs
from an explosion on the set.
T11 and 800 ASA. Everything outside
the White House was built up to a level
of ambience, and then we brought in sun
shafts to add to it.
However, the sets tended to be
tight because of their scope, so finding
room to set up outside lights was often
a challenge. For many scenes, Courteau
relied on LRX lights (from Dwight
Crane of Toronto) rigged on a truss and
controlled by a dimmer-board operator.
system on many of our stages for
sunlight on both exteriors and interi-
ors.
Another visual challenge in-
volved the extensive and varied types of
gunfire that come into play inside the
White House. This required extended
muzzle flashes that had to be realistic,
safe to use on a cramped set, and able to
mix with the light in the rooms success-
fully. Courteau addressed part of this
The LRX system was very useful, he
says. We could put sun shafts from
18Ks all on trolleys up on a truss, and
did not need to send a spark up on the
gantry. All the light could move side-
ways and down on the truss, and we
could also control the spot and flood
position through the [GrandMa2]
lighting board. That gave us a lot of
freedom and the ability to operate
quickly on tight sets. We used the
Prime Target
Top: This continuity diagram shows the setup around Cales SUV for a traveling shot with bluescreen. Bottom left: Foxx leans out the window
of the SUV with a rocket launcher. Bottom right: Crewmembers prepare to shoot the vehicle onstage.
problem by using small LEDs to mimic
muzzle flashes in certain places, know-
ing they could be enhanced as needed
by the visual-effects team. He explains,
We used an LED rig that went
through our lighting board so we could
control the speed of the flashes. We
used warm LEDs, so the flashes
contrasted with the cooler light that the
HMIs were bringing into the sets.
But much of the time, for large
action set pieces, the actors had to fire
blanks on set to create practical flashes.
To safely film the faux guns being fired
head-on, the crew created what Foerster
calls the two-headed monster: a dolly
with two remote Libra heads on it
one placed high, the other low and a
specially constructed Plexiglas shark
cage to protect the dolly grip as the two
cameras captured the action. The
cameras were protected, the operator
was protected, and the lens was
protected, says Foerster. The lenses
had either a clear filter or another type
of filter, and we often added a digital
diffusion filter.
Libra heads were used extensively
throughout the shoot, and Daignault
says he, 1st AC Martin Lebel and dolly
grip Richard Boucher became so adept
at working on the remote head that a
very special symbiosis developed
between the three of us. They were able
to communicate on the fly with each
other and with Foerster with a Clear-
Com/HME DX210 wireless intercom
system, he adds.
Roland loves to be free when he
does moves, and I think thats why we
shot a large part of the movie on the
remote head, Lebel observes. We had
it on many different supports, including
a Technocrane and a golf cart. Franois
was behind the Libra wheel, near Anna
and Roland, describing the shot to
Richard Boucher and me using the
intercom system.
Foerster and her collaborators
devised some other techniques for repli-
cating real-world light efficiently on set.
For instance, Foerster recalls visiting the
U.S. Capitol Building during prep and
noticing tiny windows high up in the
cupola that sent skylight to the stone
floor early in the morning in such a way
that the patterned reflections appeared
to follow her as she walked around the
rotunda. I took pictures of that with my
iPhone and became obsessed with re-
creating it on set, she says. Emmerich
adds, We talked about different ways
to achieve it, but all of them were too
expensive or time consuming. Then,
Anna and Jean came up with a simple
but effective solution.
The solution was to position 88
bare EBW (500-watt daylight) bulbs in
a circle on the rim of the rotunda-ceil-
ing set, about 1' apart, and use the
dimmer board to switch them on or off
depending on the camera angle, creat-
ing perfect, diffused, daylight-blue
reflections on the floor, according to
Foerster. Courteau adds, They would
light up every second or two they
werent synchronized and I had them
run through the dimmer for control
because we had so many. We could cut
some of them off if the effect got to be
too much. It gave us the specular effect
on the floor that Anna wanted, and it
was pretty low tech.
Some exterior shots and pickups
were filmed on location in Washington,
D.C., but the only offstage site where
extensive filming took place was a large
indoor golfing range near Montreal
called The UFO. In the sequence shot
there, a tank drives through a fence near
the White Houses South Portico and
Prime Target
42
The White Houses South Portico was re-created inside The UFO, an indoor golfing range near Montreal.
rams the building.
We needed at least 20 feet on
both sides of the practice range to move
around Condors, and to put trusses up
to provide some ambience, Courteau
explains. It was a big bubble and, luck-
ily, all white, so that gave us tremendous
help in creating the ambience necessary
to cover such a huge set. We had eight
18K ArriMaxes bouncing light to get
the ambience, and five 24Ks gelled with
CTS on Condors for sunbeams. On
the side of the bubble, Alain Masse, our
key grip, put up black velour and blue-
screen material black to help control
and model the light, and bluescreen if
needed for visual effects.
Because of actor availability,
much of the movie had to be shot out of
sequence. Periodically, Foerster says, her
team had to come back weeks later and
pick it up on a particular set. You always
try to be very careful, but it can make
you wonder if you picked the right
spots! We used reference stills and
footage and lighting plans, but it was
hard on everybody to make it look
[seamless].
For this reason, lighting diagrams
created by Courteau, lighting techni-
cian Marco Venditto and rigging gaffer
Gilles Fortier were extremely detailed.
The drawings included every light
position, every color, every gel, scrims,
distances all that was taken into
account, explains Courteau. Those
drawings were crucial to our ability to
keep little ends tied together [for] conti-
nuity.
All of these efforts helped
Foerster fulfill Emmerichs agenda,
which he describes as making it as real
as possible. Foerster, he notes, is bril-
liant at doing that. She is what you look
for in a cinematographer: she can look
at reality and know how the hell to re-
create it. That is why he hopes to work
with her again in the future. But thats
if she would do it, he sighs. She can be
very hard to convince!
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TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa Plus
Arri, Fujinon Premier and Zeiss
M.
Night Shyamalans After Earth was the first feature to
go into production with Sonys F65 camera, and the
first to use a 4K workflow for everything except
visual-effects work. But the project certainly didnt
start out that way. When Shyamalan contacted Peter
Suschitzky, ASC, and asked him to shoot the picture, he said
he would like to shoot on film and use anamorphic lenses.
Suschitzky recalls telling the director, I respect your request,
and I will do it that way if you really want to, but Id like to
show you what a digital camera can do. Why dont we do
some comparative tests? Suschitzky explains that he had been
converted to shooting digitally on his previous feature, David
Cronenbergs Cosmopolis, which he shot with an Arri Alexa. I
loved digital from the very first day, he says.
Shyamalan agreed to the test, and the filmmakers
compared three different types of camera, each outfitted with
anamorphic and spherical lenses: a 35mm film camera, an
Arri Alexa Studio recording in ArriRaw, and the Sony F65
recording in Sonys 16-bit linear raw format. Screening the
resultant images in 4K reaffirmed Suschitzkys enthusiasm for
digital capture. He recalls, Compared to the digital image, the
film looked like a second-generation dupe. Seeing film on its
own, I would have accepted it, but it wasnt as detailed as the
digital images, which also had a greater tonal range. I could
also see a little more detail with the Sony than the Arri.
Theyre both fine cameras, but I feel the F65 has the clear
Peter Suschitzky, ASC
employs a 4K workflow on
M. Night Shyamalans sci-fi adventure
After Earth.
By Benjamin B
|
Wild
Planet
edge for the moment. I let the director
make the choice, and Night led the way
by choosing the F65. As I felt it was the
right decision, I was delighted.
I was a staunch film guy, so the
switch to digital wasnt taken lightly,
says Shyamalan. It was earned by this
camera and, in my mind, only this
camera could have convinced me to do
it. It has a kind of richness that I associ-
ate with film, and it has a capacity to
render colors that I think exceeds film.
He adds that the cameras performance
in low light was another important
consideration, given that many scenes in
After Earth had to be staged under rain-
forest canopies. Those practical bene-
fits were so important, he says. When
I put it all together, it was really a no-
brainer.
After Earth takes place a thou-
sand years after humanity has been
forced to abandon Earths toxic envi-
ronment for another planet. The story
focuses on the relationship between
Kitai ( Jaden Smith), a teenager, and his
father, Gen. Cypher Raige (Will
Smith). The two survive a spaceship
crash on Earth, where many animals
have evolved into ferocious creatures.
Cypher is wounded and must send his
son alone into this uncharted wilderness
to signal for help. Though separated,
father and son can communicate, and
they learn to work together as Kitai
confronts unexpected dangers, includ-
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Opposite: Kitai
(Jaden Smith)
takes in the wild
surroundings after
crash landing on
Earth in a scene
from After Earth.
This page, top to
bottom: Kitais
father, Gen.
Cypher Raige (Will
Smith), questions
the boys readiness
for a mission; the
general and his
wife, Faia (Sophie
Okonedo); Kitai
clashes with the
security chief
(Kristofer Hivju) of
his familys colony.
ing, finally, a lethal alien.
About half the film was shot on
stages built in a former factory in
Philadelphia, Pa., and the rest involved
location work in the jungles of Costa
Rica, the redwood forests of Northern
California, and the desert salt flats in
Utah. A film of this scale would
normally have 85-plus days to shoot,
but we had 63, so we had to work
quickly, notes Suschitzky.
Shyamalan emphasizes the
importance of the natural locations:
Whatever camera we used, it was crit-
ical that we be able to capture the rich-
ness and the subtleties of the
environments we were in for exam-
ple, the very complex details you see
when youre looking at trees against
other trees, or a canopy of bushes. The
primary objective was to pull the depth
and colors from each leaf and really
convey the splendor of what these loca-
tions had to offer. The F65 could
capture all of it.
For Suschitzky, the detail of the
F65 image felt a bit too analytical, so I
added a 1/8 [Tiffen] Black Pro-Mist to
the lens, and then it looked very filmic.
The problem with Pro-Mists is that you
get a flare when you have a white sky,
and there are a few occasions in the film
when we got that, but I never took the
filter off because the difference with and
without it was quite marked.
After Earth was shot in 2.39:1
with Cooke S4 prime lenses and
Angenieux Optimo zooms. We used
zooms because we had very little shoot-
ing time, and we were on the
Technocrane a lot, Suschitzky explains.
Ive always been suspicious of using
zooms to capture nearly everything, but
its pretty difficult to tell the Optimos
apart from primes; theyre very similar
in definition.
Wild Planet
Right: Kitai
trains for a
mission. Below:
The crew
prepares a crane
shot of young
Smith on
location in Utah.
Suschitzky usually does his own
operating, but for After Earth he turned
the A camera over to Mitch Dubin,
SOC. I knew we would be in a hurry,
and the scale of the project was very big,
and I never want to be accused of hold-
ing things back because of trying to do
too much, he says. Dubin, he adds, is
one of the best camera operators in the
world.
Suschitzky rated the F65 at its
recommended ISO of 800, and took
advantage of the chips sensitivity to get
a healthy T4.5 stop in most interiors. He
used the internal ND filters to obtain a
T5.6 in many exteriors. Throughout the
shoot, he used his incident meter, as
with film. I learned on Cosmopolis that
its better to measure, so I didnt change
my technique. Most of the time, I had a
remote T-stop device, and I never hesi-
tated to use it to change aperture during
a shot, if it needed that change.
Most of the picture was captured
with shorter focal lengths, typically
21mm, and with a single camera. In my
experience, you tie yourself in knots
when you use two cameras, Suschitzky
observes. He and Shyamalan shared
other preferences as well. Night told
me ahead of time that he likes to do
longish shots and doesnt like to cut fast,
which is my taste, too.
Shyamalan is known for his
Top: Cypher absorbs some worrisome information aboard his spaceship. Middle: The
general tries to calm his son as the two prepare for a crash landing. Bottom: Director M. Night
Shyamalan (second from left) keeps an eye on the monitor as Steadicam operator Buzz
Moyer captures a shot in the cargo hold.
methodical preparation, and he often
followed his storyboards as the shoot
progressed. To each his own, but I am
very much in my comfort zone when I
have my office door closed and Im star-
ing out the window and thinking of
how I would shoot a scene, says the
director. That clarity drives everything
else: how were going to light it, what
the costumes will look like, what the set
decoration will be. All of it is driven by
what I imagine when I look out the
window. The structure I create gives me
great freedom, but I find there is still
plenty of room to allow the actors and
each department head to bring his or
her own particular view of the movie to
the table.
Suschitzky explains that he
defined the look for After Earth, during
Wild Planet
Top: Kitai
explores his
surroundings.
Bottom: Director
of photography
Peter Suschitzky,
ASC (far left) and
Shyamalan (next
to Suschitzky)
look on as
A-camera
operator Mitch
Dubin, SOC and
camera assistant
Steve Cueva film
Jaden Smith on
location.
cockpit and cargo area. Suschitzky says
his goal in lighting the ship interior was
to use mostly practicals and add only a
few lights to light the actors.
The cargo area was a giant tube
fastened to a mechanical shaker unit
that simulated the rough-and-tumble of
production, in harmony with the reality
of the sets and locations. Sometimes I
do approach a movie with a preset idea
about style, but I felt that this was not a
movie that cried out for stylization.
Therefore, I needed to see the locations
and the actors, to react to what I saw and
