AC Noi 2012

NOVEMBER 2012
$5.95 Canada $6.95

CONGRATULATIONS
A Deluxe Company
MICHAEL GOI
ON YOUR OUTSTANDING
CINEMATOGRAPHY FOR A SINGLE-CAMERA SERIES
EMMY
NOMINATION ON FOXS GLEE, ASIAN F

When shooting four HD cameras simultaneously, I dont have the
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It Starts with the Glass
tm
B+W Century Schneider
Three-time Emmy nominated Director of Photography
Gary Baum (2012-Mike & Molly, 2 Broke Girls,
2010-Gary Unmarried) is currently shooting both
Mike & Molly and Hot In Cleveland.
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The International Journal of Motion Imaging
32 Promoting The Cause
Mihai Malaimare Jr. combines 65mm and 35mm formats
on The Master
52 Creative Conspiracies
Rodrigo Prieto, ASC, AMC dramatizes a covert
rescue operation in Argo
66 Deep Shih Tzu
Ben Davis, BSC creates a variety of looks for the
crime comedy Seven Psychopaths
76 Bedlams New Address
Michael Goi, ASC captures institutional dread for
American Horror Story: Asylum
86 First-Rate Fare
AC salutes this years Emmy-nominated cinematographers
DEPARTMENTS
FEATURES
VISIT WWW.THEASC.COM TO ENJOY THESE WEB EXCLUSIVES
Podcasts: Peter Deming, ASC on The Cabin in the Woods Cinematographer Norm Li and
director Panos Cosmatos on Beyond the Black Rainbow
DVD Playback: Eating Raoul The Game The Royal Tenenbaums
On Our Cover: A troubled World War II veteran ( Joaquin Phoenix) is recruited by the
charismatic leader of a self-actualization movement in The Master, shot by Mihai
Malaimare Jr. (Photo by Phil Bray, SMPSP, courtesy of Western Film Company LLC.)
8 Editors Note
10 Presidents Desk
12 Short Takes: Kick Start Theft
20 Production Slate: Middle of Nowhere Husbands
88 New Products & Services
94 International Marketplace
95 Classified Ads
96 Ad Index
98 Clubhouse News
100 ASC Close-Up: Peter Deming
N O V E M B E R 2 0 1 2 V O L . 9 3 N O . 1 1
52
66
76
N o v e m b e r 2 0 1 2 V o l . 9 3 , N o . 1 1
T h e I n t e r n a t i o n a l J o u r n a l o f M o t i o n I m a g i n g
Visit us online at
www.theasc.com

PUBLISHER Martha Winterhalter
EDITORIAL
EXECUTIVE EDITOR Stephen Pizzello
SENIOR EDITOR Rachael K. Bosley
ASSOCIATE EDITOR Jon D. Witmer
TECHNICAL EDITOR Christopher Probst
CONTRIBUTING WRITERS
Stephanie Argy, Benjamin B, Douglas Bankston, Robert S. Birchard,
John Calhoun, Michael Goldman, Simon Gray, Jim Hemphill,
David Heuring, Jay Holben, Mark Hope-Jones, Noah Kadner,
Jean Oppenheimer, Jon Silberg, Iain Stasukevich,
Kenneth Sweeney, Patricia Thomson
ART DEPARTMENT
CREATIVE DIRECTOR Marion Gore
ADVERTISING
ADVERTISING SALES DIRECTOR Angie Gollmann
323-936-3769 FAX 323-936-9188
e-mail: gollmann@pacbell.net
ADVERTISING SALES DIRECTOR Sanja Pearce
323-952-2114 FAX 323-876-4973
e-mail: sanja@ascmag.com
ADVERTISING SALES DIRECTOR Scott Burnell
323-936-0672 FAX 323-936-9188
e-mail: sburnell@earthlink.net
CLASSIFIEDS/ADVERTISING COORDINATOR Diella Nepomuceno
323-952-2124 FAX 323-876-4973
e-mail: diella@ascmag.com
CIRCULATION, BOOKS & PRODUCTS

CIRCULATION DIRECTOR Saul Molina
CIRCULATION MANAGER Alex Lopez
SHIPPING MANAGER Miguel Madrigal
ASC GENERAL MANAGER Brett Grauman

ASC EVENTS COORDINATOR Patricia Armacost
ASC PRESIDENTS ASSISTANT Delphine Figueras
ASC ACCOUNTING MANAGER Mila Basely
ASC ACCOUNTS RECEIVABLE Corey Clark
American Cinematographer (ISSN 0002-7928), established 1920 and in its 92nd year of publication, is published
monthly in Hollywood by ASC Holding Corp., 1782 N. Orange Dr., Hollywood, CA 90028, U.S.A.,
(800) 448-0145, (323) 969-4333, Fax (323) 876-4973, direct line for subscription inquiries (323) 969-4344.
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POSTMASTER: Send address change to American Cinematographer, P.O. Box 2230, Hollywood, CA 90078.
4
OFFICERS - 2012/2013
Stephen Lighthill
President
Daryn Okada
Vice President
Richard Crudo
Vice President
Kees Van Oostrum
Vice President
Victor J. Kemper
Treasurer
Frederic Goodich
Secretary
Steven Fierberg
Sergeant At Arms
MEMBERS OF THE
BOARD
John Bailey
Stephen H. Burum
Curtis Clark
Richard Crudo
Dean Cundey
Fred Elmes
Michael Goi
Victor J. Kemper
Francis Kenny
Matthew Leonetti
Stephen Lighthill
Michael O'Shea
Robert Primes
Owen Roizman
Kees Van Oostrum
ALTERNATES
Ron Garcia
Julio Macat
Kenneth Zunder
Steven Fierberg
Karl Walter Lindenlaub
MUSEUM CURATOR
Steve Gainer
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
dem on strated out stand ing ability. ASC
membership has be come one of the highest
honors that can be bestowed upon a
pro fes sional cin e ma tog ra pher a mark
of prestige and excellence.
6
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Great filmmaking requires a willingness to take risks, and
director Paul Thomas Anderson has embraced this principle
with notable gusto. After kicking off his career by humanizing
gamblers, hookers and porn stars (in Hard Eight and Boogie
Nights), he has unleashed a hailstorm of frogs (Magnolia), cast
Adam Sandler as a rageaholic who finds romance (Punch-
Drunk Love), and transformed the humble milkshake into an
unforgettably malevolent metaphor (There Will Be Blood).
On The Master, Anderson and cinematographer Mihai
Malaimare Jr. threw out the rulebook by filming 80 percent of
the period drama on 65mm. In exploring the large format
with experts at Panavision, Anderson says he and Malaimare
began asking themselves, Are we really going to start doing this with these big cameras
that are potentially risky to work with? We never really answered that question we just
started shooting! Next thing you know, we were in the midst of doing almost the entire
movie that way. The gamble paid off in a unique film that has cinephiles buzzing, and our
coverage (Promoting The Cause, page 32) offers insights from Anderson, Malaimare and
key members of the crew.
Beyond-the-box approaches are also evident in Argo, which teamed Rodrigo Prieto,
ASC, AMC with director/actor Ben Affleck. The duo employed a variety of techniques to
dramatize the true story of an international crisis that began on Nov. 4, 1979, when Islamic
revolutionaries breached the gates of the U.S. Embassy in Iran. As senior editor Rachael Bosley
details in a comprehensive piece (Creative Conspiracies, page 52), the films varied palette
was achieved with a mix of formats, camera styles, a custom LUT and other inventive meth-
ods. Little was left to chance, however. Ben has a clear understanding of the coverage he
needs for the way he imagines he will edit the movie, Prieto says. We shot-listed the entire
film, and about 95 percent of the movie was storyboarded.
Ben Davis, BSC also created a range of looks for the crime comedy Seven Psychopaths,
which concerns a beleaguered screenwriter who receives creative input from some very
sketchy characters embroiled in a dog-kidnapping scheme (Deep Shih Tzu, page 66). Direc-
tor/writer Martin McDonagh was keen to collaborate with Davis after watching a few of the
cinematographers previous features. Id seen Layer Cake and liked the visual element of
that, he says. And Kick-Ass was a lot crazier than Seven Psychopaths, but visually very inter-
esting and very cinematic. I wanted this movie to be cinematic; I wanted camera movement
and color and excitement.
On American Horror Story: Asylum(Bedlams New Address, page 76), Michael Goi,
ASC is reinventing the shows visual style for its second season, which features entirely new
settings and characters. Goi incorporates a variety of eye-catching tactics, including the use
of reversal stock, special lab processing, speed-ramping, swing-and-tilt lenses, split diopters
and hand-cranked cameras. In a lot of ways, its a return to old-fashioned filmmaking, but
in other ways, its a modern approach because were doing so many things that are way out
there, he says. Its just a lot of fun.
This issue also includes our annual salute to Emmy-nominated cinematographers
(First-Rate Fare, page 86), who applied equally dazzling strategies on their shows.
Stephen Pizzello
Executive Editor
Editors Note
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We recently filled the ASC Clubhouse for a screening of the documen-
tary Side by Side, which was covered in the September issue of this
magazine. The filmmakers interviewed many of our members, as well as
producers and directors, to explore the topic of two formats, digital and
film, coexisting. Many directors and cinematographers have made the
move to digital capture without much fuss. Others lament the pressure
to do so, and worry that the photochemical process will expire. All
moods, thoughts and anxieties are well represented in Side by Side, as it
is a well-crafted documentary. We recommend you catch up with it.
We left the screening with deep concerns in at least two areas:
craft and preservation. On the craft side, we see some trends in the adop-
tion of digital technology that undermine the collaborative process. For
example, because digital dailies can be distributed to computers, the
collective screening of dailies before production begins or after produc-
tion wraps for the day has been abandoned. Directors, cinematogra-
phers, producers, production designers and editors often view dailies in
separate locations and on different devices. The process of evolving a
language for a given picture is best done when all members of the film-
making team are seeing the same image at the same time on the same
screen.
The lack of a universal archiving solution for digital data is also
troubling. As Michael Goi, ASC observes in Side by Side, more than 80
video formats have come and gone, but none has proven as reliable for
archiving motion pictures as a filmout to 35mm.
We note with great sadness that our friends at Fujifilm will no longer manufacture camera negative for motion-
picture production. However, seeing the glass half full, we are pleased that the company will continue to manufacture
stocks necessary for the archival process.
Viewing Side by Side, we are reminded that the Digital Cinema Initiative, in which the ASC participated, was under-
taken to address the issue of costly film-print distribution. So, as is so often the case in the industry, its because of a finan-
cial imperative that we are all scrambling to make new cameras, workflows and on-set procedures work, perhaps before
the time is entirely right. Our members will soldier on under these circumstances, and we will continue to create memo-
rable images and help evolve the tools for doing so.
Stephen Lighthill
ASC President
Presidents Desk
10 November 2012 American Cinematographer
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Neorealism in Downtown L.A.
By Jon D. Witmer
Inspired by Vittorio De Sicas Bicycle Thieves, the 6
1
2-minute
film Kick Start Theft tells the story of Victor (Kimani Shillingford), a
homeless man struggling to provide for his family on the streets of
Los Angeles. When he finds a job as a courier, he pawns what little
jewelry his wife, Nayeesha (Mickaelle Bizet), has managed to hold
onto and then picks up a used motorcycle. The job goes well until
the bike is stolen, after which Victor and his son, Kierky (Samuel
Caruana), must embark on a desperate search for the thief (Frankie
Ray).
Kick Start Theft was co-directed and co-shot by ASC members
Frederic Goodich and Vilmos Zsigmond and written by Goodich. The
filmmakers wanted to create a short that would showcase the capa-
bilities of Sonys F65 Cine Alta camera, and they discussed the idea
with ASC associate member Peter Crithary, Sony Electronics market-
ing manager. Soon thereafter, ASC associate Amnon Band, president
and CEO of Band Pro, offered the use of Leica lenses, which he
markets, and came aboard the project as executive producer.
No F65 was available for testing prior to production, but the
camera had been part of the ASC-PGA Image Control Assessment
Series (AC Sept. 12), for which Goodich had directed a sequence.
That gave me a sense of what the camera was capable of, says
Goodich, who was also involved in ICASs post workflow, which used
the Academy Color Encoding System, or ACES.
He and Zsigmond elected to work primarily with Leica
Summilux-C primes (18mm, 21mm, 25mm, 35mm, 40mm, 50mm,
75mm and 100mm). Digital cameras are very, very sharp, often too
sharp for my taste, says Zsigmond. Film grain has a softness to it,
and the Leica lenses have that look. I think theyre more human.
Goodich adds, They also capture an amazing amount of detail.
Theyre telecentric, which means the light rays come in more-or-less
parallel so that the entire sensor gets the light in a much more equal
fashion, and theres less chromatic aberration. This produces an
image that maximizes detail in the subject being photographed.
Faces possess a creamy smoothness I find quite friendly.
With an almost-final cut of the movie on his laptop, Goodich
calls up a shot to illustrate another characteristic of the Leica lenses.
In a day-exterior scene, Victor supervises as Kierky wipes down the
newly acquired motorcycle; father and son are backlit by the sun,
which is clearly visible in frame. A slight flare is evident, but whats
most notable is a spiked, starburst pattern around the sun. Thats
actually the pattern of the leaves of the Leica lens, Goodich marvels.
Thats a very difficult shot for digital and an excellent exam-
ple of what the F65 can do, says Zsigmond. With bright sun
hitting the lens, there is still detail in these shadows [on the backlit
actors].
Though most of Kick Start Theft was shot with the Leicas, the
filmmakers also carried a Canon T2.95-3.7 30-300mm EF Cinema
Zoom, which Zsigmond calls a great zoom lens. I shoot all of my
movies with zoom lenses; its such a convenient and fast tool for
composing shots. Goodich notes that the Canon zoom was a bit
warmer than the Leica primes, but matching was not an issue
because the zoom was never cut with the primes within the same
scene.
Short Takes
Victor (Kimani
Shillingford)
and his son,
Kierky (Samuel
Caruana) take
care of the
familys hard-
earned
motorcycle in
this frame grab
from Kick Start
Theft, co-
directed and
co-shot by ASC
members
Frederic
Goodich and
Vilmos
Zsigmond.
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Kick Start Theft was shot over five
days in July, and AC visited the production
on the fourth day, when the filmmakers
were shooting the finale on location in the
L.A. River basin. As Goodich and Zsigmond
walked the basin and blocked the action
with the actors, Zsigmond took frequent
readings with his light meter. Even when
shooting digitally, he notes, I always light
with the meter. I go around and see what
incident level is there, I spot meter the
actors faces, and I calculate that its all
within the [cameras dynamic] range. The
things we do with film still apply with digi-
tal. Composition, light and shadow
thats still what cinematography is about.
Kick Start Theft demonstrates a
consistent embrace of framing shots in
depth, with layers of background informa-
tion, including passers-by, buses, trains and
the city skyline. The characters relation-
ship to the city is part of the story were
telling, Goodich emphasizes. To keep the
characters contextualized within their
surroundings, he and Zsigmond tended to
stay on the wider end of their lens package,
and for day exteriors, they regularly had the
iris stopped down to T5.6 or T8. We could
have shot at a shallower stop by using a lot
of ND, but that wasnt the intent, says
Goodich. With the deep focus, we were
able to carry a lot of the citys texture. (The
Top: Victor and
his wife,
Nayeesha
(Mickaelle Bizet)
ride the
motorcycle
through a gas
station lit only
with the
practicals found
at the location.
Middle: The
couple rests at
their exterior
domicile.
Bottom: A thief
(Frankie Ray)
takes Victors
motorcycle into
Los Angeles 2nd
Street tunnel.
Digital Cinematography, S3D, Wireless
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Visit us at Camerimage
filmmakers did make regular use of Schnei-
der Tru-Pol and Tiffen ND Grad filters.)
To add a touch of movement to
some shots, the team utilized a Solid Grip
Systems slider. For example, after a frus-
trated Victor has run off with someone elses
bicycle, the camera moves past and peers
through a dirty window on its way to the
corner of a building, where Victor is
revealed to be surrounded by a group of
people trying to prevent the theft. Moving
the camera along the building allowed Zsig-
mond to motivate a slow zoom and hide a
stop pull. We needed a wider stop when
we were looking through the dirty glass,
and then we needed to close down the lens
so we wouldnt blow the highlights [at the
end of the shot], he explains.
Rating the camera at 800 ASA and
framing for a final aspect ratio of 1.78:1,
Zsigmond operated the camera himself. 1st
AC Paul Janossy assisted throughout the
production, and Zsigmond enthuses, He
was as good as anybody Ive ever worked
with.
During ACs set visit, the crew also
picked up a number of shots beneath the
6th Street Bridge, in the tunnel that opens
out to the river basin. Looking at the rough
cut, Goodich and Zsigmond point to these
shots as examples of the F65s dynamic
range. The tonality of these shots is great,
and its all natural light, Zsigmond says,
pointing to the details visible in the bright
exterior beyond the tunnel in the back-
ground, as well as in the unlit actors and the
tunnel walls in the foreground.
We wanted to shoot as much as
possible with available light, says Goodich.
While scouting, he and Zsigmond used the
Sun Surveyor app on Goodichs Android
smart phone to determine the best time of
day to shoot in each location. We were
lighting with a clock, says Zsigmond, like
what Sven Nykvist [ASC] did with
Bergman!
When they did add light to a scene,
they used Nila Boxer and NH LED units. One
location where the LEDs were employed
was the familys ramshackle, open-air
dwelling. Production designer Lawrence
Kim assembled the exterior set, which was
arranged between two old buildings near a
disused railroad track. The filmmakers posi-
tioned three Nila fixtures to help illuminate
the set at night one lighting the motor-
cycle through a makeshift entryway
comprised of stacked shipping palettes
covered in tarps, one lighting Victor and
Nayeesha at a weathered table, and one
helping to define clothes hanging on a
clothesline in the background.
Certain night exteriors, however,
were shot in only available light. In one,
Victor and Nayeesha ride the motorcycle
Top: Victor
succumbs to
desperation in his
search for his
stolen wheels.
Goodich compares
this frame, lit only
by the low-hanging
sun, to the
paintings of
Edward Hopper,
and Zsigmond
notes, The beauty
of these shots is
that we knew
what time we
wanted to shoot
them. Bottom:
Zsigmond and 1st
AC Paul Janossy
ready the
productions Sony
F65 camera on a
Solid Grip
Systems slider.
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SRMemory cards. Each night after wrap,
Band Pro technical consultant Randy
Wedick backed up the data to two separate
hard drives.
After principal photography ended,
Zsigmond returned to his home in Big Sur,
Calif., and the footage went to editor Gib
Jaffe, ACE. While editing, Goodich explains,
I would take Gibs latest cut, add the music
and sound design by Ely Akl into Final Cut,
and create a lower-res QuickTime file that I
could put up on my FTP site, where Vilmos
could download it. Their approach to the
edit, Goodich adds, was to let the shots
play out and let the audience really study
what the camera can do.
Once Jaffe locked the cut, the EDL
was sent to Light Iron, where colorist
Corinne Bogdanowicz performed the final
grade with a FilmLight Baselight utilizing
ACES. Both Goodich and Zsigmond were
present for the grade, which Goodich says
went very fast. We had about five hours to
grade more than 90 shots. Vilmos and I
were impressed with the way everything
went, which we attribute to ACES and, of
course, to Corinne.
Everyone at Light Iron was incredi-
bly gracious, Goodich continues. Im also
especially grateful to Band Pro and Sony for
making this [movie] possible. Studying the
rough cut and considering what they
achieved in such a short time, Zsigmond
offers, When you have to do it, somehow
you get it together. Thats the beauty of
making movies.
Kick Start Theft received its premiere
at IBC in September and was subsequently
screened at Cinec in Munich. It will be on
display at Band Pro in the near future.