feel my way into it. I knew I wanted a
filmic look. I didnt want the image to
look digital, and I didnt want it to look
artificial, as if Id suddenly turned up the
yellow dial or something like that. I
needed to find an organic look, and that
came from the combination of the script
and the locations.
Mo Flam, the gaffer on the
project, notes that one of the challenges
of a project with extensive visual effects
is to create the interactive lighting that
simulates the CG light that will be
added to a given shot in post. As an
example, he cites the scene in Cyphers
apartment in which he is surrounded by
a large hologram. The hologram is
moving around him, so we built an arch
of light on a dolly using three grids of
Kino Flo tubes, one on top and one on
each side, that enveloped him and could
be moved around him.
Flam and Suschitzky worked
with Tom Sanders, the production
designer, to incorporate practical light-
ing on the soundstage, and notably in
the intricate sets for the spaceships
Top: The
production taps
a crane to get
another shot in a
Northern
California
redwood forest.
Bottom: Dubin
and Suschitzky
during a break
on location.
the vessels crash to Earth, where it splits
open. Suschitzky and Flam used Mac
Tech modular strips of LEDs that could
be assembled into tubular sources with
varying numbers of rows. This was my
first film with a lot of LEDs, notes the
cinematographer, and we picked them
because they are so flexible, their spread
is very even, and their color always
seemed to me to be correct.
In the spaceship, the crew created
a grid of LED panels similar to fluores-
cents. We used several hundred Mac
Tech LED strips as building blocks,
says Flam. Tom wanted everything in
the set to look organic, as if the materi-
als were farmed rather than the result of
an industrial process. We created a mold
and put Mac Tech single units that were
about 1 inch in diameter and 2 or 4 feet
long inside. They stayed very cool. The
LED units were dimmed via Variacs
away from the set, which enabled about
4
1
2 stops of dimming and could be
turned on or off via DMX.
Outside the cargo areas windows,
Arri 24K Fresnels on Giraffe cranes
were moved slowly to simulate shifting
sunlight as the spaceship changed its
orientation. When the spaceship breaks
apart, daylight streams in, an effect
sourced by two Dino lights through
diffusion frames that were brought up
to create a big burst of light, says Flam.
We went with Par 64 bulbs because
they come up more quickly than 10Ks.
The cockpit was on a gimbal, and
inside the crew fitted custom RGB
LED practicals and optical fiber
spaghetti to create a kind of retro
organic look, continues Flam. All of
the lights were controlled via DMX on
a GrandMa dimming board. Two
media servers fed low-resolution video
to the strands of fiber to create shifting,
glowing colors. We also added interac-
tive LED units to stand in for the holo-
grams that were added in post, adds
Flam.
When the camera moved in for
closer shots of Kitai and his father in the
ship, the crew would sometimes turn off
a section of the LED grid above to keep
the camera side of the faces dark.
Suschitzky often added some soft
sources to provide edge light or fill,
Wild Planet
Kitai confronts one of the many fierce creatures that
have evolved in Earths toxic environment.
by narrow riverboats, which limited
lighting gear. In those situations, Flam
ran two Mac Tech panels made of 24
LED strips off a 3,000-watt generator.
A sequence that shows Kitai on a raft
was lit with the two panels fed by batter-
ies with inverters to provide a soft
source. Flam notes that the units were
cool enough to cover with plastic to
protect them from humidity.
The location lighting tools were a
mix of bounce frames, Mac Tech LED
panels, small Joker HMIs, and 18K
ArriMax HMIs through Grid Cloth.
usually a 2K bounced into unbleached
muslin, or, if it was a tight space, a Kino
Flo or an LED strip, says Flam.
Ive always thought that you can
make almost any lamp look the way you
want it to look, Suschitzky observes. I
can make a 20K look like a soft light or
a hard light. Obviously, certain tools are
better for certain circumstances and for
lighting requirements and wishes.
Sometimes I bounced off large surfaces,
and sometimes I had less room and had
to adapt. In a small area like the cockpit,
I might go for an LED.
He employed many variations of
soft sources on After Earth, including
book lights bounced off bead board or
muslin and then through Grid Cloth. I
think that with soft light, the trick is to
make it look interesting and not have it
look even all the time, he notes. He
occasionally used a gray bounce board,
notably in the cockpit. Light gray
seems to give a gentler light than white
it isnt as harsh on faces, he says.
You pick the surface you bounce off to
avoid unwanted colors or tones. In the
same way, many cinematographers will
use an unbleached muslin rather than a
bleached one; its slightly warmer and
gentler. Flam offers the observation
that dark bounces seem to work best
when the set is dark.
In many ways, the biggest chal-
lenge for the filmmakers was the shoot
in Costa Ricas rainforest. First, there
was the profusion of snakes. Snake
wranglers had to comb each location for
the deadly reptiles before the crew
arrived, and then continue to fend them
off during the production day.
Suschitzky casually notes, The worst
snakes are the thinnest, shortest ones
that fall down on you out of the trees.
Some jungle locations were so
remote that they could only be reached
Top: Kitai takes a
moment to collect
himself after the
crash. Bottom:
Shyamalan and
Suschitzky on
location.
The LEDs were bright enough in the
shade or in the jungle, but when we
were fighting sunshine, we needed the
big guns, says Flam. He sometimes had
his electricians move large, circular
scrims in front of the 18Ks to match
clouds passing over the sun, so as to
adjust the level of fill during the shot.
At a crucial moment, Kitai stands
on a tall redwood looking over the land-
scape before soaring across a great
divide. For this shot, the filmmakers
positioned three 18K ArriMaxes on the
ground and aimed them at 20'x20'
helium air mattresses above the actor to
provide a soft overhead source. The
existing daylight was very flat, and I
wanted to add some direction to the
light, says Suschitzky. For a different
sequence, he lit a close-up of Cypher
with an 18K shining through two diffu-
sion frames, one near the lamp, and one
halfway between the lamp and Will
Smith. This arrangement kept the
fixture at a distance. I dont like to
crowd actors in unnecessarily with
equipment if I can avoid it, he says.
Wild Planet
Top: The
filmmakers
capture a shot
of the crashs
aftermath.
Bottom: The
workflow
designed for the
production by
The Creative-
Cartel.
Craig Mumma of The Creative-
Cartel, a digital-workflow-management
company, supervised the pipeline on set,
collaborating with digital-imaging tech-
nician Toby Gallo. Mumma was
impressed with the F65s performance
in the humidity of the jungle. The only
time the camera didnt do well and
this is typical of all digital cameras
was when we had to put it in a water bag
for long periods, he says. It overheats
when its confined like that.
The F65 recorded 16-bit linear
raw files to SRMemory Cards in the
SRR-4 memory recorder fitted onto the
back of the cameras. The mags were
available in two sizes, 512 gigabytes
(facilitating about 30 minutes of 4K
capture) and 1 terabyte (about one
hour).
Whats great about working
with Peter and Night is that they are
both very disciplined filmmakers, notes
Mumma. They know what they need
to shoot, and theyre not wasteful. In
prep, Night said he wouldnt shoot more
than [the equivalent of ] 8,800 feet a day,
and when I asked, Why that number
exactly? he answered, I just know what
I shoot. And on the first day, we had the
equivalent of 8,760 feet!
Another thing he said was, Im a
film guy, so Ill yell, Check the gate! I
assured him he could still do that, and
when he did, wed do a spot check of the
footage in fast-forward after each
setup.
Mumma says he strives to keep
things simple and take the voodoo out
of the workflow. He set up a lab close
to the set to receive the shot mags, make
clones and create graded dailies. He
notes that no mags were erased on set,
and every mag that was cloned and
checked was clearly labeled. He also
required someone to watch every take
that was shot. I tell my team, Lose a
frame, get on a plane! Everybodys hard
work is being funneled into the lens, and
if we lose a frame, we havent done our
jobs. The mags were played back on a
Sony SRPC5 and copied onto a
FilmLight Baselight Transfer system,
which generated LTO clones, as well as
dailies in DNX and H.264 formats.
On set, the F65 HD-video
output (with Sonys S-Log2 applied)
was sent to a FilmLight Truelight color
corrector in the DIT tent, where it was
adjusted by Gallo and monitored by
Suschitzky and Flam. Gallo applied
ASC-CDL corrections of Lift,
Gamma, Gain and Saturation, as indi-
cated by Suschitzky, and this informa-
tion was transmitted at the end of each
day to Mummas lab so they could be
applied to dailies and recorded in the
Joust database for post.
Sony designed the F65s raw
signal to be compatible with the 16-bit
linear ACES workflow standard.
Simply put, ACES requires an Input
Device Transform for incoming signals,
and an Output Device Transform for
outgoing signals. Mumma states that
the HD S-Log2 signal went through an
IDT before color correction, and an
ODT before being displayed in the Rec
709 color space on the Sony OLED
monitor. These transforms were defined
at the beginning of production by Sony
Colorworks, which handled the final
grade, and were also sent to all the
visual-effects houses working on the
film. Visual-effects artists also viewed
footage in Rec 709.
Mumma explains that all the
color correction done on set was non-
destructive and simply served as a refer-
ence for the final grade. The
corrections we do in 709 color space are
to keep things matched during produc-
tion, editing and visual effects, but that
gets thrown away at the end, because we
redo the color in the P3 video-projec-
tion color space for the final DI, he
says.
After Earth was the first F65
feature finished in 4K, and it will be
projected in 4K in some theaters. As is
the norm, however, most of the visual-
effects work was done in 2K for finan-
cial reasons. (The original 4K footage
was down-rezzed to 2K, the effects
shots were inserted, and then the
footage was up-rezzed back to 4K.)
There are more than 600 visual-effects
shots in the picture, so nearly half the
shots in the movie were done in 2K,
Wild Planet
Will Smith enjoys a laugh with Shyamalan between takes.
54
says Suschitzky. The effects work is
beautifully done, but the resolution isnt
as good as it would be in 4K, which they
say is too expensive. That has to be
changed. Mumma concurs, noting, 2K
to 4K is a big leap. Weve come to an
agreement within the visual-effects
community that 3K is acceptable, and
that might be the next step in visual
effects.
Asked whether shooting with the
F65 changed anything about his
approach to filmmaking, Shyamalan
responds, I dont know if anything prac-
tically changed, except that we started
earlier and shot longer because the
camera could handle lower light levels. I
was definitely confident in the camera as
we were trudging through locations, and
that made me more aggressive in my
shot making.
The director concludes with
praise for Suschitzky, emphasizing that,
in the end, it is really the cinematogra-
pher and not the camera that created the
unique texture of After Earth. We were
really lucky to get Peter for this film, he
says. His skill at turning character into
colors and light is something that
contributed extensively to After
Earth. For all its scale, he was able to use
our wonderful locations and settings to
create a character piece.
TECHNICAL SPECS
2.40:1
Digital Capture
Sony F65
Cooke S4, Angenieux Optimo
Suschitzky at the
camera. After
Earth is the
cinematographers
second digital
feature. I loved
digital from the
very first day, he
says.
Jay Hunter takes a bare-bones
approach to Joss Whedons
Much Ado About Nothing.
By Jean Oppenheimer
|
T
he project sounded daunting but exciting: shoot a
contemporary version of Shakespeares Much Ado About
Nothing in just 12 days. Cinematographer Jay Hunter
had worked with director Joss Whedon on the TV series
Dollhouse and knew him to be a huge Shakespeare fan.
Initially, Joss envisaged it as something almost experimental,
he says. He wanted to use black-and-white, minimal light-
ing, and a single location: his house. He really wanted to
[showcase] the performances.
An Indie Twist
on
Shakespeare
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Like many of Shakespeares
comedies, Much Ado addresses the intri-
cate game of love. The story revolves
around two young couples: Hero
( Jillian Morgese) and Claudio (Fran
Kranz), whose impending marriage is
threatened by the villainous Don John
(Sean Maher), and Beatrice (Amy
Acker) and Benedick (Alexis Denisof ),
two headstrong individuals who take an
instant dislike to one another, but whose
friends are convinced are perfect for
each other. The action is set at the home
of Heros father (and Beatrices uncle),
Leonato (Clark Gregg).
Attempts to film Shakespeare
frequently take a very traditional,
proscenium-style approach, and Joss
and I [both wanted] to avoid that, says
Hunter. We wanted to get the camera
inside the scenes to keep the camera
close to the actors and move around
with them. Id say 98 percent of the film
was shot handheld, and many scenes
play out as long oners.
Hunter suggested using the Red
Epic-M and desaturating the image to
black-and-white in post. (The Epic-M
Monochrome was not yet available.) He
figured that if they ran into a lot of hot
backlight that they couldnt balance out
on set, we could at least shoot 5K and
have as much resolution as possible to
work with in the color correction. The
cameras High Dynamic Range HDRx
function was another key selling point,
given that so much of the shoot would
rely on available light.
The 12-day production schedule
certainly presented a challenge. A page
of Shakespearean dialogue is not a
normal page of dialogue, laughs
Hunter. On the first day of prep,
Whedon and Hunter scouted
Whedons property. The backyard,
where numerous scenes were set, faced
north. Joss already had the whole
movie in his head, says Hunter. He
described the blocking, and we
discussed where to put the camera. The
next day, Hunter returned to the house
and spent the whole day just observing
Opposite: Benedick
(Alexis Denisof) and
Beatrice (Amy Acker)
share an intimate
moment in a scene
from Much Ado
About Nothing,
directed by Joss
Whedon and shot by
Jay Hunter. This
page, top to bottom:
Benedick observes
Beatrice in a frame
grab from one of
Hunters favorite
sequences; Beatrice
and her cousin, Hero
(Jillian Morgese),
have a thoughtful
moment together;
Whedon (left) and
Hunter on location in
Whedons home.
An Indie Twist on Shakespeare