toward their home. Their path takes them
through a gas station where, Goodich
notes, the composition is like Ed Ruschas
Standard Station painting. The stations
mercury-vapor practicals are visible in the
frame, as are background sodium-vapor
streetlights, lending what Goodich
describes as a richness to the palette. The
F65 has a forgiveness [toward mixed color
temperatures] that I like a lot; it looks very
natural.
Throughout the shoot, 4K footage
was captured via the SQ codec (which
Top: Victor runs
into the tunnel
beneath the 6th
Street Bridge.
The co-
cinematographers
point to the
details in the
bright exterior
and unlit interior
as evidence
of the F65s
dynamic range.
Bottom:
Zsigmond and
Goodich find
a frame
on location.
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A Sundance Standout
By Jean Oppenheimer
A nominee for the Grand Jury Prize and the winner of the
Directing Award for drama at this years Sundance Film Festival,
Middle of Nowhere revolves around Ruby (Emayatzy Corinealdi), a
young woman from South Central Los Angeles who must reassess
her ambitions and relationships after her husband, Derek (Omari
Hardwick), is incarcerated. To make the picture, director/writer Ava
DuVernay teamed with director of photography Bradford Young,
who won Sundances Excellence in Cinematography Award for
Pariah (AC April 11).
Speaking to AC from his home in New York, Young describes
Middle of Nowhere as an exercise in restraint and discipline, an inti-
mate story that Ava envisaged as quiet and gentle, but still power-
ful. He notes that Ruby is in transition emotionally she feels alone
and isnt sure what her future holds and this is reflected in the
films muted palette.
For day scenes, our rule was that we would never have light
coming from within Rubys apartment, says Young, who notes that
the 21-day production was shot mostly at practical locations. That
sense of darkness is part of her character; shes in a kind of black
hole. We kept it really simple, with one 12K HMI though Light Grid
coming through the single window in her living room. Sheer curtains
across the window softened the light even more.
There were no interior lamps in her place, he continues. If
she stepped away from the window and fell totally into black, we
were okay with that. With a laugh, he adds, We were actually
stapling black Duvatyn and 8-by-12-foot blacks to the walls and ceil-
ing to create more black inside. These strategies also helped to
eliminate reflections on the walls.
As Ruby starts to feel more positive about her life, bits of
color crop up, lending a feeling of hope and renewal. She dons a
lavender blouse for her first date with a new suitor, Brian (David
Oyelowo), and the nightclub they visit is full of colored lights. At
earlier points in the story, color is used more as a contrast to Rubys
stalled life. Her sister, Rosie (Edwina Findley), wears a bright blue
dress for her job, and their mother (Lorraine Toussaint) wears orange
and red blouses, whereas Ruby is attired in monochrome colors in
their scenes together.
The predominantly gray color scheme is one of the movies
visual signatures; others are shallow depth-of-field and an extensive
use of close-ups, medium shots and extreme close-ups. Young likes
to concentrate on the human face. He favored a 40mm Panavision
Ultra Speed prime for close-ups and medium shots, and the 50mm
Ultra Speed for extreme close-ups. The 50mm Ultra Speed is great
because you can be really intimate with the characters, and its fast.
It opens to a T1.0, so I could shoot in very low light.
He shot Middle of Nowhere with a Sony F35. The Sony F3
had just come out, but it couldnt record in S-log, and we wanted
to have as much latitude as possible. S-log gives you a very flat,
pastel image, which then gives you maximum flexibility in the digi-
tal grade.
Panavision Hollywood provided the camera package, which
also included several other Ultra Speed primes, a 55mm Panavision
Super Speed prime, a 24mm Zeiss Ultra Speed prime, and a Primo
Production Slate
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Ruby (Emayatzy Corinealdi) tentatively explores a new relationship with Brian (David Oyelowo) in a scene from Middle of Nowhere,
shot by Bradford Young.
I
11:1 24-275mm zoom lens. Marni
Zimmerman was our patron saint, notes
Young. This was my first experience work-
ing with Panavision, and she gave us a great
package deal.
While the emphasis is always placed
on characters and faces, landscapes and
environments also play an important role in
the story. Ava and I were very conscious
about space and how we could situate the
characters within it, and framing for 2.40:1
was part of that, says Young. The 40mm
gives you a nice balance between being
conscious of [both] the body and the space.
Most of the time, we were working with a
very low f-stop so we could get soft, out-of-
focus backgrounds and help viewers focus in
on the emotional arc of the character in a
more intense way.
We always wanted the landscape to
be present, however. We didnt want audi-
ences to forget they were in South Central
Los Angeles. Rubys environment is also
prominent in the scene where she encoun-
ters Brian on the beach one evening, and in
shots of her waiting in flat, arid terrain for
the bus that will shuttle her to prison to see
her husband.
Achieving two nighttime driving
sequences on the productions modest
budget called for some ingenuity. The first,
which finds Ruby in the back seat of a taxi
heading out to meet Brian, was shot as a
oner. Young explains, We mounted the
camera on a hostess tray attached to the car
and picked a street that had a lot of practi-
cal lights that would give us a playful, jazzy
background street lamps, porch lights,
brightly lit shops. I was trailing the cab in a
car with the high beams on, so I could posi-
tion the headlights to create a little more
flare or a more washed-out look. We never
swallowed the frames in blackness; there
was always some play of lights. It gave us a
kind of ramp into the club scene, which is
even more colorful. The only source used
inside the taxi was a single Kino Flo Mini
tube rigged above the actresss head.
The nightclub was the biggest light-
ing setup in the film. The set was built, top
to bottom, inside a warehouse. Fixtures
included two coop lights skirted and gelled
with lavender, and 650s that were placed
around the coops. They were really raw
no gels, just straight white light coming
down hard-edged, says Young. We also
positioned warm lamps out of frame so that
Ruby would walk through lavender, then
shadow, then through white light and into
warm light. Young notes that cyan and
lavender are his signature colors in most
of his work.
The second night driving sequence
finds Ruby and Brian inside his car after leav-
ing the club. Again, the hostess tray was
used, but this time it was moved from one
side of the car to the other to get reverses.
Once again, the scene was lit mainly by the
passing practicals and the Kino Flo tube,
which was placed in the dashboard. Im
always challenged by night driving
sequences, Young confesses. I feel that
Gordon Willis [ASC] did it best. Im not as
brave as he is, but I am definitely one of his
students!
Young sometimes encountered too
much available light at a location, including
Top: Ruby visits
her incarcerated
husband, Derek
(Omari
Hardwick).
Bottom: Director
Ava DuVernay
(foreground left)
and unidentified
crewmembers
monitor the shot
as Young films
one of Rubys
prison visits.
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B e c a u s e i t m a t t e r s .
the site used for the visiting room in Dereks
prison. The room featured a wall of
windows about 10' high and 40' across,
and the windows were about 4' above the
floor. Young notes, We had to black out a
lot of those windows because the light was
way too strong. The filmmakers wanted
viewers to focus on Ruby and Dereks
conversations, so Young hung two Kino
Flos, one for each actor, over the table
where the couple sat. We had them on a
menace arm, so we could just arm it out
while standing a good 20 feet away from
them.
Young estimates he shot about 40
percent of the picture handheld, and the
rest using sticks or a dolly. He prefers work-
ing with a wireless remote-focus unit.
Sometimes when Im shooting, I like to be
out there on my own; I dont want to have
somebody trailing after me.
He has high praise for his crew on
Middle of Nowhere, especially 1st AC Hans
Billy Charles and colorist Chris Kenny at
Nice Dissolve. Young describes Kenny as
amazing, noting that their collaboration
was a long-distance one because Young
was working in Sri Lanka during the final
grade. Kenny e-mailed frame grabs, and
Young responded with notes. The cine-
matographer notes that his gaffer on the
project, Christian Epps, basically came out
of retirement to do the film. He used to be
Malik Sayeeds gaffer, and he brought a lot
of wisdom with him.
Noting that his relationship with
DuVernay is both a professional relation-
ship and a friendship, he concludes, We
wanted Middle of Nowhere to be a very
dark film, but we didnt want the darkness
to feel abject. We wanted to see how far
you could take black skin tones before they
fall apart, and I think we found some really
beautiful, rich nuances in the variation in
skin tones you see in our film.
TECHNICAL SPECS
2.40:1
Digital Capture
Sony F35
Panavision Ultra Speed, Super Speed, Primo;
Zeiss Ultra Speed
Top: A bold use of color figures into Rubys nightclub rendezvous with Brian. Middle: Young
lines up a shot. Bottom: The cinematographer prepares to shoot a scene involving Ruby and
her sister (Edwina Findley).
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is a registered trademark of Hertz Equipment Rental Corporation.
Honeymoon Hangover
By Jennifer Wolfe
Directed by Jeff Greenstein and shot
by Benjamin Kantor, the lauded comedic
Web series Husbands explores the relation-
ship between Brady (Sean Hemeon), a
major-league baseball player who has
recently come out of the closet, and
celebrity personality Cheeks (Brad Bell). The
men married in Las Vegas after
overindulging, and the show gleans much
of its comedy from their marital woe.
Kantor captured the first season of
the series with handheld Canon EOS Rebel
T2i cameras, creating visuals that often
mirrored the instability of the new couples
relationship. A successful Kickstarter
campaign led to a higher budget for season
two, allowing the production to upgrade to
Red Scarlet and Epic cameras and Steadicam
rigs, but Kantor says he still appreciates the
usefulness of the Canon T2i. Its a good
camera for a cinematographer to have on
hand. I use it as a viewfinder on set, and it
gives me a tremendous advantage. With a
traditional viewfinder, you can find yourself
curled up in a corner, looking at the perfect
shot and trying to describe it to the director.
With the Canon, you can take a still or video
and actually show them.
The T2i also proved invaluable during
rehearsals, when Kantor used it to record
shots that could then be handed off to the
Steadicam operators as references. It
allowed a level of specificity that made the
whole set run more efficiently, he says. The
production also used the camera during
prep. Before production started, we ran
through all the scenes in the house with the
cast, and I shot stills of all the potential
setups. Those were then used to create our
storyboards and shot lists.
Upon switching to Red cameras,
Kantor shot the show with Red 18-50mm
and 50-150mm zoom lenses. We almost
always ran two cameras, each with a differ-
ent lens, he says. He and Greenstein origi-
nally planned to use one Steadicam rig and
a dolly, but when they saw the location, a
three-story house in Los Angeles, they real-
ized the dolly would be impractical.
Throughout the shoot, Kantor kept the A-
camera and B-camera designations fluid,
switching the tasks between Steadicam
operators Jason Goebel and Niels Lindelien
as the production day advanced.
The location and the five-day
production schedule forced other choices as
well. Early on, I made the decision not to
use a generator or tie-in, Kantor says. We
needed to be able to move quickly, and
having to move large units and heavy cables
into a three-story house built into the side of
a hill would have been a nightmare.
The cinematographer used Arri 1.8K
HMI Pars for hero-lighting setups, supple-
menting with 1.2K HMIs and a variety of
Joker HMIs in different strengths. The Arri
lights have as much output as a normal 4K
HMI, he observes. The shows action
takes place mostly during the day, with soft
natural light coming through windows, so
there werent many scenes where we didnt
use them as a key light. It worked out really
well, but we got off to a rough start because
the wiring in the house wasnt completely
reliable. Our gaffer, Justin Kemper, figured
out which circuits were stable and wired up
all the different areas of the house so we
could shoot anywhere we wanted without
any hassles.
Kantor also made regular use of
Rosco LED LitePads. We used them almost
everywhere. Theyre the only LED lights we
found that were small enough and light
enough to tape to a ceiling or a wall with-
out any rigging.
Kantor says Janusz Kaminskis cine-
matography served as an inspiration for the
look of season two. He always does some-
thing really interesting visually to subtly
underscore the arc of the story. Take Funny
People, for example. On one level, its a
high-key comedy, but it also has these
moments of complete despair, so he created
a baseline comedic look and then diverged
from it in order to make an emotional point
in a really intelligent way.
Describing the baseline look of
Husbands, Kantor says, Season one
offered a trajectory from multihued, satu-
rated lighting I would almost call it cont-
aminated to a more singular, almost
enveloping light. The first season ended
with a key scene that featured bright light
coming in from a window. Its a very
contrasty yet beautiful light, so bright that
their faces are almost blown out. What
were saying with that look at the end of
season one is that this is where their rela-
tionship is headed. In season two, that look
became our baseline.
Its a classic comedy setup wherein
both characters are trying to achieve differ-
ent things. Each tries to put on a different
show for the live-TV crew interviewing him,
but by the end of the second season, each
realizes what the other is doing, and they
make up on national TV. By that final inter-
view, we end up back at our baseline look.
Theres a bit of an arc, but its subtle.
If this were a feature, the differ-
H
u
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b
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n
d
s
i
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a
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c
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,