the light. Then, he and 1st AD Maileen
Williams tailored the shooting schedule
around the light. Maileen is amazing,
and I credit her with our success as
much as anybody else, the cinematog-
rapher says.
To some extent, the visual style
was conditioned by the dialogue, which
has a distinctive rhythm and vocabulary
that might seem alien to some viewers.
Though that was not an overriding
consideration, it was one factor in
Whedons decision to stage a slightly
more up-front presentation, so you can
really see the actors faces and what they
are doing with their bodies, says
Hunter. Joss normally doesnt do a lot
of giant TV-type close-ups, but he did
want to keep the frame close.
A greater influence on the films
look was the spying, plotting and decep-
tion that propel the plot. Window
reflections, shooting into mirrors, and
shooting through half-full glasses
served to distort or obscure the image,
visual tricks that echo the storyline. One
scene finds Claudio, martini glass in
hand, standing chest-deep in the swim-
ming pool after a night of revelry. The
camera is a few feet away on the ground,
facing Claudio, and shooting through
two wine glasses that warp the image
slightly. Suddenly, Don John and two
associates surface behind Claudio, like a
Greek chorus rising from the depths.
Don John, who wants to wreck
Claudios marriage plans, whispers in
the grooms ear, telling him that Hero
has been unfaithful to him. Its a lie, but
Claudio believes him.
One of Hunters favorite
sequences starts on a mirror in an arch-
way in the house. Beatrice is reflected
in the mirror; she is crying at the dinner
table. Benedick walks into the doorway
so we see them both, even though she
doesnt see him. He quickly turns and
walks out of frame, at which point his
back is reflected in the mirror. Beatrice
gets up and walks to the mirror, and we
see [both her and her reflection].
Right and
bottom left:
Beatrice
overhears a
conversation of
consequence.
Bottom right:
Hunter films
Acker and
Denisof on the
stairs with the
help of a
butt dolly.
tungsten light, he continues. The
Plasmas use very little energy and dont
produce a lot of heat, yet they provide a
really powerful source.
For a wraparound look, we built
book lights, [bouncing] a powerful
HMI into bead board or through
8-by-8 Light Grid diffusion, or we
placed Jem Balls off camera with
bleached or unbleached muslin covers.
The shape of the light is soft and wraps
Benedick comes back into frame, and
we see both their faces.
The next scene finds Beatrice and
Benedick together in the living room.
Their growing attraction is obvious.
Determined to punish Claudio for jilt-
ing her cousin, Beatrice is charging
around the set, demanding that if
Benedick truly loves her, he will kill
Claudio. Hunter recalls, I was sitting
on a butt dolly [a stool with wheels],
scurrying around with the camera at
Beatrices eye level. Propelling yourself
around with your legs takes practice, but
you just develop these breathing skills
and these kinds of shock absorbers in
your body. At the end of the scene,
which was a five-minute oner, Beatrice
sits down on the couch. My AC pulled
the dolly out from under me, and I kind
of crouched down, remaining at her eye
level. Benedick stands behind the
couch, and I needed to go lower still in
order to keep his head in frame and still
remain at her eyeline.
The living-room windows look
out onto the backyard, and day interiors
took advantage of all the light pouring
in, although additional fixtures, both
outside and inside, were often required.
Hunter and gaffer George Maxwell
donated several lights to the production.
George and I have worked together for
years, and he is the perfect collaborator,
says Hunter. We used mainly HMIs,
Arri M18s, 4Ks, 6Ks, Jem Balls and
Hive Plasma lights.
Everybody is using LEDs now,
and theyre great for certain applica-
tions, but they dont have the same
punch and throw as an HMI, quartz or
Left: Beatrice
eavesdrops on
Hero and her
maid, Margaret
(Ashley Johnson).
Below: The
filmmakers shoot
a scene in the
kitchen.
around fairly well. If we had to go direct
with the light, wed often use 129 [diffu-
sion]; its heavy, but when you blast light
through it, it glows like nobodys busi-
ness.
Polarizing filters were often
required outside, but in general, Joss
isnt really a diffusion guy, notes
Hunter. Day exteriors were usually lit
with sunlight off bounce cards or 8'x8'
UltraBounce. The thing with filters,
especially if youre using two handheld
cameras and are moving around a lot, is
that you end up introducing a lot of
problems, like flares that bounce
around, almost like a ghosting image.
And, in fact, two Epic-Ms were
run most of the time, with Matt
Valentine operating the B camera.
Matt is a great handheld operator and
a cinematographer in his own right,
notes Hunter.
Footage was captured in 5K at
4:1 compression to SSD cards. (The
aspect ratio was 1.85:1.) I work with a
waveform and a vectorscope monitor
and can tell just from looking at them if
the exposure is good, says Hunter.
A Canon EOS 7D DSLR was
used to grab some reaction shots, and
Hunter was confident that by using a
long lens for these shots, in this case a
Canon L-Series 180mm, he could get
the Canon and Epic footage to match
reasonably well. Even though Epic is
5K and the DSLR is 1080p HD, Ive
learned that using longer lenses will
make a low-res video image look
sharper and more film-like, he
observes.
Additionally, Technicolor has
designed a scene file for the Canon, the
CineStyle Profile, that gives you more
latitude for color correction, he contin-
ues. The camera has little latitude in
the lower end of the curve, but the
CineStyle Profile extends the dynamic
range to give you more to work with in
post. That, combined with our
awesome colorist, [ASC associate]
David Cole, did the trick.

Top: Worried
how his affection
for Hero will be
received, Claudio
(Fran Kranz)
stands in the
pool following a
night of revelry.
Middle and
bottom: As the
image distorts
through
foreground wine
glasses, Don
John (Sean
Maher) surfaces
to cloud
Claudios mind
with doubt.
Panavision Hollywood provided
the camera gear. Rik DeLisle helped
us tremendously, notes Hunter. I
think we had every Primo prime in
existence, but we tended to stick with
the 21mm, 27mm, 35mm and 50mm.
Our classic close-up lens was the
100mm, and we used that quite a bit,
but whenever we could get away with
it, Id push for the 150mm, especially on
the B camera.
C-camera operators Mick
Froehlich and Adam Tash took turns
shooting with the Canon. There was no
monitor for it, but Hunter had implicit
trust in those guys that the exposure
and focus would be fine. Hunter tried
to maintain a stop between f2.8 and f4.
We could only afford one Preston
Remote Focus, he notes. My first AC,
Clint Kasparian, is my brother-in-
arms. And B-camera first AC Vessie
Kazachka did a great job with no
remote.
In general, Hunter captured
wider shots, while Valentine focused on
close-ups. An early scene in the film
finds Hero and her maid, Margaret
(Ashley Johnson), standing in the
kitchen discussing Benedicks crush on
Beatrice. Its all part of their matchmak-
ing ruse; they know Beatrice is about to
enter the room and will hear their
conversation. In a long oner, the camera
leads Beatrice, who enters on the other
side of the room and abruptly turns to
go down the stairs. When she hears her
name mentioned, she tumbles headfirst
down the steps. Hunter crouched down
as Beatrices head popped up from the
stairs, and he paralleled her as she
crawled up the stairs and sneaked into
the kitchen to eavesdrop from under-
neath a counter. The camera remains on
a medium wide of Beatrice as she
listens. The other womens legs protrude
under the counter.
I shot that by putting the camera
on a furniture pad and sliding it along
Hunter shoots a
pool scene with
the camera
protected in a
Plexiglas case.
the floor, Hunter reveals with a laugh.
The lens was almost level with the
floorboards. The B camera was on a
long lens a little farther back, shooting
close-ups of Amy.
Another setup involved an
evening party on the back patio, during
which two acrobats perform on a hori-
zontal bar above the guests. We lit
Josss whole backyard so we could shoot
270 degrees, says Hunter. We hid a lot
of China balls behind bushes to get a
low, soft light, and then we stuck narrow
200-watt Pars on stakes. George placed
a Par 64 can in a tree and aimed it
straight at the acrobats, which gave
them a hot, spotty look. We had one
camera on a 12-step ladder that looked
down on them. I was underneath them
on a wide lens, twisting the camera
around and reacting to their move-
ments.
I remember that the late Harris
Savides [ASC], one of the greatest cine-
matographers, always said, Light the
environment, [not] the people. Harris
was so fearless. Hunter also cites the
work of Anthony Dod Mantle, ASC,
BSC, DFF and Robby Mller, NSC,
BVK as big influences. Also, Jacek
Laskus [ASC] was the last cinematog-
rapher I assisted for, and I learned so
much from him. His advice was, Dont
be afraid to make things look ugly. Jacek
gave me the confidence to jump out.