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Newlyweds Brady (Sean Hemeon, left) and Cheeks (Brad Bell) navigate the challenges of cohabitation
in the second season of the Web series Husbands, shot by Benjamin Kantor.
I
ences between the two looks could be
extreme, because you typically have more
time and liberty to make stronger visual
points, he continues. But with Husbands,
were referencing television. You can have a
progression of looks, but they cant be too
extreme; they have to stay within the same
bubble so it looks like the same show week
to week.
Regarding camera movement,
Kantor says, We always tried to cover the
scene in some kind of moving master, but
sometimes what would begin as a moving
master ended up as something else. Jeff
really liked the idea of doing scenes in
passes, with maybe one camera getting a
moving master and the other getting a
certain piece of coverage; that would be
our entire side of that scene. When we
turned around, we would have one camera
doing the matching piece of coverage and
the other camera getting something else.
Greenstein tried to avoid breaking
up a scene even if it involved complicated
blocking. Jeff liked big, fluid moves,
Kantor recalls. Some of the tense
moments on set were when I told him wed
have to break it up a little in order to make
it work, like if we needed to be inside a wall
or something. Wed work together to figure
out the best way to keep it as fluid as possi-
ble while still getting all the pieces we
needed.
The production recorded 4K R3D
files to SSD cards, and Kantor worked
closely with digital-imaging technician Drew
Moe on set. In addition to securing all the
productions footage, Moe was responsible
for creating dailies of select takes. Using an
Elgato Turbo .264 HD hardware video
encoder to compress footage, he loaded
circle takes onto a purpose-built GoFlex
hard drive attached to a wireless router.
These takes could then be reviewed on any
iPad or other mobile device within range
possessing the URL and login credentials.
Noting that low-budget productions
often require crewmembers to fill many
different roles, Kantor stresses the impor-
tance of creating good reference materials,
such as the stills he took with his DSLR.
Everyone is pulled in so many different
directions on a low-budget shoot, and
having a strong visual reference eliminates
ambiguity. You can turn to the art depart-
ment and show them precisely what youre
doing. You can turn to the gaffer and say,
This is the frame, so lets talk about where
to move the lights. On a more traditional
set, you often have time to put the camera
in place before you start to show people
what youre going to do. With small
budgets, a lot of things happen at a much
faster pace.
TECHNICAL SPECS
1.78:1
Digital Capture
Red Scarlet, Epic
Red lenses
Top: A-camera/
Steadicam operator Jason
Goebel frames a shot of
Hemeon and guest star
Jon Cryer as 1st AC
Heather Roe keeps the
action in focus. Middle:
The crew shoots an
exterior interview with
the famous couple.
Bottom: Script supervisor
Jess Kraby (far left)
and series creator/
writer/executive producer
Jane Espenson (seated)
confer with Kantor
(center) and director
Jeff Greenstein.
The smallest camera makes the biggest images.
www.red.com
2012 Red.com, Inc. All rights reserved.
This still frame was pulled from actual RED EPIC
5K motion footage. Criminal Minds

Tune in Wednesday nights at 9pm on CBS. 2012 ABC Studios and CBS Studios Inc. All rights reserved.
This is by far the best camera I have

ever used. I think Ive cut my stress level
in half because I can now more easily
achieve whats in my mind.
Greg St. Johns, Criminal Minds

Promoting
The Cause
Promoting
The Cause
Mihai Malaimare Jr.
blends 65mm and
35mm for the
existential period
drama The Master.
By Iain Stasukevich
|
www.theasc.com November 2012 33
T
he opening shot of Paul Thomas
Andersons The Master fills the
frame with roiling ocean waves. As
the water churns in the wake of
some great nautical vessel, almost every
bubble is visible in the white foam. Cut
to a close-up of U.S. Navy Seaman
Freddie Quell ( Joaquin Phoenix). The
camera is so close that only his eyes are
in sharp focus; the background fades
into a soft, impressionistic view of the
battleship that carries him. He stares
off-camera, focused on a point in the
distance.
Its 1945, and World War II is
over. Following his discharge, Quell
spends five years meandering from job
to job portrait photographer and
migrant worker among them until
he finally stows away aboard the yacht
of Lancaster Dodd (Philip Seymour
Hoffman), the founder and leader of a
self-actualization movement called The
Cause. Dodd sees Quell, an angry alco-
holic with a miserable past, as an ideal
subject for his experimental therapies.
The Master was shot by Mihai
Malaimare Jr., who was introduced to
Anderson by Francis Ford Coppola
after Coppola worked with the cine-
matographer on Youth Without Youth,
Tetro and Twixt. Malaimare recalls that
from the outset, Anderson was intent on
shooting some of The Master on a large
format, primarily as a nod to the storys
period. Most iconic stills from the
World War I-World War II years
were taken with the Speed Graphic
4x5 medium-format camera, says
Malaimare. Photographers were also
shooting with Crown Graphic.
Furthermore, Anderson wanted to use
large format in an unconventional way:
for portraiture rather than wide shots or
landscapes.
The filmmakers first tested 8-
perf 35mm VistaVision with a non-
sync Beaucam, which captures a native
1.5:1 image. We discovered there
wasnt much of a difference in picture
quality between 8-perf 35mm and
[spherical] 4-perf 35mm, says
Malaimare. At that point, we decided
to jump into 65mm.
They decided to work with both
of Panavisions 5-perf 65mm cameras,
the Panaflex System 65 Studio 65SPFX
and the HR Spinning Mirror Reflex
65HSSM. The 65SPFX is a larger,
silent camera, whereas the 65HSSM is
a smaller and lighter MOS body more
appropriate for handheld and remote-
head operation. Both cameras can
accommodate 400' and 1,000' loads.
Anderson and Malaimare then U
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Opposite: U.S.
Navy Seaman
Freddie Quell
(Joaquin
Phoenix) blows
off steam on a
beach in the
waning days of
World War II.
This page, top:
Following his
discharge, Quell
gives troubling
answers during a
Rorschach test.
Bottom:
Cinematographer
Mihai Malaimare
Jr. mans a
Panavision
System 65
camera in the
desert near
Barstow, Calif.
enlisted 1st AC Erik Brown to help
them test almost every lens available at
Panavisions Woodland Hills facility.
They chose several Panavision System
65 prime lenses ranging from T1.9-
T3.5. Panavision optical engineer Dan
Sasaki also provided them with a T2.8
300mm medium-format lens built from
a Hasselblad telephoto lens with Zeiss
optics, which Malaimare calls a great
close-up lens. The crew dubbed this
The Doris Lens, naming it for Quells
hometown sweetheart (played by
Madisen Beaty), the subject of some of
The Masters most striking portraiture.
Panavision also provided a Kowa
19mm lens for scenes shot in Hawaii,
which stood in for the Pacific island
beach where Quell and his fellow
seamen take their R&R. This lens was
used for one of the films opening shots,
which finds Quell in the shade of a
canopy on the beach. With the camera
positioned low to the sand and close to
Quell, the angle causes the canopys
wooden support poles, as well as its roof
and floor, to bow outward toward the
edges of the frame, lending the image a
noticeable distortion.
Malaimare was especially fond of
an Olympus 24mm rectilinear lens
Panavision provided for 65mm photog-
raphy on the show. Its an interesting
lens because there is almost no distor-
tion, he notes. If you were to shoot
something with a 12mm in the 35mm
format, youd get much more distortion
than you would with the System 65
24mm. The distortion can be distract-
ing, but it can also work to your advan-
tage; it makes you feel like youre close
to everything, even if your own perspec-
tive wouldnt be as affected as the one
produced by the lens.
In testing different aspect ratios,
we went back-and-forth between
Promoting The Cause