Hunter finds a frame in Whedons backyard.
62
Hunter notes that American
Cinematographer has also been instru-
mental in his development. I started
reading it when I was 16 my dad was
a film buff, and he got me into it.
Thanks to him, I grew up on art
cinema. He adds that his father, Roger,
took him to see Blade Runner when he
was 3. My dad always wanted to be a
filmmaker, but he got sidetracked.
However, Roger Hunters passion
for cinema filtered down to his son, who
studied film theory at the University of
Colorado under experimental film-
maker Stan Brakhage. He signed up for
one production class and fell in love
with it. While still in college, he shot
several low-budget features, and after
graduating, he moved to Los Angeles.
He met Whedon in 2009 on Dollhouse.
Lisa Wiegand, a good friend, was the
director of photography on the show,
and she brought me on to do second
unit. When there was no second unit, I
was the A-camera operator on the main
unit. I owe so much to Lisa.
Hunter considers filmmakers
Stan Brakhage and Werner Herzog to
be his spiritual mentors. With a laugh,
he recalls Herzogs declaration that
pain is temporary; film is forever. That
thought flashed through Hunters mind
one day on Much Ado About Nothing,
when he was using an EasyRig on a day
exterior. I was tracking backward with
the camera at a pretty low angle, and
when I started to detach the hook from
the camera, it shot up and hit me right
on the orbital socket. It almost took out
my eye. Blood was gushing and the pain
was incredible, but I told myself, Youve
got to man up and keep going that
sun will be gone in eight minutes! They
strapped a bandage around my head,
and we continued. If one of my
crewmembers got hurt, I wouldnt let
him work, but Im going to go down
with the ship!
63
TECHNICAL SPECS
1.85:1
Digital Capture
Red Epic-M, Canon EOS 7D
Panavision Primo,
Canon L-Series
did, the name wouldnt have meant anything to me at the
time. Bob asked, Do you have a passport? Can you come
tomorrow? All I could say was Sure! And I got on a plane the
next day.
Little did Hubbs know this would result in a film that
would become an instant classic, simultaneously cementing
the iconic status of Bruce Lee and establishing the popularity
of martial-arts films in the United States. The cinematogra-
pher recently had an opportunity to reflect on the project after
attending a 40th-anniversary screening of a 1973 Technicolor
dye-transfer print at the Academy of Motion Picture Arts and
Sciences in Beverly Hills.
Enter the Dragon stars Lee as a covert British intelli-
gence operative who joins a diverse band of martial-arts
masters to compete in an invitation-only competition held on
a remote island by the mysterious Mr. Han (Shih Kien), who
is suspected of various nefarious activities. Two other partici-
pants are American adventurers Roper ( John Saxon) and
Williams ( Jim Kelly), who prove themselves in the ring
alongside Lee and help uncover Hans treachery, culminating
in a kaleidoscopic showdown between Lee and Han in a
F
or any cinematographer, the proverbial midnight call
often results in unique career opportunities. It came in
the middle of the night, and the connection was bad, says
Gil Hubbs, ASC, recalling how he first heard from direc-
tor Robert Clouse about shooting Enter the Dragon in Hong
Kong. It was early 1973, and Hubbs had recently completed
months of shooting a documentary with Clouse in the wilds
of Nome, Alaska. I recognized Bobs voice and probably
heard every fourth word, like movie Kong , Hubbs
continues. He might have mentioned Bruce Lee, but if he
Tournament of
Death
Enter the Dragon, shot by
Gil Hubbs, ASC, celebrates its
40th anniversary as an iconic
martial-arts movie.
By David E. Williams
|
mirrored room a scene that has
inspired numerous imitators over the
past four decades.
Produced by Raymond Chows
Golden Harvest Studios in Hong Kong
(with backing from Warner Bros. inter-
national distribution arm), the modestly
budgeted production was designed to
capitalize on the unexpected success of
Lees two previous pictures, both made
in China: The Big Boss (1971) and Fists
of Fury (1972). Warners-based produc-
ers Fred Weintraub and Paul Heller
developed the Dragon script with Lee
and brought Clouse aboard, seeking to
ensure maximum appeal for American
audiences.
Unable to obtain the script before
boarding his flight, Hubbs only notes
were that the picture would be shot in
35mm anamorphic (because of Golden
Harvests distribution needs), in color
and without sync sound (a common
practice in Hong Kong at the time).
Id never shot an anamorphic movie,
says the cinematographer. So, on the
flight over, I got out my American
Cinematographer Manual and looked up
anamorphic. Fortunately, it seemed to
be a pretty understandable thing.
It was also Hubbs first trip to
Asia. Hong Kong at that time was P
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Opposite: Enter the Dragon
made Bruce Lee (shown in
a frame grab) an
international star thanks in
large part to the
cinematography, which
positioned him in iconic
poses and compositions.
This page, top: Director of
photography Gil Hubbs,
ASC (seated behind Lee and
cradling his Arri 35 2-C)
brought a realistic feel to
the picture. Middle: The raw
realism lent extra intensity
to the movies tournament
scenes, which featured a
variety of performers that
included Lee and tai-chi
master Bolo Yeung. Bottom:
On location with (from left)
Lee, director Robert Clouse,
still photographer Dave
Friedman (in background),
Hubbs and producer Fred
Weintraub.
overwhelming, he remembers. You
could touch 10 people at all times just by
putting your arms out for five seconds.
Everybody was moving around, and
nobody was looking at you.
[During the shoot] there were
always delays, and one of the phrases we
found ourselves repeating a lot was,
Nothing is as it seems. For instance, if
something wasnt ready, there would be a
reason, but that wasnt the real reason.
Lots of things happened, but we never
knew what really happened. So, to try to
get anything done was a lot of work.
By the time Hubbs joined the
production, Clouse had already shot
some brief flashback sequences in Los
Angeles, and he had been at work in
Hong Kong for a few weeks. (He called
Hubbs after he decided that the
language barrier between himself and
the Japanese cinematographer he origi-
nally hired to shoot the picture was
insurmountable.) Before going to
Hong Kong, I had never heard of Bruce
Lee and had never seen a martial-arts
For a sequence
depicting a
tournament
showdown
between Roper
(John Saxon,
wearing yellow)
and Bolo
(Yeung, in white
pants), Lee and
Hubbs worked
together on the
fight
choreography.
In the bottom
photo, Lee
demonstrates a
kick directly into
Hubbs
handheld lens
for Saxon
(partly obscured
by the cameras
magazine).