Top: After landing a
job as a
department-store
portrait
photographer,
Quell works in the
darkroom, where
he also mixes up
batches of
moonshine and
engages in trysts
with one of the
stores showroom
models. The
filmmakers top-lit
the space with 4'x4'
and 2'x4' Kino Flos
tinted with yellow
gels. Bottom: Quell
poses a subject in a
portion of the store
that serves as his
studio. These
scenes were lit with
a mix of natural
daylight, the
daylight-balanced
fluorescents in
the ceiling and
250-watt BCA
incandescent
bulbs in Quells
lighting fixtures.
2.35:1 and 1.85:1, he continues. Paul
believed 1.66 or 1.85 felt right for the
period, but 5-perf 65mm has a native
ratio of 2.2. We finally decided to
center-crop the 65mm neg to 1.85,
which meant losing the left and right
sides of the frame.
They also decided to shoot some
of the movie on 35mm in spherical
1.85:1. The lenses they used for this
work were inspired by one Malaimare
owned. He explains, Im crazy about
old still-photography cameras, and I
had a 6x6 medium-format camera from
the 1960s that had the sharpest lens Ive
ever seen: an 85mm Zeiss Jena. I
brought that lens to Dan Sasaki, and he
Panavised it. We used it to shoot some
35mm tests, and it cut really well with
the 65mm material. The depth-of-field
is different, but the sharpness is very
close. Dan tracked down a whole set of
35mm Zeiss Jena lenses that Panavision
had already rehoused. These lenses,
called The T2 Set, became part of the
shows package, which also included a
Panaflex Millennium XL and a set of
Zeiss Ultra Speed MK IIs.
After testing all the available
Kodak and Fujfilm negatives, the film-
makers decided to use mainly Kodak
Vision3 200T 5213 for night work and
Vision3 50D 5203 for day work. Pauls
preference for tungsten was Kodak
[Vision2 100T] 5212, but Kodak
discontinued it, notes Malaimare. You
can actually see the fine grain structures
in the slower stocks, and the finer the
grain is, the better, especially on 70mm
Top: After stowing
away on the yacht of
Lancaster Dodd (Philip
Seymour Hoffman),
the head of a self-
actualization
movement known as
The Cause, Quell
bonds with his host
during a wedding
celebration. Bottom
photos: To light this
sequence and others
aboard the yacht,
which had very low,
steel ceilings, gaffer
Michael Bauman asked
LiteGear to create
large panels of the
companys VHO
LiteRibbon LEDs.
Custom magnetic
backings allowed
Bauman and the crew
to position the fixtures
anywhere on the ship.
O
ur choice to shoot The
Master in 65mm was
very trial-and-error. Id
been thinking about
VistaVision cameras and
how they were used to get
that great color look on
classic pictures like North by
Northwest, Vertigo and
some of the old Westerns I
remember. I was curious to
find out what was going on
in those movies technically.
I never considered it some-
thing we would actually do
because I saw The Master as
a smaller story. It really
started to come together
during all of the testing we did at
Panavision. Dan Sasaki was the first
person who said, Why dont you use
the 65mm studio cameras we have
here?
We started testing the 65mm
equipment, and we looked at 35mm
reduction prints. They just looked so
right, not only in terms of clarity or
sharpness, but also because the format
seemed right for the story. At that
point, we started asking ourselves, Are
we really going to do this with these big
cameras that are potentially risky to
work with? We never really answered
that question; we just started shooting,
and then gradually started shooting
more and more. Next thing you know,
we were doing almost the entire movie
that way.
The 1.85:1 aspect ratio sprang
from how I saw things in my minds eye
while I was writing. The nature of the
story is more chamber drama than
anything else, and the format felt like a
way to sort of downsize it. The irony, of
course, is that we were downsizing in
65mm!
We pasted photos and research
materials up on the walls around the
preproduction office and let them soak
in. Theres a really nice book of photos
about World War II sailors called At
Ease: Navy Men of World War II that
informed a lot of the shots we did on
the beach. We were lodging a bunch of
stuff in our memories and then seeing if
any of it came out while we were on set.
The closest I can come to citing
any particular film influence is classic
noir. I find those kinds of movies very
evocative of that post-war era. Of
course, any of the ideas you might have
during the writing phase tend to go out
the window pretty fast once you get to
the actual locations, where you just
wonder, What should be on and what
should be off? Eventually, you end up
saying, That looks right.
Our approach led to some happy
accidents. Toward the end of the shoot,
Panavision offered us a fisheye lens.
When we first put it on the camera, we
thought, Theres no way we should use
this its just too bizarre. It felt like
you needed a tremendous amount of
light to get it to look halfway decent.
But then we had a bright, sunny day on
the beach, so we threw the lens on, and
we liked the way it looked for that
particular moment in the story.
The dolly shot when Freddie
approaches the yacht is another exam-
ple. We started shooting scenes on the
boat on a Monday, and we were sched-
uled to do that shot on Friday night, but
I still hadnt figured out
what we were going to do.
I kept getting off the boat
each night to search for a
shot. At one point, our
dolly grip, Jeff Kunkel, saw
me standing 100 feet down
the dock, and he started to
panic a bit, thinking about
how much track hed have
to lay down. We decided it
was worth trying, though. I
huddled in a corner with
Erik Brown and Colin
Anderson, and Mihai went
off to another corner with
Mike Bauman and the key
grip, Michael Kenner. We
sat around scratching our heads for a
while, and then we ordered more gear!
You cant do things that way too
often, only as much as the schedule
allows. Our main mandate was Keep it
simple or Be straightforward. We were
already fumbling around so much with
these big cameras that trying to do
anything acrobatic with them would
have been a drag, especially as our actors
were trying to, you know, act.
We justified using 35mm if a
scene was longer or felt a little more
intimate, or if we needed to use a
smaller or quieter camera. I never
wanted it to feel obvious that we were
switching formats. We just wanted to
delicately dismount whenever we made
that change.
I was sorry to hear Fuji will stop
manufacturing film stock, but maybe
film will become like vinyl records:
popular among connoisseurs. Id like to
think theres always going to be some-
one out there with a basement and some
chemicals, and wherever they are, well
try to find them.
Paul Thomas Anderson
| Helming The Master |
prints. With a laugh, he adds that light-
ing for 200-speed and 50-speed nega-
tives was quite a departure from his
recent work, which has been predomi-
nantly digital capture. Imagine jumping
from 500 or 800 ISO to 50! Everything
Im used to doing for lighting, like using
real candles or Dedolights, went out the
window.
The [slower stock] has a vora-
cious appetite for light, and that made
The Master kind of a throwback because
lighting at those levels just doesnt
happen anymore, observes gaffer
Michael Bauman. It was a bit of a chal-
lenge to retrain our eyes to judge how
much light wed need.
Production began in Vallejo,
Calif., whose World War II-era ship-
yards, medical facilities and Colonial
Revival suburbs provided ideal stand-ins
for various locations in New York,
Pennsylvania and Massachusetts. The
military hospital on Mare Island served
as the site where Quell receives treat-
ment for post-traumatic-stress disorder
following his discharge. Malaimare says
the compositions, lighting and mise-en-
scne in John Hustons controversial
Signal Corps documentary, Let There Be
Light (1946), was a key influence on the
approach to these scenes. Those scenes
might be more stylized than the rest of
The Master, but we decided to go for the
reference anyway, he says. Paul wanted
it to look like a 1950s documentary-film
crew had come to the hospital with four
light bulbs and lit the patients so you
could see [their condition].
Outside the facilitys windows, the
crew positioned 18K HMI ArriMaxes
and 12K HMI Pars, and Bauman
brought up the interior illumination by
bouncing 400-watt and 800-watt Jokers
into the ceiling. Getting a natural look
out of all that light was certainly a chal-
lenge, considering the amount of fill we
needed and the heat those lamps gener-
ate, says the gaffer. It takes you 100
foot-candles just to get started!
The hospital scenes were filmed
early in the schedule and were shot on
5203 with the Ultra Speed MK IIs. At
that point in the shoot, Paul intended to
reserve 65mm for about one-quarter of
the movie, for scenes when we really
wanted to feel the depth-of-field as a
strong point of the story, says
Malaimaire. So, at first, we were using
65mm for close-ups and sometimes for
extreme wide shots. But as we watched
our film dailies, which were 35mm opti-
cal-reduction prints from the 65mm
negative, we were amazed at how differ-
ent the 65mm looked from anything
else we were seeing, even at the reduced
resolution. After that first week, we
altered our approach and began shoot-
ing most of the picture on 65mm.
At one point, Quell lands a job as
a portrait photographer at a department
store, a detail Malaimare found
serendipitous. A few months before I
met Paul, I bought a Crown Graphic
Top: The wide array of lenses tested by the filmmakers included several that were once employed
by Gordon Willis, ASC (labeled Gordon W in bottom row). Those lenses were really particular
and kind of fussy to work with you had to really get em right, says Anderson. We tried to
take Daddys car for a spin, and we sort of crashed it here and there! Bottom: Large lighting rigs
are moved into position on a period street.
camera from the 1940s, he recalls. I
brought it to my second meeting with
Paul and suggested it would be a great
camera for Freddie to use in the depart-
ment store. Everything came together
composing our shots as portraits on
large-format film, and then tying that
into our story.
The department-store scenes
were shot in an old building in down-
town Los Angeles, and these sets
included the showroom, Quells portrait
studio and his darkroom. Malaimare
and Anderson wanted these various
settings to have different qualities of
color: daylight neutral in the showroom;
tungsten yellow in the portrait studio,
which is located within the showroom;
and yellow-green in the darkroom.
Dozens of daylight-balanced Kino Flo
practicals were installed in the ceiling
above the showroom floor. Even after
aiming eight Condor-mounted 18K
ArriMaxes through the windows and
positioning several 18K HMI bounces
around the room, the team had to switch
to Kodak Vision3 250D 5207 to achieve
proper daylight-balanced exposure.
Promoting The Cause

Top photos: Anderson and the crew capture
the movies opening shot of waves churning
against the hull of a battleship. Center: A
drunken Quell approaches Dodds yacht in a
shot that required the crew to lay down a
very long dolly track (visible at right).
Bottom: Smaller fixtures illuminate the
exterior walkway on Dodds yacht.
Malaimare styled Quells portrait
lighting with a classical three-point
setup, using a high keylight. For scenes
that depict still photography, I always
like to be as accurate to the period as
possible, he notes. (For a later scene in
which Quell shoots a portrait of Dodd
for a book cover, Malaimare used his
Crown Graphic to capture the photos
on 4x5 negative.) Quells studio was lit
with a mix of natural daylight, the
daylight-balanced fluorescents in the
ceiling, and 250-watt BCA incandes-
cent bulbs in Quells fixtures. Darkroom
scenes were shot on 5213 and lit with
4'x4' and 2'x4' Kinos tinted with yellow
gels; these were used only as toplight so
the actors could have as much freedom
as possible to move around, Bauman
explains.
Quell is coarse with women and
violent with men, and Phoenix conveys
the characters social discomfort with a
range of physical tics. If he were the
subject of an actual documentary, he
would be difficult to keep in focus, but
Brown says he developed a gut feeling
about how fast Joaquin was going to
move, and how he was going to come at
or go away from the camera. He adds
Bauman faced a big lighting setup for the scene in which Quell walks toward Dodds yacht. The set was on some old docks at Mare Island and
involved lighting a few boats, including the hero boat where everyone was dancing. We built a large soft box hung off an 80-foot Condor
supporting four 6-light Maxi-Brutes aimed through a 12-by-12 of Light Grid diffusion. A variety of Par cans were spread around the facility,
including many hanging off a gantry system. We also used a bunch of clip lights from Home Depot. We screwed 200-watt bulbs into them, and
their reflectors created a nice, large source that looked great in the background.
that pulling focus for Emmanuel
Lubezki, ASC, AMC on The Tree of
Life (AC Aug 11) taught him the
importance of sensing how an actor will
move and behave. This divining
approach was particularly helpful on
The Master because every take tended to
involve a variation on the previous
attempt. Blocking rehearsals or focus
marks were a rarity.
As an example, Brown cites the
400' dolly shot in which Quell spots
Dodds yacht in the harbor and then
jumps aboard before it pulls away from
the pier. A-camera operator Colin
Anderson followed Phoenix with the
65HSSM on an Arri geared head, while
Brown racked focus back-and-forth
between the actor and the boat on a
75mm System 65 lens at T2
1
3. The
fundamentals of the shot never
changed, Brown explains. The dolly
always started at Point A and ended at
Point B, but the timing by which it got
from A to B, and the way Joaquin
walked through the frame, were always
different. As the focus puller, you dont
know which take will be the magic one,
so every take needs to be perfect.
Brown pulled focus using a
Cinematography Electronics Cinetape
module linked to a Preston remote unit.
Being free of the camera enabled him to
find a more advantageous position from
which to gauge distance, and spared the
actors and the operator any distractions.
You play a zone defense, he says.
Know how big the space is, and do the
mental math.
To light the shot, Malaimares
crew positioned an 80' Condor on land
directly next to the boat, and hung a
large softbox containing four 6-light
HPL Maxi-Brutes through 12'x12'
Light Grid. Also in play through the
shipyard were 1K Pars, 9-Light Maxis,
10Ks and all eight of the productions
20Ks. Bauman credits rigging gaffer
James Kumarelas with figuring out cost-
effective ways to light the boats and
other details. For the yacht, we used a
bunch of hardware-store clip lights and
200-watt tungsten bulbs, Bauman
reveals. The reflector on the clip light
made for a nice, large source that looked
great in the background.
Quells peculiar manner and
his talent for concocting head-spinning
moonshines compels Dodd to take
him aboard as a crewmember. Most of
the yacht scenes were shot over two
weeks while the vessel was actually out
on the water. Even if you dont neces-
Promoting The Cause

Top: Dodd
interviews Quell
aboard his yacht
in an attempt to
analyze his
personality.
Bottom: Intimate
close-ups lend
the sequence
extra intensity.
sarily see outside the windows, the real
movement of a boat on the water is a lot
different than it is when youre docked
and the grips are rocking it with big
ropes, notes Malaimare.
During the tech scout, he and
Bauman realized they wouldnt be able
to rig the boat with large sources, so they
decided to shoot some of the day interi-
ors and exteriors on 5207 and use 4K
HMIs. The yachts steel ceilings were
too low to accommodate the rigging of
overhead sources, so Bauman asked Al
DeMayo of LiteGear to create large
panels of the companys VHO 120
LiteRibbon LEDs with a magnetic
backing. These could be placed almost
anywhere on the vessel. A LiteGear
Hybrid dimmer could pan the color
temperature of the panels between
3,000 and 6,000K. We just covered
the ceiling in LEDs, Bauman says. We
considered other ways to light in there,
but even a bare Kino tube would have
been too thick, and the sheer number of
foot-candles we needed dictated the
kinds of lights we could get.
In short order, Quell becomes
part of Dodds inner circle. The two
men bond during their first processing
session, when Dodd begins to chip away
at the negative impulses controlling his
protg. Shot on a soundstage, this
scene is one of the few filmed entirely on
35mm. Malaimare used two cameras
(equipped with matching Zeiss Jena
lenses), operating the B camera himself.
The lighting was simple, he adds.
The scene starts in daytime, and we
had 4K HMIs coming through the
portholes for that, and as it transitions to
night, we used a 1,000-watt Chimera
pancake inside.
Quell accompanies Dodd and his
family to New York and Philadelphia to
raise awareness for Dodds next book
about The Cause. Philadelphia group
member Helen Sullivan (Laura Dern)
Promoting The Cause

Diffused
toplight was
used to
illuminate
interior scenes
of Dodd
gathering with
followers and
his family.
opens her home to the travelers, and
there Quell embarks upon the next
phase of his processing: an exercise that
requires him to close his eyes and move
back and forth between the window and
wall of Sullivans den, describing the
sensation of each surface. One of
Vallejos Colonial Revival mansions
served as the setting. That was a tough
scene to shoot, Bauman recalls. All of
the light was coming from outside, and
we were trying to maintain some kind
of consistency on Joaquin, who was
moving from the dark wall at one end of
the room to the bright window at the
other. A spotted 18K ArriMax was
placed 50' from the window, and key
grip Michael Kenner built a flag forest
in front of the lamp to shade the areas
where Phoenix would walk back and
forth. Inside, skirted 400-watt HMI
Chimera pancake lanterns provided a
natural ambience.
Malaimare admits that shooting
5203 inside the house was a tough call,
but it paid off. You can see the fine
grain structure in the shadows and mid-
tones, even on a 35mm reduction print.
Quell is ordered to continue this exer-
cise deep into the night, and as the
shadows lengthened, the filmmakers
switched to 5213 and created warm
interior lighting with a mix of practicals,
1,000-watt tungsten Chimera pancakes,
500-watt Rifas and the LED-based
Kino Celeb.
In a later scene at the house,
Dodds wife, Peggy (Amy Adams),
awakens Quell in the middle of the
night and orders him to stop drinking.
As she sits next to his prone figure on
the chaise lounge, a single, sharp side-
light comes from frame left, carving the
figures out of the background as the
camera slowly pushes in. That scene
was in [the shooting plan], and then it
was taken out, and then Paul decided to
shoot it after all, recalls Bauman. We
had to light it really quickly at the end of
a very long day. We set up a 2K Blonde
outside the window and put a 100-watt
Dedo down by Joaquin to bring him up
a little bit. Amys pajamas were very
reflective we got a lot of bounce off
them.
That was an instance when I
indulged my tendency to be more styl-
ized, and for that particular scene, I
think it works, observes Malaimare.
Its interesting how you can jump back
and forth, lighting one scene with only
two lights and making it very stylized,
and then lighting a scene with 20 lights
while trying to make it look natural!
Making a movie is like solving a
puzzle, and every new challenge is like
finding a new puzzle piece, he contin-
Promoting The Cause

Top: Lighting
conditions
complicated a
key scene in
which Quell
performs a
peculiar exercise
as part of his
processing.
Bottom: Dodds
doctrinaire wife,
Peggy (Amy
Adams), orders
Quell to quit
drinking.
ues. For instance, if it worked better for
the story to keep the camera more
stationary, wed shoot with 65mm, but if
we wanted to run with it, we used
35mm. We werent thinking a lot about
the process or the limitations [of
65mm], especially when the dailies were
paying off. We were getting new ideas
and finding new puzzle pieces every
day.
When possible, the filmmakers
used the disparity between the Panaflex
System 65s controlled movement and
the Millenniums handheld capability to
heighten dramatic tension. An example
of this is the scene in which Dodd and
Quell are arrested outside Sullivans
home. When police accuse Dodd of
fraud and place him under arrest, Quell
attempts to defend him by lashing out at
the officers. Colin Anderson recalls, I
was on the porch with the 65mm
camera with Erik and [dolly grip] Jeff
Promoting The Cause

Top: Dodd and his followers confront police officers attempting to arrest him for fraud.
Bottom: The crew fashions a quick rig to support a heavy System 65 camera.
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Kunkel, and Mihai was shooting hand-
held with the Millennium. When the
time came, Joaquin went berserk, fling-
ing himself around and falling to the
ground. Mihai had to adapt to his move-
ments. Malaimare adds, Cutting from
35mm to 65mm felt smoother because
of the sharp Jena glass, which yields a
look similar to [that of ] the 65mm
lenses. There is a sense that something is
different, but its a small difference. I
think its mainly in the camerawork.
The relationship between Dodd
and Quell takes a new turn when they
take a motorcycle out to a salt flat to play
a game called Pick a Point. The object
is to select a point on the horizon and
then ride out to that spot and back. The
scene was shot outside Apple Valley,
Calif., near Barstow. That was a great
location, Malaimare enthuses. The
ground was incredibly reflective. We
didnt use any lights at all.
After Dodd explains the game,
Quell mounts the bike and speeds off
into the desert, gradually becoming a
diminishing speck amid undulating heat
waves. To capture the action, we first
tried towing the motorcycle on a trailer,
but that created a lot more dust than one
guy on a bike would have created,
recalls Colin Anderson. Next, the crew
tried mounting the 65HSSM to a
Chapman G3 head and Hydroscope
arm hanging off the back of an insert car.
The rig allowed them to travel right
beside the bike, a strategy that worked
tremendously, he says.
The production tapped two
different labs throughout the shoot:
Deluxe Hollywood processed the 35mm
negative, and FotoKem processed the
65mm negative and generated 35mm
reductions. Both formats were viewed as
Promoting The Cause

Top: Following
their arrest,
Quell goes
berserk while
Dodd
maintains his
composure in
an adjacent
cell. Bottom:
Ceiling-
mounted
fixtures
illuminate the
scene.
film dailies on location. For Malaimare,
the process of photochemically timing
the dailies took him back to his film-
school days at the National University
of Theatre and Film in Romania. I
remember measuring my work with a
densitometer and drawing curves, he
says. Then we had to deal with print-
ing the negative.
The filmmakers had the 35mm
dailies timed to the optical-reduction
print, but because the negatives came
from different labs, it took a little
tweaking to make those processes
match, says Malaimare. We wanted to
get it right even if it was a difference of
just one point. Sometimes we sent
prints from one lab to the other, and
sometimes it was a digital still reference
from the set. Having all of our dailies on
35mm allowed us to come up with
many notes for the final photochemical
timing. The director supervised the
final timing with colorist and ASC
associate member Dan Muscarella at
FotoKem because Malaimare had to
depart for another project.
Muscarella viewed the timed
prints over a light box through special
RGB gel filters in point increments
between 1 and 20. Using the RGB
point adjustments from the dailies print
as a starting point, he used the gels to
discern the number of color points
needed to fine-tune a given scene. The
new point adjustments were entered
into a computer-controlled optical
printer to create the final timed inter-
positive. Paul and I were smoothing
Promoting The Cause