Tournament of Death
movie, not even a scene from one, says
Hubbs. When I got to Hong Kong, I
think I saw The Big Boss in a theater, but
Bob and I didnt really discuss it. We
knew we could do a lot better.
The studio at Golden Harvest,
where we shot the film, was in a work-
ing-class neighborhood and very rudi-
mentary, and I was immediately
concerned about the camera gear that
we were supposed to use, he continues.
They were Arriflex cameras, but they
were in poor repair, and the lenses were
terrible. The studio said it didnt have
anything else, but that never resonated
with me. Seeking an alternative,
Hubbs found Salon Films, a camera-
rental house in nearby Kowloon that
was an agent for Panavision, as it still is
today. However, he notes, I had no
experience with Panavision equipment
because Id never made a studio
picture. A bigger problem was
convincing the producers they should
spend the extra money for an outside
camera rental. I explained the situation
to Bob, and he agreed with me, but the
studio would have none of it, Hubbs
recalls. But the cinematographer held
firm and ultimately got his Panavision
package, two Arri 35 2-C cameras and
three anamorphic lenses, a 40mm [f2.5]
prime, a 50mm [f2.5] prime and a 50-
500mm [f5.6] zoom. I think I brought
a periscope finder with me. One of the
cameras had a variable-speed motor
that would get up to 30 fps on a good
day, but we shot almost everything at 24
fps. We rented a high-speed camera that
went up to 80 fps a couple of times.
That, 85 filters for daylight work, and a
few magazines sums up the camera gear.
It was the simplest package you could
imagine.
The Chinese camera crew was
unfamiliar with the Panavision lenses
but worked hard and learned quickly,
says Hubbs, who operated the A camera
while Charles Lowe operated the B
camera. All the exterior scenes were
shot simply, with just a little bounce fill
from white cards, as we didnt have any
supplemental lighting or any grip equip-
ment, not even a 12-by-12 and no
grips, for that matter. The studio had a
pipe dolly, but it was only available to us
for special shots. I think there were two
other movies shooting at the studio at
the time, and I felt we were the least
important film on the lot. And
although the crew was small, the divi-
sion of labor was strict: The camera
crew would never touch a light, and the
electricians would never touch the
camera.
The shoot began slowly because
Top and middle:
Exploiting his
widescreen frame,
Hubbs captures
Yeungs POV as Saxon
attacks Yeung, placing
the viewer right in the
middle of the action.
The lines of white-
robed combatants and
fluttering yellow
banners add depth
and graphic interest.
Bottom: One of still
photographer Dave
Friedmans many
heroic images of Lee
during the shoot.
Lees nervousness about the project got
the better of him he had much
riding on its success after years of strug-
gling to launch his career in Hollywood.
This was going to be something very
important for Bruce, but he wasnt
around for the first few days, Hubbs
says. But Bob Clouse was a go-ahead
guy, so we continued to scout locations
and work on sets and props so we would
be as prepared as possible.
Finally, Lee was ready to shoot.
As the fight choreographer, Bruce had
all these wonderful extras whom hed
trained and was friends with, and their
work in the film is one of the primary
reasons it was so successful and Bruce
looked so good, says Hubbs. Bruce
would throw a punch, and the other guy
would just blast back. There werent any
trampolines or other stunt gear; they just
took the hits. Also, theres a lot of tech-
nique in shooting a fight scene, and Bob
Clouse was very good at it.
The cinematographer notes that
one of Clouses previous action films,
Darker Than Amber (shot by Frank V.
Phillips, ASC), had caught Lees eye,
and thats what led to the invitation to
direct Dragon. Bob really knew how to
do it, Hubbs says. Theres really just
one place to put the camera when youre
shooting a fight scene. If youve got two
people and need to see the punch, the
camera is going to go right there. Theres
not a lot of choice. We couldnt move the
camera very much, and we didnt really
have any place to put the camera very
high or very low. The hits looked good
from about head height, so 95 percent of
the fights were staged at Bobs eye level.
One of the films most impressive
mano-a-mano battles pits Lee against
Hans henchman Oharra (played by
karate champion Robert Wall). Hubbs

Tournament of Death
In one of the films central showdowns, Lee
faces off with Mr. Hans brutal henchman,
Oharra (played by karate champion Robert
Wall), a sequence that showcases Lees
lightning-fast strikes. Hubbs generally kept
his camera at about eye level, moving in for
tight shots to establish tension and then
playing the wide frame to allow the viewer
to see the action clearly.
approach to shooting the tournament
fights were all about the style of the
individual fights, he says. That scene
starts like a duel, with the two of them
very still and close together, and Bruce
repeatedly hits Bob with that quick
punch. Steely eyes staring each other
down, and then, boom! It happened. So,
youre going to shoot that. You need to
capture the steely eyes and the speed of
the punch. We had two cameras, but
often we couldnt put the second
camera where it needed to be to sell the
hit. In a simple fight like that, its pretty
easy to stage the cameras; you want to
be in close and then farther back. You
also need to see both men very clearly
as they size each other up. Then, as
Bruce hits Bob, we needed to frame
really wide so he wasnt driven out of
the frame right away. Now, a lot of that
is Bob Walls talent, as he could take
the punch and just fly back. Thats a
real talent. Bruce could throw a punch
with vigor, and anyone he threw a
punch at could take it with vigor. Thats
the secret. All we did was make sure
the action was in frame and in focus.
Outside, the filmmakers had
plenty of depth-of-field. We probably
shot it at an f8-f11 when we could,
says Hubbs. Onstage, we didnt have
an abundance of lighting, so we usually
shot with the primes wide open or
close to it. We shot the entire picture
on 100-ASA Eastman 5254. I think
we shot interiors at f2.8, 100 footcan-
dles. For the tighter shots, when Bruce
was posing or we were emphasizing a
hit, we were probably using the zoom,
which would have needed 400 foot-
candles, so we probably relit those.
Focus was a real concern, particularly
inside.
While shooting the fights,
Bruce really understood if something
was a hit or miss, says Hubbs. That
was the big question after every take:
Was it a hit? And he always knew.
Often, hed say, No, going again. Hed
tell [his opponent] something in
Chinese, because the most important
timing was in the reaction to the blow,
whether its before or after the hit. If
Top: Hubbs (crouching behind camera) and his Chinese crew set up a shot of Han (Kien Shih,
seated on throne) and his female bodyguards during the tournament action.
With just three lenses in his package, the cinematographer relied heavily on his zoom.
Middle: Hubbs watches the action while Lee reacts. Bottom: Hubbs and his camera team,
which served him well, especially Charles Lowe (second from left),
who operated the shows B camera.
the hit itself is less than a second, its 12
frames there and back, so the reaction
has to be on the sixth frame. Thats
where these two guys were with their
timing. Bruces genius was in setting it
up and having an opponent who got it.
Most of the time, when we had to go
again, it was because Bruce knew what
was off. I could usually see if something
was a good hit, but through that
squeezed Arriflex finder I was just
seeing half of what everybody else was
seeing, and it was dark.
One popular myth about Lee is
that he was so fast the camera had to be
overcranked slightly just for his hits to
register on film. Hubbs laughs at the
notion. I dont recall us ever shooting at
28 or 32 frames. I cant remember any
discussion about trying to slow Bruce
down.
One of the productions largest
sets at Golden Harvest was for a
banquet hall in which the main charac-
ters Lee, Roper, Williams and Han
come together for the first time.