50
Out in the
desert, Quell
takes his turn
at Dodds
Pick a Point
motorcycle
challenge.
out and balancing the color cut for cut,
scene for scene, says Muscarella.
Andrew Oran, FotoKems vice
president of large-format operations,
worked with the filmmakers to develop
a photochemical workflow that would
preserve the resolution and color of the
original 65mm negative while seam-
lessly incorporating the 35mm
elements. FotoKem also handled the
65mm processing, HD transfer of the
35mm reduction prints for editorial,
70mm and 35mm show prints, and
65mm and 35mm scanning for the DI
to create general-release prints and a 4K
DCP. (For the latter step, the 65mm
was scanned at 8K, the 35mm was
scanned at 6K, and all material was
downconverted to 4K for the rest of the
process.) We had to figure out how to
construct a post pipeline with four
finishes, says Oran. Our starting point
was the 65mm negative and 70mm
show prints. Once we established that,
everything else fell into place.
In order to complete a 70mm
hero print, Oran needed to take all the
footage that originated in 35mm and
scale it up to 65mm. Vince Roth, the
shows 65mm technical director, made
IPs of the 35mm original-negative
selects and then had them blown up
into a 65mm duplicate negative. After
that, the 35mm negative and IP was just
set on the shelf, Oran continues. We
went through a photochemical answer-
print process, a negative cut on the
65mm material, and then a 70mm IP
and answer print.
Anderson also wanted some
show prints struck from a 35mm cut
negative, so FotoKem used a modified
Imagica optical printer to reduce the
complete 65mm IP to a 35mm dupli-
cate neg. The facilitys team extracted all
of the 35mm dupe-neg material that
originated in 35mm now two gener-
ations removed and replaced it with
the corresponding 35mm camera neg.
Oran acknowledges that it would
have been simpler to grade The Master
digitally and then film out to 70mm and
35mm, but its very important to Paul
that the film does not look like it has
gone through a digital post process, and
that he can present it to as many people
as possible on prints from the original
negative.
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TECHNICAL SPECS
1.85:1
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51
W
hen Islamic revolutionaries breached the gates of the
U.S. Embassy in Iran and began taking hostages on
Nov. 4, 1979, six Americans stole out of the building
and went into hiding at the nearby residence of Ken
Taylor, Canadas ambassador to Iran. Taylor and his wife told
local authorities their new houseguests were friends from
Canada, but as several tense weeks passed, they grew increas-
ingly fearful for the Americans safety as well as their own.
The Americans were eventually taken to safety in the West in
an operation that was credited solely to Canada, but U.S.
government documents declassified in 1997 revealed that
their escape was in fact a covert CIA operation hatched by
exfiltration specialist Tony Mendez and facilitated in part by
Hollywood makeup artist John Chambers (Planet of the Apes).
Argo, shot by Rodrigo Prieto, ASC, AMC,
dramatizes an extraordinary covert op
conducted in Iran in 1980.
By Rachael K. Bosley
|
Creative
Conspiracies
How these events might have unfolded
in Tehran, Washington and Hollywood
is dramatized in Argo, shot by Rodrigo
Prieto, ASC, AMC and directed by
Ben Affleck, who also portrays Mendez.
Prieto had worked with Affleck
once before, when the actor starred in
Kevin Macdonalds State of Play (AC
April 09), and in their new relationship
as cinematographer and director, he
found Affleck to be a consummate
director and a very active collaborator.
Throughout our seven weeks of prep,
Ben had very clear visual concepts and
was very open to exploring the ideas and
proposals I made in terms of different
textures and filming styles for the story.
He is also very interested in learning
new techniques, and he assimilates
information and techniques immedi-
ately. I would show him something once
in prep, and weeks later, he would
remember the details of how it was
achieved.
When they commenced prep,
their first concern was finding a look
that would unify the Iran scenes, which
were to be shot in a mix of locations in
Los Angeles and Istanbul. By contrast,
the Hollywood scenes and most of the
Washington scenes were to be shot in
L.A., the former on location and the
latter in sets built in the basement of the
Los Angeles Times building. All formats
were on the table at the outset; the only
certainty was that the final aspect ratio
would be 2.40:1.
For Iran, Affleck wanted a docu-
mentary feel, with handheld camera-
work, to convey the tension and
instability of the Americans circum-
stances. I suggested shooting Super
16mm for that, says Prieto, but when
we compared those tests to the looks we
were exploring for the other parts of the
story, it didnt quite hold up in terms of
sharpness, even when we tested giving it
a little extra sharpness in the DI. The
next thing I tested, and what we ended
up doing, was shooting 2-perf Super
35mm with Kodak [Vision2 500T]
5260 pushed 1 stop. The grain texture
was very similar to Super 16, partly due
to blowing up the image to achieve a
2.40:1 aspect ratio, but it was a sharper
image. The push processing also added
grain, in addition to enhancing contrast
and saturation. Compared to Super 16,
the 2-perf grain was harder, rougher. It
was a strong look, and we liked it.
He and Affleck decided to
further delineate the Iran material by
capturing it with spherical lenses and
using anamorphic lenses for Hollywood
and Washington. I used mostly Zeiss
Super Speed primes for Iran, but
because they dont include some inter-
mediate focal lengths, such as 40mm,
one of my favorites, we used some
[Zeiss] Ultra Primes as well.
For Hollywood, where Mendez
enlists Chambers and a movie producer,
Lester Siegel (Alan Arkin), to help him
create a cover, Affleck wanted to situate
the camera style squarely in the period
by referencing films of the 1970s, espe-
cially John Cassavetes The Killing of a
Chinese Bookie (1976). That movie
inspired our use of zooms combined
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Clockwise from far left: U.S. Embassy workers (from left) Cora Lijek (Clea DuVall), Bob Anders (Tate Donovan), Kathy Stafford
(Kerry Bish, back to camera), Joe Stafford (Scoot McNairy), Mark Lijek (Christopher Denham) and Lee Schatz (Rory Cochrane)
confer about the volatile situation outside the embassy; CIA agent Tony Mendez (Ben Affleck, left) meets with John Chambers
(John Goodman) in Hollywood; Rodrigo Prieto, ASC, AMC and Affleck discuss a setup as A-camera dolly grip Chuck Crivier looks
on; Mendez and his boss, Jack ODonnell (Bryan Cranston), head to a briefing at CIA headquarters.
with dolly moves, and the practice of
placing the camera in an uncomfortable
corner and capturing all the coverage
from that angle by simply zooming in,
says Prieto. Ben liked what he called
the feel of the glass at the long end of
the zoom. We used an anamorphosized
Angenieux Optimo 48-580mm a lot, as
well as an anamorphosized 300mm
Canon telephoto lens.
Hollywood scenes are also distin-
guished by an unusual color treatment,
the result of a custom look-up table
developed by EFilm. Prieto explains, I
tested color reversal film and developed
it as a positive, without cross processing,
and then scanned the positive, and this
resulted in a high-contrast, very satu-
rated look that Ben liked a lot.
However, shooting 100-ASA daylight
stock wasnt practical for all the interiors
we had in the Hollywood story we
shot most of it on Kodak [Vision3
500T] 5219 so we asked EFilm to
create a LUT that would reproduce that
look. [Dailies colorist] Benny Estrada
then applied our Hollywood LUT to
all of those dailies using EFilms
CinemaScan system, which was very
helpful. I tend to choose a negative and
just use what it gives me, but the custom
LUT was a bit like creating our own
camera negative for that part of the
story.
The mandate for Washington
scenes, which include Mendezs inter-
actions with his CIA boss, Jack
ODonnell (Bryan Cranston), was a
constantly moving camera and prime
lenses. The feel we went for was a
clean, crisp image inspired by Gordon
Willis [ASC] cinematography on All
the Presidents Men [AC May 76], says
Prieto. I chose Hawk V-Lite Series 2x
anamorphic primes because they have a
certain sharpness and contrast that felt
very appropriate for this thriller. In the
CIA, the camera is always moving on a
dolly or Steadicam, but they are sharp,
defined moves. Ben choreographed the
actors and the camera to create a sense
of urgency and activity. As with the
Hollywood scenes, most of the
Washington material was shot on 5219
Creative Conspiracies
Top and middle: As Pender (Zeljko Ivanek) briefs his CIA colleagues about the houseguests in Iran,
Mendez and ODonnell listen to the suggested solutions with skepticism. Bottom: ODonnell and
Mendez present their plan to Secretary of State Cyrus Vance (Bob Gunton, second from left) and another
government official (Philip Baker Hall).
(with Kodak Vision3 250D 5207
reserved for day exteriors), but color-
wise, the look is just what the negative
gave us, adds Prieto.
Across all three storylines, the use
of two cameras was consistent, with
Prieto on the A camera and Colin
Anderson on B camera and Steadicam.
This was the first time I used a B
camera almost constantly, notes Prieto.
Ben wanted to always use a second
camera to get more coverage, and it was
rare that we couldnt fit one in, which
made it tricky for lighting and for
sound. Colin is great, though; he can
make a Steadicam shot look like a dolly,
very precise, and his handheld work has
the breathing of handheld without the
bumpiness of it. We wanted each
section of Argo to have its own person-
ality without the transitions being obvi-
ous or jarring, and Colins operating
really helped with that.
Ben has a clear understanding of
the coverage he needs for the way he
imagines he will edit the movie, he
adds. We shot-listed the entire film,
and about 95 percent of the movie was
storyboarded.
This preparation went a long way
toward enabling the team to complete
principal photography in 62 days, a
remarkable feat considering all the
pieces that had to come together. An
example of this is the siege of the U.S.
Embassy, a sequence that involved 2-
perf Super 35mm photography of
crowds on streets in Istanbul and down-
town Los Angeles, as well as some
Super 16mm and Super 8mm photog-
raphy to suggest the protestors own
footage of the events; 4-perf Super
35mm bluescreen and greenscreen
photography in Istanbul and Los
Angeles to accommodate the addition
of CGI that would place the action in
Tehran; and, for the embassy interiors,
2-perf Super 35mm photography in the
Veterans Administration Building in
Los Angeles and on a small set built on
location in Istanbul.
Prieto describes a shot that
helped tie the footage together: When
the Americans [played by Tate
Top: Chambers and producer Lester Siegel (Alan Arkin) pore over scripts in search of a project for
Mendezs cover. Middle: This frame grab from the scene illustrates the LUT applied to all of the
Hollywood material. Bottom: Mendez watches Siegel play hardball with a screenwriter (Richard Kind).
Donovan, Clea DuVall, Scoot McNairy,
Rory Cochrane, Christopher Denham
and Kerry Bish] escape from the build-
ing, we shot their approach to a staircase
door in the Veterans Administration
Building, but that door actually led to a
closet. Then, outside in Istanbul,
[production designer] Sharon Seymour
built a small set that featured a platform
with two walls that formed a corner,
matching the VA closet door, but in this
case leading to staircase going down to a
door that led to the street. One of the
walls matched the closet door, and the
other wall had a window, which I lit
through with an 18K ArriMax on a
Condor. They open the door and go
down the steps, and the camera follows
them handheld. I asked Sharon to put
some practical fluorescent tubes on the
staircases ceiling to create a silhouette of
the actors as they walked downstairs.
We left the base of the staircase dark so
that when they reach the bottom, theres
a moment of darkness and then a burst
of light as they open the door and step
out into the street, and the handheld
camera swivels around them, all in one
shot, as they look around, not knowing
where to go. The shot connects the loca-
tions in L.A. and Istanbul as if it had all
taken place in Tehran.
Something that helped Prieto
keep track of such bits and pieces was an
organizational tool he has used for eight
years: his photographic breakdown, a
chart on which he notes every scene, its
time of day, the film stock and/or format
to be used, any additional cameras or
special equipment required, and any
notes or questions he has. I started this
on Brokeback Mountain [AC Jan. 06]
because Ang [Lee] asked me to do a
breakdown of the weather or mood for
each scene, and I thought as long as I
was doing a breakdown, I should include
these other technical details, he
explains. I use it to communicate to
production and my camera crew what I
need for each scene. It frees my mind to
know that someone else is making sure
the right equipment is at hand when
needed and the right film stock is loaded
on the camera.
The main set in Iran is
Ambassador Taylors residence, and
these interiors were filmed in a house in
L.A.s Hancock Park neighborhood.
(The exterior was a residence in
Istanbul.) Ben actually had the actors
live together in the house for a week
during prep so they could develop that
dynamic you see when a group of people
spends a lot of time together, recalls
Prieto. That was really effective; by the
time we started shooting, they had their
own way of relating to each other.
Affleck wanted all of the camera-
work in the house to allow the actors
freedom to improvise so they could react
spontaneously as the characters situa-
tion develops. All of those scenes were
shot handheld with two cameras, and
we had to make fast adjustments as the
actors moved the focus pullers [A-
camera 1st AC Zoran Veselic and B-
camera 1st AC Nino Neuboeck] had to
be ready for anything! says Prieto.
Sometimes we were off the lines,
shooting one actor while others were
having a dialogue, and sometimes wed
find someone in the middle of a line.
Ben really liked that spontaneity.
To achieve a number of low-
angle shots, Prieto and Anderson used
Joey Cams, mobile stools created by
Joseph Dianda, Prietos longtime key
grip, whose ability to build whatever
Prieto needs to achieve a particular
camera move or lighting effect has led
Ambassador
Ken Taylor and
his wife (Victor
Garber and
Page Leong, at
right) listen as
Mendez
discusses his
plan with the
houseguests.
Keying the
scene are 18K
ArriMaxes
softened by
Full Grid
outside and the
sheer curtains
inside.
to a host of devices that bear his name.
The Joey Cam, which consists of a base
with four wheels that spin 360 degrees,
an apple box of any size (attached with
Velcro), and a swiveling, cushioned seat
(also attached with Velcro), enables the
operator to sit at any height with the
camera on his shoulder and push
himself around with his legs. With the
Joey Cam, Colin and I could be at eye
level with everyone sitting at the table,
and if someone moved, we could simply
slide over, says Prieto.
He captured other low-angle
handheld shots with an Easyrig. I actu-
ally dont like the Easyrig for shoulder-
height operating because I feel it
becomes a little robotic the camera
isnt as free, especially in tilting, he
observes. I prefer to use it to pull the
camera down to hip level for lower-
angle shots when the ground doesnt
allow for the Joey Cam.
Diandas Joey Flos, 4'x4' boxes
with eight Kino Flo tubes fronted with
Full Grid and controllable via detach-
able black Coroplast louvers, also proved
essential in the house, where all of
Prietos lighting had to be rigged tight to
the ceiling to accommodate shots of
Affleck, who is 6'2". The cinematogra-
pher explains, The house had large
windows, but the curtains are always
drawn because the Americans are
hiding. The windows were my only
opportunity for lighting day scenes,
though, especially with two cameras
roving around, so we blew them out by
hanging sheer curtains and positioning
18K ArriMaxes softened by frames of
Full Grid outside each window. In the
living room, we supplemented with four
Joey Flos rigged on the ceiling to
provide general fill; we used daylight
tubes for day scenes and 2,900K tubes
for night, turning individual tubes on
and off as necessary. With the Coroplast
louvers, Joey made an adjustable egg
crate that could be put in any position
with Velcro. Sometimes wed take it out
and let the light spill all over, and some-
times wed position the louvers at one
angle to light in a certain direction. For
night scenes, wed adjust them to create
a pool-of-light feel [suggesting ceiling
practicals].
The dining room required a
different solution, however. I wanted a
combination of soft toplight and some
hard spots bouncing off the dining table
to provide fill for the actors eyes, says
Prieto. I like 600-watt Dedolights for
Left: Mendez
shares details
with the
Americans in the
Taylors dining
room. F-Max LED
Tube Lights and
600-watt
Dedolights
rigged directly
over the table
created the mix
of soft toplight
and hard spots
Prieto desired.
Below: Affleck
discusses a shot
with Prieto as
1st AD David
Webb listens.
that type of hotspot, but they would have
been in frame if Id used them with Joey
Flos. [Chief lighting technician] Randy
Woodside introduced me to F-Max
LED Tube Lights, which are ballast-free
and dimmable. We created two 4-by-4
squares of F-Max LED tubes on the
perimeter of frames next to each other
and rigged them directly over the table,
bouncing the light off the ceiling. Then,
we rigged a Dedolight in the center of
each square and skirted the whole thing
with about 5 inches of black Duvetyn to
keep light off the walls. With that, we
could shoot in any direction with the
lighting very tight to the ceiling.
Prieto also found the F-Maxes
handy for lighting curtains at night. We
hid them behind the valance and gelled
them with
1
8 Minus Green and
CTO, he says. When you use Kino
Flos right up against a curtain, they are
usually too bright, requiring NDs and
gels, but we could simply dim the F-
Maxes down as needed.
At one point, Mendez takes the
six Americans into Tehrans crowded
Grand Bazaar to help establish their
cover, which is that they are Canadian
filmmakers scouting locations for a
movie. The outing turns into a
confrontation when one of the women,
Kathy Stafford (Bish), pulls out a
camera and takes a Polaroid, angering a
man nearby. This sequence was shot in
Istanbuls Grand Bazaar, one of the
worlds largest open-air markets, and, in
fact, the entire Argo shoot was scheduled
around a two-day holiday when the
market would be closed to the public.
We chose four different areas of
the bazaar for the actors to move
through, and on the tech scout, [Turkish
gaffers] Durmus Demirezen and Ali
Salim Yasar and their electrics followed
me, taking notes and sketching diagrams
the lighting all had to be pre-rigged,
recalls Prieto. The scene needed to be
scary, but the bazaar is actually pretty
bright with ambient daylight and all the
lights and shiny objects in the individual
stalls. We wanted to create high contrast,
with areas of darkness and mixed colors
of light, so we had to control the light in
Top: In a risky move designed to help establish their cover, Mendez leads the Americans into Tehrans
Grand Bazaar. Middle: A-camera 1st AC Zoran Veselic (foreground) assists Prieto during filming of the
scene. Bottom: An angry Iranian scolds Kathy Stafford for taking a photo. Prieto created a hard beam of
sunlight for the confrontation to underscore the Americans vulnerability.
Film & Digital ARGO-ing Together!
Michael Condon, SOC
VP Digital Division
Andree Martin
VP Technical Services
Film and Digital to go together; just ask Rodrigo Pietro, ASC, AMC. For
shooting Argo, Rodrigo chose Clairmont Camera to fulfill his diversified
camera needs. Rodrigos extensive package included Arricams in both
4-perf and 2-perf configuration, Arri BL4 2-perf, Arri 435 2-perf, Arri 235,
Alexa Plus, and a wide assortment of anamorphic and spherical lenses.
Kudos to Rodrigo and his creativity; thank you for choosing our tools!
www.clairmont.com
all the areas we chose.
We identified all the modern
sources in the areas we would see, turned
them off, blocked out the ambient
daylight, and then put up our own prac-
tical lighting, a mix of HMI fixtures,
Cool White and tungsten Kino tubes,
Par cans, 2K Fresnels and Dedolights.
We went shop by shop, creating a mix of
color temperatures. We also rigged some
4K HMI Pars to suggest direct sunlight
coming into some areas. During one of
my scouts, I shot stills of [art director]
Peter Borck standing underneath a
small vent that let the noon sun in,
creating a hot square of toplight on his
head. We really liked that, and it
inspired our approach to the confronta-
tion when Kathy takes the Polaroid,
she is toplit by a hard beam of sunlight,
then she walks into the shadows, and
then she walks into another hard beam,
where the confrontation happens.
Randy and I decided to use 800-watt
JoLekos for the hard beams because we
could create a square of light with their
internal shutter blades, and they were
quite bright compared to the ambient
level, about 4 stops overexposed. A
little fill came from Kino tubes we hung
in nearby stalls. Its pretty effective
because it creates the feeling that the
Americans can no longer hide theyre
exposed.
Prieto carried this visual motif into
the final scenes in Iran, which show
Mendez and his wards navigating vari-
ous security checkpoints in Tehran
Airport and then sitting in a plane on the
tarmac, wondering whether their
getaway will be clean. Dim fluorescent
practicals dominated the lighting
throughout Californias Ontario Airport,
which provided the interiors, so the film-
makers bounced 18K HMI Fresnels off
two 12'x12'x3' Source Maker Cloud
Grip Balloons at the gates and check-
points the characters traverse. Prieto
wanted something extra for the final
security checkpoint, however. A lot
happens in that airport, and I was
worried it would all have this boring
fluorescent look, so we moved the last
checkpoint close to a window. The
window had actually been painted black,
but we got permission to remove the
paint, and we put a Condor outside with
an 18K ArriMax for our sunlight. The
guards inspecting the Americans papers
are only partly in sun, but the Americans
are in this hot backlight. It gives that
scene an extra edge.
In a similar vein, the Americans
are lit by direct sun as they sit in the plane
awaiting departure. We built the plane
interior on a soundstage, and I wanted
sunlight coming through the windows
on the Americans side, but I knew there
wasnt a source that would project
through that many windows and suggest
a single source it was 20 to 30 rows of
seats, says Prieto. So, for every three
windows, Joey rigged a 5K Mole-
Richardson Par on a pipe about 10 feet
from the set, aimed at the windows.
Each of these three-window sections was
separated by a white panel positioned
perpendicular to the airplane and frontlit
with Skypans on the ground. So when-
ever you see outside a window, you see
white. The panels served as flags so that
each 5K lit its own three windows.
Top: Mendez and his wards line up at the airport in Tehran. Bottom: Direct sun again suggests a
dangerous level of exposure for the Americans at the final checkpoint, where an inquisitive guard
(Farshad Farahat) is unconvinced by their cover story.
When the plane takes off, Joey and his
grips used pulleys to move the 5Ks up
and down. It really looks like a single
source. (On the opposite side of the
plane, the crew papered the windows
and positioned a row of Arri T12s soft-
ened with Full Grid outside. The only
sources inside were a few tungsten Kino
Flos bouncing off the ceiling for fill.)
A critical component of the
Americans cover story proves to be a
press event Siegel stages at the Beverly
Hilton Hotel to announce his new
movie. The scene was written to take
place at dusk, but when Prieto scouted
the location, he immediately realized
that timing wasnt practical because of
all the windows. He recalls, I proposed
shooting day-for-dusk by closing off the
windows with heavy curtains and light-
ing the scene with a golden hue that
would represent the glamour of
Hollywood. We show dusk at the outset
by starting on Mendez out on the patio,
and then we bring him inside with a
Steadicam shot. We shot the rest of the
scenes interiors during the day and just
blacked out all the windows, and again,
we hid a few F-Maxes in the valances to
light the golden curtains.
He struggled with how to create
lighting inside that would provide over-
all ambience as well as graphic interest.
The room was quite long and featured
a wall of mirrors, a very low ceiling, and
dim practical lighting that was flat and
murky. I couldnt figure out how to rig
any lighting that wouldnt be visible in
frame, so finally, I asked the art depart-
ment to create about 20 small, golden,
empty columns that we could position
throughout the space, and inside each of
those we hid a 750-watt Leko aimed at
the ceiling. We used the iris of the Leko
to create a perfect circle on the ceiling,
so when seen by the camera, the bounce
looks like a [ceiling-mounted] lamp.
That gave us the exposure level we
needed and added contrast and graphic
interest for the ceiling.
Perhaps the most noteworthy
aspect of the CIA scenes is the fact that
some of them were actually shot on
location in CIA headquarters in
Top: Chambers
presides over a
script reading as
part of Siegels
press event at the
Beverly Hilton.
Middle: This shot
from the scene
shows one of the
circular bounces
Prieto created on
the ceiling to help
with exposure and
give the room
visual interest.
Bottom: ODonnell
awaits news of
Mendezs mission.
Langley, Va., a first for a film produc-
tion. They were very cooperative
because Tony Mendez is a legend there,
says Prieto. One scene is a Steadicam
shot that brings Mendez and ODonnell
down the hall to a conference room for
the first meeting about the Iran situa-
tion. The hallway had vertical windows
along one side and Cool White fluores-
cents overhead, recalls the cinematog-
rapher. We werent allowed to change
the bulbs to color-corrected ones, so we
just turned them off and used the
daylight coming through the windows.
As Ben approached the door to the
conference room, I bounced a couple of
4K Pars off the ceiling to create a little
matching fill.
Seymour reproduced the loca-
tions vertical windows in the set for
ODonnells office, which was built in
the basement of the L.A. Times building.
We made the windows textured glass
and created day and night looks for
them, says Prieto. For daylight, we put
white panels on the opposite side of the
glass and frontlit them with Skypans,
and sometimes we angled in an Arri
T12 to suggest direct sun. For night
scenes, we hung blacks and positioned
100-watt quartz bulbs gelled for sodium
and metal-halide looks on stands in
front of them. Distorted by the glass,
they give the feeling of night lighting
somewhere in the distance.
For shots of Mendez driving past
D.C. landmarks such as the Washington
Monument at night, Prieto used an Arri
Alexa with the Hawks, rating the
camera at 800 ISO and augmenting the
existing light only with some LED
edgelight for Affleck. We created strips
of LEDs that were about 2 feet long and
6 or 10 inches wide and gelled them to
create metal-halide and other hues, and
we rigged them to a pipe we attached to
the roof of the car that stretched out
beyond the windows. [Assistant chief
lighting technician] Russell Ayer was in
the trunk of the car, dimming the lights
up and down as to suggest passing ambi-
ent light as Ben drove. It was very effec-
tive and very easy to rig.
He also used an Alexa, this time
with the Zeiss lenses, for sequences set
in Istanbul, mainly because the key
scene, Mendezs rendezvous with an
OSS officer, was shot in the cavernous
Hagia Sophia. Turkey stood in for Iran
for most of the film, but in this case, we
wanted to use Turkey as Turkey, so we
made a point of using a recognizable
site, he notes.
While scouting the Byzantine
landmark with his Turkish electricians,
Prieto noted ruefully that the lights in
the massive chandeliers were compact
fluorescents that bathed everything in a
green hue. Ali and Durmus said they
could ask permission to change the
bulbs, and they actually made it happen
they swapped out 4,000 fluorescent
bulbs for 7-watt incandescent bulbs! he
marvels. That actually made it a little
darker, of course, but the lights were
warm and twinkly, and they looked
beautiful. When they opened the site
for tourists the next day, they got so
many compliments they decided to
keep them. I think theyre still there!
That scene was especially tricky
for Zoran because we were on
Steadicam, wide open on Zeiss Super
Speeds, with an 85mm for close-ups.
He really nailed it. We used the Alexa
for the other Turkey scenes to keep that
look consistent, and to make sure it was
differentiated from the grainy texture of
the Iran scenes. When we saw dailies,
we were worried the clean digital
images would be too different from the
look of the rest of the picture, but within
the flow of the story, it works. All of the
Alexa footage was recorded in ArriRaw,
and when Estrada timed the dailies, he
applied the LUT EFilm has developed
to emulate 5219.
Prieto is enthusiastic about the
CinemaScan system, which uses
EFilms EWorks color-timing technol-
ogy to maintain a consistent look from
64
The camera
team works
handheld to
capture some
action in the
U.S. Embassy.
dailies through deliverables. It tracks
very efficiently because all the timing is
done with the same device, an Autodesk
Lustre, he says. The look is very, very
accurate. Our dailies were projected in a
trailer on set while we were working in
the States, and they were the closest Ive
ever come to projected film dailies in the
digital world.
Argo was also his first all-4K
finish. Ben lobbied for a 4K scan
because he felt it enhanced the experi-
ence. Strangely enough, it was more
apparent in the 2-perf material, where
the grain was a little more present, and
in the wide shots in the Hagia Sophia,
because ArriRaw gives you 3K resolu-
tion, so if you finish in 2K youre not
using [all the information].
Normally I approach DIs very
simply, and my work on Argo was mostly
about trying to create a coherent whole
out of all these looks, going scene-by-
scene and balancing things out, contin-
ues Prieto. Ben and I spent about two
weeks timing the picture with Yvan
Lucas. Ben is really into the DI process.
I found that he enjoys the technical
aspects of directing as much as working
on the script and with the actors.
This was the first time I worked
with a director who was also acting in
the movie, and Bens stamina was pretty
amazing, he adds. Hed arrive on set
incredibly early and go through
costume and makeup so he could come
to the set and talk about what we were
going to do before the other actors even
started their process. Then the actors
would come in and rehearse, and hed
stay on set while we were setting up
shots. He didnt rehearse and then
disappear. He used every second avail-
able to make the best film possible, and
I think it shows on the screen.
65
TECHNICAL SPECS
2.40:1
35mm, Digital Capture,
Super 16mm, Super 8mm
35mm and Digital Capture:
Arricam Studio, Lite; Arri Alexa
Zeiss Super Speed, Ultra Prime;
Hawk V-Lite Series 2x;
Angenieux Optimo; Canon
Kodak Vision2 500T 5260;
Vision3 500T 5219, 250D 5207
Super 16mm:
Bolex H-16 Rex-5
Angenieux, Kern-Paillard Switar
Kodak Vision3 250D 7207,
500T 7219
Super 8mm:
Canon 1014 AZ
Kodak Ektachrome 100D 5285,
Vision3 500T 5219
Digital Intermediate
C
inematographer Ben Davis, BSC agrees that its hard to
summarize the mayhem depicted in Seven Psychopaths,
writer/director Martin McDonaghs sophomore feature.
Its about a kidnapped dog and serial killers who kill
serial killers, writers block and B-movies, men who love
bunny rabbits and men who love gunplay. But at its core, its
about friendship, just like McDonaghs In Bruges (AC April
08).
The story is about a stymied screenwriter named Marty
(Colin Farrell) who has a title for his screenplay, Seven
Psychopaths, but not much else. Hes the alcoholic straight man
to his crazy friend Billy (Sam Rockwell), an unemployed actor
Ben Davis, BSC creates a
wide range of looks for the
comedy Seven Psychopaths.
By Patricia Thomson
|
who runs a dog-kidnapping business with Hans (Christopher
Walken). Things get complicated when Billy steals the
beloved Shih Tzu owned by Charlie (Woody Harrelson), a
gangster whose girlfriend is also sleeping with Billy.
Meanwhile, a masked man has been gunning down other
gangsters. As these threads tighten into a hairy knot, Billy and
Hans help Martin with his screenplay. At various points, each
character narrates his proposed scenario, and their ideas are
visualized. Each film-within-a-film plays with a particular
genre noir, cheesy action, 1970s thriller filtered through
the sensibilities of the character.
Having shot features that include The Best Exotic
Marigold Hotel, Kick-Ass and Layer Cake, Davis was prepared
for anything. Ive done most of the genres by now, so I can
bend my arm to any style, he says. Davis worked his way up
to cinematographer by taking the long, scenic route through
the camera department, and his first feature credit was
Miranda (2002). He met McDonagh when the director was
gearing up for In Bruges. The fellow Londoners hit it off, but
the timing didnt work out for collaborating on that picture. I
always wanted to get back to work with him, says
McDonagh. Id seen Layer Cake and liked the visual element
of that. And Kick-Ass was a lot crazier than Seven Psychopaths,
but visually very interesting and very cinematic. I wanted this
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movie to be cinematic; I wanted camera
movement and color and excitement.
Davis was new to production in
the United States, and his friend
Seamus McGarvey, ASC, BSC helped
him round up a crew that included
gaffer Chris Napolitano, camera assis-
tants Bill Coe and Harry Zimmerman,
and camera operator Stephen
Campanelli. Napolitano, Coe and
Zimmerman had just worked with
McGarvey on The Avengers, and
Campanelli recalls getting the call from
Coe: Bill said, Not a lot of days, a lot of
locations and no money at all, but youve
gotta read this script. I said, Nah, not
interested. And he said, No, really,
youve got to read this script. Five pages
into it, I said, Im in.
Plus, adds Napolitano, we had
Woody Harrelson, Christopher
Walken, Sam Rockwell, Colin Farrell
and Tom Waits!
Most of the actors had worked
with McDonagh before on stage or
screen. Thats why Harrelson didnt
blink when he had to do 15 takes for his
first scene. When I saw that, I thought,
Were going to be in for a long shoot,
recalls Napolitano, but everything went
fine. Ben was a pleasure to work with,
and he and Martin had a great rapport.
During prep, Davis filled several
large notepads with sketches, notes and
reference stills for every scene. He
doesnt just come in with a concept,
says Napolitano. By the time I got
there, the lighting ideas were pretty
drawn out. Bens lighting plots are
incredibly detailed. Another great thing
is that he knows what he likes. He has
his taste its very naturalistic, but he
is able to add bold colors to scenes when
needed.
McDonagh also brought very
strong ideas to the table, says Davis.
Martin drew storyboards for the whole
movie, he recalls. The drawings were
terrible the dogs looked like the
rabbits, and the people were matchstick
men but they got his ideas across!
The director also brought some
specific references for the films-within-
the-film. For instance, Night of the
Opposite (from left):
Marty (Colin Farrell),
Billy (Sam Rockwell)
and Hans
(Christopher Walken)
hide out in the desert
after kidnapping a
gangsters dog in
Seven Psychopaths.
This page, top: Hans
encounters the
gangster, Charlie
(Woody Harrelson).
Middle: Director
Martin McDonagh
(right) and
cinematographer Ben
Davis, BSC discuss a
setup. Bottom: Marty
grows increasingly
upset with his pal.
Deep Shih Tzu