Tournament of Death
The films climax
involves a tension-
filled duel to the death
between Lee and Han
in a mirrored room.
This diagram shows
the camera closet
positioned in the
rooms center,
opposite the concave
wall sections. Lined
with thin vertical
pieces of mirror, the
walls curved surfaces
created multiple
reflections of the
actors. To the right of
the closet is the
camera position used
to catch Lee coming
around the corner
while also glimpsing
the reflection of Han
(shown in top frame
grab below diagram).
This shot exemplifies
the reflections and
misdirection used
throughout this
sequence to disorient
the audience; Hans
reflection appears in
the left of the frame,
but he then enters the
scene from the right.
The banquet was a big set with a lot of
people and a lot of lights, and it was very
confusing, Hubbs recalls. The lighting
was difficult in part because the equip-
ment was primitive, unreliable and
dangerous. There were no stage plugs;
they just had bare wires that they shoved
in the thing and would step on. There
would be a lot of sparks, and theyd all
laugh. Lights would fall down. The set
would fall down. They had sort of a
bamboo [grid] up there, but they didnt
have walkways. There wasnt any struc-
ture or scheme to it.
Adding to the difficulty was the
fact that none of the lighting fixtures,
which were mainly old Fresnels, had
barn doors or scrims. We had window
screen, black paper and rope, says
Hubbs. We had no C stands, grip
equipment or even gaffer tape! Also,
the lights brightness and color temper-
atures were all over the place.
Sometimes a 2K would be brighter
than a 10K. Exacerbating the inconsis-
tency was the fact that sometimes, after
Dragon wrapped at night, another
Golden Harvest crew would remove all
the globes from the fixtures for use on
other productions, returning them
before morning but never to the same
place twice. At first, we didnt under-
stand how our lighting could be so off
from one day to the next, Hubbs recalls
with a wry smile. Once we were in a
sequence, we would try to shoot it out
The mirrored-room sequence is largely played for suspense, as it was clear that a fair fight between
Lee and Han would be no contest. Yet it also works thematically, visually representing the villains
duplicitous nature while clearly illustrating Lees ability to outsmart his opponent rather than simply
besting him with physical strength. The middle image on this page shows the perspective obtained with
the camera positioned inside the closet shown on facing diagram.
because continuity became impossible
not only with the lighting, but also
with costumes, extras and even crew. I
had a great gaffer who helped set up the
banquet scene, but after that, I never saw
him again. So, the whole shoot was very
seat-of-the-pants.
In the films famous finale, Lee
and Han square off in a mirrored room,
a surreal fight sequence that was never
scripted. There was a challenge to
make the bad guys scary enough, partic-
ularly Shih Kien, explains Hubbs.
Playing two of our villains were Bob
Wall and Bolo Yeung, who were both
very accomplished martial artists
champions, in fact and very experi-
enced with film. Shih Kien was a very
good actor and an accomplished martial
artist, but perhaps not a champion. So,
how could we make him a worthy oppo-
nent for Bruce? Otherwise, their fight
would be over in five seconds. Bruce
would kill him twice!
Clouse decided to set the show-
down a mirrored room, and one day,
when he was lunching with Hubbs in
nearby Repulse Bay, he noticed the front
of a womens clothing store that featured
a wall covered with narrow vertical
mirrors. He pointed out to Hubbs how
the mirrors fractured his reflection. We
got in front of the mirrors and started
playing around, and Bob decided to
incorporate this idea into the fight scene
with Han, Hubbs says.
Putting to rest the notion that the

Tournament of Death
Top and middle:
In these frame
grabs, Han
wields a bladed
prosthetic
weapon in his
climactic fight
with Lee.
Bottom: Lee and
Hubbs carefully
position Kien
for the POV
shown in the
middle frame.
scene was inspired by a superficially
similar sequence in The Lady from
Shanghai, Hubbs notes, We never
looked at or discussed any other movie
when working on the idea. I think
[producer] Paul Heller designed our set,
and it was a very simple idea. It was a
room that was maybe 20 by 30 feet with
walls that were about 8 feet high. One
long wall opposite the camera had a
series of vertical, concave recesses with
narrow mirror strips. In the center of the
room was a camera closet about 4-by-3-
feet square, just big enough to fit me, an
assistant and Bob, and it had a couple of
holes for the lens. All the outer surfaces
were covered with mirrors, resulting in
multiple reflections. Those concave
mirrored sections of the wall broke up
the straight lines and created multiple
reflections as someone walked in front
of them, resulting in this maze-like
impression. A popular camera trick at
the time, especially in commercials, was
to use a prism lens for a kaleidoscopic
effect, which was really hokey. Well, our
set had a similar effect. I found myself
looking at the floor a lot because it was
so disorienting!
Working inside this glass
doughnut was difficult, and learning
to use the reflections properly to create
style and suspense took some trial and
error. Bob and I certainly didnt have a
plan or shot list before we walked on
that set, Hubbs says. Bruce was away
Clockwise from top left: Clouse, Hubbs and Lee working on the dank underground-lair set;
Hubbs capturing a POV from a rickshaw in the streets of Hong Kong; Hubbs and Lee on the
banquet-hall set at Golden Harvest Studios.
74
for a couple of days I believe hed
been injured so Bob was able to get
in there with a couple of extras and plan
some shots. It was daunting to work in
there, partly because of the heat, but it
was very simple to light because the
carpet was white. As soon as I turned
one light on, it became 10 different
lights because of the way it was bounc-
ing around. And I had a lot of fill from
the carpet, so we didnt use many units,
maybe just eight Fresnels 5Ks and
10Ks all from above. I dont think we
ever changed the lighting after we
started shooting. Other than the stag-
ing of it, the scene was very simple to
shoot, and we completed it in about
three days. Some people tell me they
can see the lens in certain shots, but Ive
never seen it.
Hubbs lit the room brightly
enough to use the zoom lens if neces-
sary, which meant his lighting was fine
for high-speed work if he was using the
primes. It wasnt all that high speed,
he says. It just needed a stop-and-a-
half more.
After the show wrapped in Hong
Kong, Hubbs returned to Los Angeles.
Unfortunately, I was out of town when
they had the premiere at Graumans
Chinese Theatre, he says. But soon
after it opened, I was driving through

Tournament of Death
Hubbs (eye to camera) sets up a shot with Clouse on the banquet-hall set. The cinematographer credits
much of the pictures success to his directors total commitment to both the story and Lees character.
F n a vva d a s a h m o cco . s rrs e kke a m m l iil FFi tttF tF n e dd uu t SS
o e h tth h tth o b h g u o rro h tth r e h p a rra g o t m to a m ee n
,
iin cci
n a tta ttt a h n a N n i s p o h s kks rrk o w n o - s dds n a h
a s a e g ddg e l wwl o n kkn y m d e cce n
d n a e tte i ssi b e w h cch i rri - n o iio tti a m rrm o ffo n iin r i e
n a s rrs e d a e l y rry ttr s uus d n iin h tth i wwi , kk, rrk o YYo w e N , d n
. s tts r e p xxp eex ~Andy Levison, Steadicam Operator
S r e tte e PPe h tth i w p o h ssh kks rrk o w g n iin tti h g i lli e h TTh
u d o rro p m llm h d n a v TTv n i g n i kki rrk o w n e e b
i n h e dde l lll i wwi ! t a h tth s kks cck i rri ttr e m o s t h g u a tta
A , n i e tte S r e tte e PPe . k o o l d e h s iis l o p e rre o m a
. s iis n o i tti a u t i ssi e h tth t a h w r e tte t a m ~Will F
y: b ed Sponsor re
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~Andy Levison, Steadicam Operator
v a h ! , ee, s uus a cca e b t a e rre g s a w C S A , n iin e tte S
r e tte e PPe d n a , ss, rrs a e yye 0 1 r e vve o r o ffo n o iio tti c u
e vve a h s tts c e j ooj rro p y m e k a m o tto e s u y l e tte i
t n t h g i lli l o rro ttr n o cco o tto w o h s wws o n kkn C S A
onseca, Director ~Will F
e vve
75
town and saw this huge line. I got out
of the car and asked a couple of guys
what they were there to see, and they
said, Enter the Dragon, the 10 oclock
show. It was 6 oclock. I thought,
What?! This is crazy! That was my
first inkling it would be a hit. Watching
the dailies, I knew we had something
special, but we never could have
guessed.
Hubbs credits much of the
pictures success to the level of commit-
ment that all of the filmmakers brought
to it. Bruce was so good in the film,
and the film really commits to Bruce.
When he gives a look, when he pauses
before he starts a fight, well, you
commit to that. You hold on that. You
make that the high point of the scene,
and you dont cut away. We could have
shot and edited the film in a way where
we didnt commit to that, but Bob had
that commitment, and I helped him
with that. Sometimes I would hold on
Bruce much longer than seemed neces-
sary. Its a very simple movie, but the
commitment to that character and those
story points was total.
Hubbs checks his light on actress Betty Chung, who plays Mei Ling, an undercover British agent
who has infiltrated Hans criminal operation.
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Convergent Design Embarks on Odyssey
Convergent Design has introduced the Odyssey7 and
Odyssey7Q. The full-featured, 7.7" OLED monitors combine
Convergent Designs knowledge and experience of both broad-
cast and cinematography recorders, while adding the capabilities
of a high-end professional monitor.
Odyssey7 and Odyssey7Q simplify on-camera setups,
eliminating the need for separate products, says Mike Schell,
president of Convergent Design.
Simplicity also drove the overall
architectural design, gaining
greater reliability, lower power and
less weight features that have
defined the Convergent Design
brand. The user interface is simple
and easy to use, minimizing setup
time and on-set frustration.
New Products & Services
SUBMISSION INFORMATION
Please e-mail New Products/Services releases to
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.
The comprehensive set of professional features offered by
the Odyssey series includes waveform, RGB parade, zebras, 1:1
pixel, focus assist (peaking), vectorscope, Histogram, LUT
Support, False Color and more. The 7.7" OLED has a 1280x800
RGB pixel array, wide color gamut and 3400:1 contrast, with
virtually no motion blurring and true blacks. Bluetooth LE
supports simple remote control through iPhone and Android
apps.
Both the Odyssey7 and 7Q ship as a monitor only and can
then be upgraded to a recorder as needed. As a recorder,
Odyssey7 and 7Q support a range of recording formats, includ-
ing Avid DNxHD, uncompressed HD/2K RGB 444, 2K/HD Raw,
ArriRaw and Canon 4K Raw. All recording formats are extra-cost
options, and support for recording options can be purchased
outright or rented at competitive rates.
The Odyssey7 is intended for single-stream support (up to
4K Raw), while the 7Q adds additional bi-directional HD-SDI 3G
ports.
For additional information, visit www.convergent-
design.com and www.odyssey7.info.
Denz Supports Sony F5, F55
Denz has introduced the Denz Rig for
Sonys F5 and F55 digital camera systems. The
Rig comprises three main components: the
Denz Top Handle, Denz Top Plate and Denz
Support.
The Denz Top Handle inte-
grates a rod clamp oriented 90
degrees relative to the handle. Addi-
tionally,
3
8" and " threads provide multiple
mounting points for accessories. The Denz Top
Plate provides
3
8" and " threads on the top of
the camera, as well as grooves for rod clamps. Finally, the Denz
Support can be positioned along a dovetail guide rail, allowing
the operator to balance the camera body according to the center
of gravity without the need for counterweights. The bottom of
the Denz Support is compatible with the Denz BP Multi, the Denz
Wedge Plate, and many other common base and wedge plates.
An integrated 120mm touch-and-go plate allows the Support to
be used with Sachtler tripod heads, and there is also a quick-lock
for securing the Support to Denzs Pivot shoulder mount.
Additional Denz accessories compatible with the F5/F55
Rig include an adapter for connecting Sonys electronic
viewfinder, a bridge for 15mm rods and a rod clamp for securing
15mm rods on the Top Handle or Top Plate.
For additional information, visit www.denz-deniz.com.
Steadicam Offers
Smooth Moves
with Curve,
Fawcett Exovest
The Tiffen Co. has
unveiled the Steadicam
Curve for GoPro Hero
cameras as well as the
Steadicam Fawcett
Exovest.
The Steadicam Curve
is a stealth camera-stabilizing system engi-
neered for the rigors of extreme sports and
events. Compact enough to fit in a back
pocket, the new Steadicam Curve weighs
pound and boasts an ergonomic design
for one-handed, smooth video capture
with a GoPro camera.
Steadicam is synonymous with
action, so engineering a system that keeps
pace with the intensity of GoPro users was
a natural step in the progression of the
Steadicam product line, says ASC associ-
ate Steve Tiffen, president and CEO of The
Tiffen Co. GoPro shooters have given the
world some of the most amazing footage.
We look forward with even greater antici-
pation to watching those jaw-dropping
moments with that extra bit of cinematic
flare thanks to the new Steadicam Curve.
Some features and benefits of the
Steadicam Curve include its lightweight
and durable aluminum frame, its standard
GoPro quick-release mount, the fine-tune
adjustment knob for precise balance, and
its collapsible handle for compact storage
and portability or for use as a GoPro hand-
grip. The built-in mount works with
GoPros Hero, Hero2 and Hero3 cameras.
Steadicams Fawcett Exovest is an
exoskeletal vest designed by Chris Fawcett,
an expert on the physiology of human
weight-bearing appliances. The vest redis-
tributes camera weight to anatomically
appropriate areas of the body, giving
operators maximum mobility and comfort.
The camera-stabilization-system design
features front and rear arm mounts and a
pivoting exoskeletal structure that is
adjustable on the fly.
The Steadicam Fawcett Exovest is
engineered to move naturally with the
operator, providing an unprecedented level
of freedom and comfort, allowing the
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operator to focus on [his or her] craft of
capturing the worlds best moving
pictures, says Tiffen. I say this often:
There is only one true Steadicam. The
research and development behind every
Steadicam innovation remains unmatched
and the Steadicam Fawcett Exovest is a
shining example of outstanding quality
and ingenious ergonomic design that goes
into every Steadicam solution.
The Fawcett Exovest is meant to be
less constrictive than more conventional
vests, allowing for better respiration, circu-
lation, transpiration and movement. After
docking, the entire vest may be relaxed by
means of one over-center lever.
For additional information, visit
www.tiffen.com and www.steadi
cam.com.
Lowel Lights Up Prime LED,
SlimLight Kits
Lowel Light, a division of The Tiffen
Co., is now shipping the Prime 800 LED as
well as the SlimLight Rifa Blender and Slim-
Light Rifa Pro Kits.
Ideal for studio or EFP-style location
productions, the Prime Power LED collec-
tion includes the 200, 400 and now 800
models, each available in dedicated
daylight or tungsten color versions. Lowel
Prime Power LED fixtures have a high CRI
(90+) for accurate color with a bright,
wide beam output; a key feature of the
Prime 800 LED is its 50-degree beam angle
that allows considerable light output to be
spread across a wide area. Other features
include DMX or manual dimming capabili-
ties, adjustable color for balancing against
other light sources, and silent air-convec-
tion cooling.
Lowels SlimLight Rifa Blender and
SlimLight Rifa Pro Kits combine the Rifa eX
78
44 tungsten-halogen soft light with the
compact color-mixing Lowel Blender LED
and the focusable 200-watt tungsten-
halogen Pro-light, respectively. Uni TO
Stands and a Slim Litebag are also included
with each kit.
The Rifa offers smooth, soft light
and a fast 60-second setup, while the
Blenders tungsten and daylight LEDs
blend quickly and easily to match mixed
light sources or to create a contrasting
color mix to make a subject stand out. The
Pro-light is compact in size and offers even
light with Fresnel-like shadow quality,
evenly dispersed flood and a uniform spot
with significant barndoor cut.
www.tiffen.com and www.lowel.com.
International Supplies
Attaches Airbox
International Supplies, a distributor
for the photo, video and broadcasting
industry, has introduced Airbox Lights, a
line of inflatable softboxes that can turn
an on-camera LED light into a larger soft-
light source, minimizing shadows and
facial lines.
The Airbox softbox is blown up
easily, like a balloon, and is then attached
to the front of a battery-operated LED light
using two Velcro straps. It takes approxi-
mately 10 seconds to set up or break
down no tools necessary. The Airbox
also features a pocket in the front for plac-
ing additional diffusion or color as needed,
a silver interior, and Half Soft Frost front
and back panels for dual layer diffusion,
improved softness and minimal light loss.
What I love about the Airbox is
that it is amazingly simple and yet clever at
the same time, says Doug Pircher, the
general manager of International Supplies.
It is great for handheld work, night
shoots with no power, and even as an eye
light. Its the perfect tool to add to a light
kit.
The Airbox is compact and ultra
lightweight, making it easy to carry
on shoots. It weighs less than two
ounces and can be folded down to fit
into a pocket or gear bag. Two Airbox
sizes are available: Macro and Mini.
The Macro measures 8"x11"x6" and
fits LEDs between 4" and 8" wide.
79
The Mini measures
5"x9"x4" and works
with smaller LED
lights like the Litepan-
els Mini, FloLight
MicroBeam 128 or
MoleLED single.
Both lights are sold either with or with-
out a cell egg crate. The
3
8" egg crate is
designed to help control and direct light, so it
narrows the beam, reduces spill and keeps
light off unwanted areas.
The Airbox Macro costs $39 alone, and
$58 with egg crate; the Mini costs $35.99
and $49.50 with eggcrate.
www.internationalsupplies.com.
Varavon Moves with
Slidecam Lite
Varavon has introduced the Slidecam
Lite, which is more compact than its prede-
cessors in the Slidecam family and is ideal for
smooth and stable shooting with smaller
cameras such as DSLRs or even an iPhone.
The Slidecam Lite is available in two
models: Lite 600 and Lite 800. The Lite 600 is
24" long and weighs 2.7 pounds, while the
Lite 800 is 32" long and weighs 3.3 pounds.
Both measure 1.2" wide and can support up
to 19.8 pounds.
Both models are made of aluminum
alloy and feature a steel roller bearing. The
Slidecam Lite features a brake/stop bar to
prevent the dolly sled from moving during
transport, a bubble level, and a standard
3
8"
mount for attaching almost any tripod head.
Retail price begins at $329.99.
The Varavon Slidecam Lite is distrib-
uted through International Supplies. For more
information, visit www.varavonusa.com and
www.internationalsupplies.com.
Chrosziel Expands Support
Offerings
Chrosziel has introduced an array of
support accessories designed for use with
lightweight digital cameras.
The Friction Gear for Chrosziels DV
StudioRig and DV StudioRig Plus features a
4
3" diameter and a soft rubber belt for use
with cameras and lenses that do not have a
focus gear. The Friction Gear controls the lens
without teeth and compensates for the
uneven surface of the focus rings.
Designed for use with heavy PL-
mount zoom lenses, the Universal Lens
Support works with 19mm rods and easily
swings into position underneath the lens
support point with its quick-fit, one-hand
lock. The support comes with " and
3
8"
threaded bolts (in lengths of 14mm,
27mm and 35mm), which are held in
place when not locked and can be
combined for a greater variety of lengths.
The LWS HD 15 lightweight
camera support is universally adjustable
and designed for use with 15mm rods.
The support incorporates 500mm long
rods for mounting accessories behind the
camera; the rods can also be divided into
310mm and 190mm sections for greater
flexibility. The LWS HD 15 also features a
one-hand dual-rod clamp in front and
two separate rod clamps at the rear.
Chrosziel also offers a LANC cable
with a controller interface to start and
stop cameras equipped with a LANC
control port.
www.chrosziel.com.
Ovide Provides Smart Assist
Ovide has introduced Smart Assist, a
compact, self-contained system based on
QTake HD video-assist software and housed
in a 22" Full HD (1920x1080) touch-screen
monitor. Prior to Ovides Smart Assist, the
use of QTake HD required a number of sepa-
rate components, including computers,
capture cards and monitors.
Smart Assist enables up to 20 hours
of high-quality ProRes recording to the inter-
nal hard drive, and external drives can be
added via USB 3.0 and FireWire 800. The
system supports two cameras making it
an ideal solution for 3-D productions and
up to eight Smart Assists can be linked for
control of record and playback for up to 16
cameras. Smart Assist detects when the
camera starts and stops and automatically
records, and the system has been optimized
to be ready to record 15 seconds after the user
presses the power button.
An intuitive graphic browser makes it
easy and quick to find recorded clips, and
when playing back a take from one camera,
Smart Assist finds the matching take from the
second camera and can play it back in sync.
Additionally, Smart Assist reads the cameras
metadata and combines it with manually
entered information to automatically generate
PDF camera reports that also include thumb-
nails of each clip.
A built-in Composite Room allows
users to apply chroma key, blend, wipe and
other effects. Users can also import LUTs and
apply color correction to recorded clips. Smart
Assist also compensates for anamorphic lenses
and applies the necessary de-squeeze even to
connected external monitors.
The Ovide Smart Assist is available
through Band Pro. For additional information,
visit www.ovide.com and www.bandpro.com.
Freefly Goes Handheld
with Movi
Freefly Systems has introduced the
Movi family of 3-axis digital stabilized
camera gimbals that allows the user to
execute an array of smooth camera moves
while operating handheld. At the heart of
the gimbal are Freeflys proprietary, high-
performance IMU and brushless direct-drive
system. The Movi is meant to be light-
weight, agile and rigid. The gimbal is 100-
percent custom designed in-house by
Freeflys engineering team.
www.freeflysystems.com.
International Marketplace
OppCam Makro Lenses
toll free: 877-467-8666
www.oppenheimercameraproducts.com
(623) 561-6490 ( 33) 55 4499 6622 6611-66 0
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EQUIPMENT FOR SALE
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Good Box Rental 818-763-8547
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CALL BILL 972 869 9990, 888 869 9998.
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CAMERAS, LENSES, SUPPORT, AKS & MORE!
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Classifieds
CLASSIFIED AD RATES
All classifications are $4.50 per word. Words set in
bold face or all capitals are $5.00 per word. First word
of ad and advertisers name can be set in capitals with-
out extra charge. No agency commission or discounts on
clas si fied advertising.PAYMENT MUST AC COM PA NY ORDER.
VISA, Mastercard, AmEx and Discover card are ac cept -
ed. Send ad to Clas si fied Ad ver tis ing, Amer i can
Cin e ma tog ra pher, P.O. Box 2230, Hol ly wood, CA
90078. Or FAX (323) 876-4973. Dead line for payment
and copy must be in the office by 15th of second month
preceding pub li ca tion. Sub ject mat ter is lim it ed to items
and ser vic es per tain ing to film mak ing and vid eo pro duc -
tion. Words used are sub ject to mag a zine style ab bre vi -
a tion. Min i mum amount per ad: $45
CLASSIFIEDS ON-LINE
Ads may now also be placed in the on-line Classi-
fieds at the ASC web site.
Internet ads are seen around the world at the
same great rate as in print, or for slightly more you
can appear both online and in print.
For more information please visit
www.theasc.com/advertiser, or e-mail: classi-
fieds@theasc.com.
Advertisers Index
16x9, Inc. 79
AC 8, 85
Adorama 5, 39
AJA Video Systems, Inc. 42
Arri 7
ASC 74, 85
AZGrip 82
Backstage Equipment, Inc.
8
Barger-Lite 82
Birns & Sawyer 82
Blackmagic Design, Inc. 17
Canon 29
Carl Zeiss SBE, LLC 15
Cavision Enterprises 19
Chapman/Leonard Studio
Equipment Inc. 23
Cinebags Inc. 83
Cinematography
Electronics 78
Cinekinetic 82
Codex Digital Ltd. 25
Cooke Optics 9
Duclos Lenses 8
Eastman Kodak C4
EFD, USA 13
Film Gear 41
Filmotechnic USA 54
Glidecam Industries 81
Hertz Corporation C3
Huesca Film Office/HUFO 78
Kino Flo 63
Lights! Action! Co. 83
Manios Optical 83
Matthews Studio
Equipment/MSE 79
M.M. Mukhi & Sons 82
Movie Tech AG 82, 83
NBC Universal 53
Next Shot 41
Oconnor 43
Oppenheimer Camera Prod.
82
Ovide 6
Panther Gmbh 55
PED Denz 77
Pille Filmgeraeteverleih Gmbh
82
Pro8mm 82
Red Digital Cinema C2-1
Schneider Optics 2,
Sony Electronics, Inc. 11
Super16 Inc. 82
Thales Angenieux 30-31
Tiffen Company 27
Variety 77
Willys Widgets 82
Welch Integrated 75
www.theasc.com 62, 78,
79, 83, 84, 87
84
Zydowicz Named
Honorary Member
Marek Zydowicz, founder and director
of the Plus Camerimage International Festival of
the Art of Cinematography, has been made an
honorary ASC member. Born in Swiecie,
Poland, Zydowicz is an avid promoter of art in
many different media. He is an art historian; the
founder and president of the Tumult Founda-
tion in Torun; the vice-president of the Znaki
Czasu (Signs of Time) Association, which
helped open the Centre of Contemporary Art in
Torun; the co-founder of the Arts of the World
Foundation in dz; and also a filmmaker. His
ongoing support of art and culture has earned
him multiple honors, such as the President of
Torun Award, the Imago Award and the Silver
Cross of Merit, presented by the president of
the Republic of Poland. He is an honorary
member of the Polish Society of Cinematogra-
phers and has received special honors from the
BSC and the BVK.
Potter Becomes Associate
New associate member Sherri Potter
began her career as an account executive for
Studio Post in Edmonton, Alberta, Canada,
where she was born and raised. She moved to
Vancouver to work as sales director for Alpha
Cine Lab and Command Post/Toybox West.
During that time, she developed a special affec-
tion for cinematographers and worked to
establish herself in the Vancouver and Holly-
wood markets. When Technicolor acquired
Alpha Cine and Command Post/Toybox, Potter
was made vice president of sales for Canada.
She moved to Los Angeles in 2008 and is
currently vice president of worldwide postpro-
duction customer service for Technicolor.
Brown Inducted Into
Inventors Hall of Fame
Associate member Garrett Brown,
inventor of the Steadicam, has been inducted
into the National Inventors Hall of Fame.
Reflecting on his signature invention in an inter-
view with NPR, Brown noted, We sort of have
a stabilizer in our heads, if you think about it.
Youre not conscious of yourself lurching side to
side when you walk, or rising and falling. The
brain just smooths it all out for you, you know?
So why should it look worse when you pick up
a camera and try to walk? Thats what sort of
lured me on back then.
Brown worked on his first prototype for
a week in a motel room and tested it out for the
first time by following his wife as she ran up and
down the steps of the Philadelphia Museum of
Art. His invention was immediately embraced
and used to shoot iconic scenes in such films as
Bound for Glory, Marathon Man and Rocky.
Brown has since operated the Steadicam on
nearly 100 films, including The Shining and
Return of the Jedi. He joined The Tiffen Co. in
2000.
J.L. Fisher Hosts
Annual Open House
J.L. Fisher recently opened the doors of
its Burbank facility to host its annual mixer and
barbecue in association with the ASC, the Soci-
ety of Camera Operators and the International
Cinematographers Guild. George Spiro Dibie,
ASC moderated a discussion with ASC
members Oliver Bokelberg, Frederic Good-
ich, Stephen Lighthill, Bruce Logan, Isidore
Mankofsky, Daniel Pearl, Dave Perkal,
Checco Varese and William Webb. Speaking
to newer digital camera systems, Logan offered,
I love shooting on different equipment
because you get to know the different work-
flows, and Lighthill said, The cinematogra-
phers job is to have a comprehensive knowl-
edge of technology through all stages of
production.
I dont think any of us are anti-digital,
said Webb. I think were all awed by whats
happening [with technological advances].
Pearl added, The point is, its not the camera
that takes the pictures, its the photographer
that takes the pictures.
We are storytellers dont forget,
said Dibie, who concluded the proceedings with
this invaluable advice: Behave well, concen-
trate on your job and smell good.
Clubhouse News
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Top to bottom: Marek Zydowicz, Sherri Potter
and Garrett Brown.
When you were a child, what film made the strongest impres-
sion on you?
The Great Escape (1963). Watching Steve McQueen jump the fence
on the motorcycle made me fall in love with movies.
Which cinematographers, past or present, do you most
admire?
I think ASC members Haskell Wexler, Conrad Hall, Caleb Deschanel
and Owen Roizman would be the group that most inspired me to
become a cinematographer. They
took the Hollywood out of cine-
matography and made it look real.
What sparked your interest in
photography?
My older sister, Chris, started a
darkroom in our house, and I got
hooked as soon as I saw the first
print develop on the paper. I was
12 or 13.
Where did you train and/or
study?
I studied at the Los Angeles Art
Center College of Design in
Pasadena, where I majored in film.
Who were your early teachers
or mentors?
The teacher that helped me the most at school was Mike Ahne-
mann, who taught a production class where we actually made films.
He made me feel like I actually had a future at this.
What are some of your key artistic influences?
Painters. I seek out galleries wherever I go.
How did you get your first break in the business?
Cinematographer John Stephens gave me my first job, in 1976, on
William Friedkins Sorcerer, and inspired me to become a cinematog-
rapher.
What has been your most satisfying moment on a project?
I think we were about halfway through Forrest Gump when I real-
ized how special the film was. I was having a great time working
with Bob Zemeckis, and the job of director of photography was
everything I hoped it would be.
Have you made any memorable blunders?
Cinematographers dont like that word, but we do like happy acci-
dents, which we take credit for all the time.
What is the best professional
advice youve ever received?
Spend less than you make.
What recent books, films or
artworks have inspired you?
Malcolm Gladwells book Outliers.
Its all about 10,000 hours and
being born at the right place at the
right time.
Do you have any favorite
genres, or genres you would
like to try?
I do like variety. I like to keep
moving and trying different things.
If you werent a cinematogra-
pher, what might you be doing instead?
I come from a family of builders, so I imagine it would be something
in the construction business.
Which ASC cinematographers recommended you for
membership?
Jack Green, Mikael Salomon and Robert Steadman.
How has ASC membership impacted your life and career?
Ive developed a lot of wonderful friendships with fellow ASC
members who make me feel a part of Hollywood cinema.
Don Burgess, ASC Close-up
Tall, skinny model-type.
Makes a scene on any set.
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Photography: 2013 Douglas Kirkland
What rst drew me to photography was
the ability to freeze time. Once you had the
image, you discovered things that the naked
eye never saw. Now, telling stories with
motion pictures is what really interests me.
We cinematographers live and breathe it. The
idea of having a 35 mm frame with chemicals
that react to a focused beam of light, and
turning that into a picture that is one of the
most incredible things I can imagine. I try to
excite and stimulate the lm with light so
that it does something that its not supposed
to do. Those imperfections can give the
images an unquantiable magic. They put
another layer of illusion onto something that
is already articial, tricking the audience into
thinking its real. Film is a handmade art form
that comes with a set of emotional tools. I
like to use these subtleties and variations as
part of the emotional landscape of the story.
To me, the lm medium is irreplaceable.
Dan Mindel was born in South Africa
and educated in London, where he began
his career as a loader at a commercial
production house. He moved up to director
of photography and segued into the feature
lm world, eventually shooting Enemy of the
State with Tony Scott. Since then, his credits
include Spy Game, Skeleton Key, Domino,
Mission: Impossible III, Star Trek, Savages, Star
Trek Into Darkness, and the upcoming The
Amazing Spider-Man 2.
All these productions were photographed on
Kodak motion picture lm.
For an extended interview with Dan Mindel,
visit www.kodak.com/go/onlm.

American Cinematographer July 2013 US

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J ULY 2013

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After shooting The Knowing on the RED ONE, I was looking

Simon Duggan, ACS

CIRCULATION, BOOKS & PRODUCTS

ASC GENERAL MANAGER Brett Grauman

Take your creative artistry to a new dimension

An Indie Twist on Shakespeare

An Indie Twist on Shakespeare

An Indie Twist on Shakespeare

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