Hunter was key to the look of Martys
scenario about a Quaker psychopath
who stalks his daughters killer. We had
to decide what kinds of films Marty
likes what are his points of refer-
ence? says Davis. We felt Night of the
Hunter would be one of his favorites,
and that when he was describing this
Quaker character, those noir images
would be very much part of it. Another
of his favorites would be Paris, Texas, so
he imagines the actor playing the
Quaker to be Harry Dean Stanton.
When Billy narrates his grand
finale, it involves all seven psychopaths
in a blazing gun battle in a misty ceme-
tery, complete with exploding heads,
buckets of blood, and a pistol-packing
Hans popping out of a grave. Billy likes
bad action movies, so we set out to make
one, says Davis.
Hans, in turn, narrates an ending
to a story about a Vietcong psychopath
that references the famous image of the
self-immolating monk that shocked
people around the world during the
Vietnam War.
For a sequence in which
Zachariah (Tom Waits) recounts his
decades-long rampage killing serial
killers, Davis referenced film noir, 1970s
American thrillers, and still photogra-
phy by Saul Leiter, William Eggleston
and Steven Shore.
For the rest of the movie, the goal
was a very contemporary feel, says the
cinematographer. Martin is obsessed
with L.A., especially the palm trees. We
tried to get palm trees in every shot, and
we strove for images that would make
you feel the Southern California sun.
With that goal in mind, and
because a good portion of the story is set
in the desert, the filmmakers opted to
shoot 35mm. Film captures highlights
beautifully and handles hot, contrasty
day exteriors better than digital, Davis
observes. Some scenes also call for fire,
which film captures better, too. We also
wanted a bit of grain and good contrast
in the image.
Shooting 3-perf Super 35mm for
a final aspect ratio of 2.40:1, Davis
deployed two cameras throughout the
shoot, and he always operated one of
them. When Im shooting film, I like to
look through the eyepiece to make deci-
sions about lighting because thats the
best way to assess what youre getting,
he notes. He told Campanelli there
would be no A and B cameras, strictly
speaking. If I felt I needed to be on the
close-ups so I could read the perfor-
mance and relay information to Martin,
I was on the close-up; if I felt I needed
to be on the master, I was on the master.
If I needed Steve on the master because
it had a complex move and I had a lot of
lighting to do, Steve did the master. We
had a very flexible relationship.
Davis used a range of Panavision
Primo primes and an 11:1 24-275mm
Primo zoom. In the contemporary
footage, we worked on wider lenses
closer to the actors, sticking to focal
lengths between 21mm and 35mm, he
says. We wanted the audience to travel
through the movie with Marty and
Billy, and I feel that when youre on a
wider lens and closer to the actors, the
audience connects with them more
closely. We also used more handheld
and Steadicam work in that material.
For Zachariahs flashbacks, we take a
more observational position, using
lenses between 35mm and 100mm and
less camera movement.
Los Angeles is another character
in the story, and McDonagh wanted to
select locations that havent been seen in
The
filmmakers
prepare to
shoot with
Farrell at a
location in
Echo Park that
offered a
spectacular
view of
downtown
Los Angeles.
movies countless times before. An
example is Billys house, which is located
in Echo Park on a steep hill overlooking
downtown. When filming interiors, the
filmmakers blocked and exposed to
ensure that the skyline was visible
through the living-room windows,
which were layered with ND.6. For
exterior shots of the house, the skyline
was always reflected in the windows. For
a walk-and-talk on the sidewalk, the
steep incline worked in the teams favor.
We had a palm tree at the top of the hill
against the blue sky, and we could pan
down the hill and see the whole of
downtown Los Angeles in the distance,
Davis says.
Davis boosted the saturation of
the blue skies and green palms, as well as
the warmth of the flesh tones, in the two
weeks he spent grading the picture with
colorist Adam Glasman at Company 3
in London. He notes, however, that the
film stock did most of it for us. For all
the contemporary scenes, we just blued
up skies, added some contrast, saturated
the color a bit and gave it that sense of
heat. We did a lot more work on the
flashbacks, enhancing grain and desatu-
rating colors.
McDonaghs beloved palm trees
also appear in the view from a hospital
room where Hans wife is undergoing
treatment. To enhance the trees visibil-
ity, Davis and Glasman worked some
magic in the DI, bringing the
interior/exterior balance to the point
where the windows were about equal to
the exposure inside the room. Davis
recalls, I told Martin I was worried it
looked a bit artificial, but when I showed
him the more naturalistic look, he
preferred it the other way. Within the
realm of this story, slightly strange-look-
ing things seemed to work. They just
went with the movie.
In lighting, Davis often made use
of strong color, especially red. An exam-
ple is a scene involving Hans that was
shot in a bar in Culver City. The walls
were decorated with animal skulls, but
apart from that, says Davis, the bar
looked kind of normal, so I thought wed
bring in a strong sense of color. We lit
Deep Shih Tzu

Top: Farrell and
Harrelson prepare
for some process-
trailer work.
Middle: Davis
captures another
angle of the actors
for the sequence.
Bottom: The team
films Charlie on the
loose in the desert.
Deep Shih Tzu

the entire bar area red, and then we used
a very strong marine blue on the tables.
We hung some 4-foot 4-bank
3,200K Kino Flos gelled with Lee
Flame Red over the bar, and then we
rigged small Dedolights gelled with Lee
Steel Blue to hit the tables, says
Napolitano. Our pre-rig time was really
limited, but we got a great crew in there
to put up the Kino Flos. I was really
impressed with how quickly and beauti-
fully Ben lights. He doesnt second-guess
himself on anything.
Classic hard light was required
for the film-noir scenes, which were
shot on a street on the Paramount lot
and on location at a former youth
correctional facility in Whittier. We
wanted things to be in silhouette and in
shadow, says Davis. Some shots are
direct allusions to Night of the Hunter,
including one of Stanton standing
under a streetlamp, smoking a cigarette
and watching a second-story window.
A tungsten 5K positioned almost
directly overhead on a 60' Condor
created the pool of light, while another
5K on the lift pushed light through the
bedroom window. At Davis request,
production designer David Wasco
created sheer curtains with a pattern,
enabling the cinematographer to project
light through them and project that
shadow onto the killers face.
Billys graveyard shootout was
shot on location in L.A.s Rosedale
Cemetery. Its your classic graveyard
scene, with lots of blue backlight and
smoke effects, says Davis. I wanted the
lighting to look good, but slightly cheap.
I didnt want it to be too cultivated.
Most of the lighting was done
from two 80' Condors, according to
Napolitano. One held a 20K Fresnel
and an Arri T12, and the other held a
20K and two T12s. Only two nights
were scheduled for the action-packed
sequence, which required three cameras,
lots of Dutch angles and hundreds of
squibs. We were able to position the
Condors so we could light all the action
because we had coverage in both direc-
tions, says Napolitano. There was a lot
of movement out there with all the
gunfire and craziness. We didnt have
the time to move the lifts, but Ben was
able to adjust all the camera positions
for the light.
One novelty for Davis on Seven
Psychopaths was shooting rear-screen
projection. Theres a long dialogue scene
as Marty, Billy and Hans drive to the
desert to escape Charlie, and Davis
imagined shooting it with greenscreen.
Im not a fan of process trailers, he
remarks. The car is up too high, the
movement of the car is wrong, and the
drivers movements are wrong. At the
line producers suggestion, the produc-
tion hired 24frame.com to do HD rear-
projection. First, a car rigged with eight
HD cameras drove the designated
stretch of road to capture background
plates. Then, four projectors and 12'x8'
screens were brought to a North
Hollywood warehouse and positioned
around the car to provide the necessary
landscapes and windshield reflections.
It looks really convincing as long
as you keep the lights simple and dont
Top: The crew sets up the lighting in Rosedale Cemetery for a bloody sequence that will reflect
Billys fondness for bad action flicks. Bottom: HD rear-screen projection provides the background
during filming of a night driving scene involving a long dialogue.
put in too many moving sources, says
Davis, who supplemented the bounce
from the car headlights with Par cans
bounced on white polyboard. As grips
bounced the car, Davis made subtle
camera moves on a slider. As youre
lighting your material, you can see what
the background is and match that to
your eye, and thats great, he says.
When youre lighting greenscreen, the
backgrounds usually havent been shot
yet, so you have to imagine what youre
matching to. This really revolutionized
how I approach car work. I know the
results look convincing because the
sound mixer said, I cant believe how
good the sound quality is in the car. I
cant even hear the engine!
Illuminating the car interior were
small gag lights Napolitano made with
LiteGear VHO Hybrid LiteRibbons. I
put four to five rows of LEDs on a 3-by-
5-inch piece of aluminum, he explains.
Its only about a quarter-inch thick, so
its really versatile. The Hybrid LEDs
allow instant color-temp settings as you
are lighting. You can put the source very
close to the actor and hide it just about
anywhere.
Once the trio reaches the desert,
they set up camp and wait for the bad
guys. The desert portion of the shoot
lasted 2 weeks and involved filming in
Joshua Tree National Park and in nearby
Lancaster. That was my favorite part of
the shoot, though most of the crew was
less enthusiastic about the location, says
Davis. Lancaster is a bit of a
Nowheresville, and it got incredibly cold
at night, about 17F. But theres some-
thing beautifully peaceful about the
Deep Shih Tzu

74
Davis readies a
setup with
B-camera 1st AC
Harry
Zimmerman
(left) and
B-camera dolly
grip Diego
Mariscal.
desert. Our location was on a high
point, so every direction had this fantas-
tic, endless landscape.
But shooting night scenes there
also presented Davis and his crew with
their greatest lighting challenge. As a
cinematographer, one thing I dont
particularly enjoy reading in a script is
moonlight scene its very difficult to
do well, he says. The sandy soil
precluded the use of 80' Condors, and
high winds discouraged hanging
anything. Davis and Napolitano opti-
mistically kept a Bebee Night Light on
their gear sheet, but ultimately, they
decided their moonlight source would
have to be placed atop some nearby
rocks.
A granite peak about 120' from
the characters tent became the lighting
platform. We put three Arri T12s
gelled with CTB there and put a 12-
by-12 frame of Quarter Grid in front of
them, and that gave us our moonlight
over the campsite, says Napolitano.
Davis exposed these 1 stop under key.
For close work, a few 2K, 5K and 10K
Fresnels were hidden behind rocks or
brought in with an 8'x8' frame of diffu-
sion. We tried to focus them in wher-
ever we could, says Davis. It took a bit
of work in post to even it all out. There
are quite a few power windows in that
particular scene!
The campfire provided the only
other source. I used real flames as much
as I could, but firelight by itself is an
aggressive kind of source, very lively and
flickery, says Davis. I think a face lit
purely by flame is slightly disturbing to
the eye, so I add a soft source thats
constant to even out the dark areas. To
that end, some 300-watt and 500-watt
halogen gag lights with custom reflec-
tors from Napolitanos kit were placed
around the fire pit to push through the
flames. When the fire allowed,
Napolitano softened them with 216 or
250 diffusion.
Ultimately, the 41-day shoot
netted enough material for a three-hour
first cut. There are going to be very
good DVD extras, Davis notes with a
laugh. Despite the short schedule, small
equipment package and cold desert
nights, he loved every minute of it.
When we were making it, I hoped it
would be special.
75
TECHNICAL SPECS
2.40:1
3-perf Super 35mm
Panaflex Platinum,
Millennium XL
Panavision Primo
Kodak Vision3 500T 5219,
250D 5207
Digital Intermediate
Bedlams New
Address
Michael Goi, ASC
unlocks chambers of dread
for American Horror Story:
Asylum.
By David Heuring
|
S
eason two of the FX series American
Horror Story, subtitled Asylum, takes
viewers into an entirely new and
creepy realm as the setting shifts from
last seasons Los Angeles Murder House
to a Massachusetts mental institution
called Briarcliff Manor. The main story-
line takes place in the 1960s, but events
unfold in a variety of eras, including 1949
and 2012. Jessica Lange once again
anchors the cast, but she plays a
completely different character, a sadistic
nun.
Also back for another round is
Michael Goi, ASC, who shot five
episodes of the shows first season, shar-
ing director of photography duties with
Christopher Baffa, ASC and John
Aronson. This year Goi is the sole cine-
matographer, and he says the anthology
series, created by Ryan Murphy and Brad
Falchuk, provides him with a rich array of
creative possibilities.
Shot on location in Southern
California, American Horror Story is
captured on 35mm film, and Goi incor-
porates a variety of techniques in his
approach, including reversal stock, cross-
processing, push- and pull-processing,
speed-ramping, swing-and-tilt lenses,
split diopters and hand-cranking. In a
lot of ways, its a return to old-fashioned
filmmaking, but in other ways, its a
modern approach because were doing so
many things that are way out there, he
says. Its just a lot of fun.
The exterior of Briarcliff Manor is
a government building in Santa Ana.
Interiors have been built entirely onstage
at Paramount Studio under the supervi-
sion of production designer Mark
Worthington. Gois team works with
three Panaflex Millennium XL cameras
A and B cameras, with the third
devoted to Steadicam. The package also
includes an Eyemo and an Arri 435
Xtreme that can be speed-ramped or
hand-cranked; the Xtreme is also
equipped with an Arri Timing Shift Box
that allows the introduction of controlled
mistimed shutter streaking and lateral
jitters.
Goi uses Panavision Primo 11:1
24-275mm and 19-90mm Compact
Zooms, an Angenieux Optimo 28-
76mm zoom, and a Primo 10mm prime.
He notes that he fights the TV conven-
tion of close-ups in dialogue scenes. The
10mm is not a lens you see used very
much in TV, but its one of my favorites
now. We sometimes use it for master
shots of dialogue scenes because we can
look up at these incredible sets, which are
an integral part of the story. When I put
that lens on the camera, I feel like every-
thing comes together the characters,
the environment, the massive sets and
the visual style of the show.
Comfortable compositions are not
what Goi seeks from operators James
Reid and Charles Chip Schner.
Instead, he asks for framing that empha-
sizes negative space and seems a bit off.
He explains, There are certain rules and
practices that are accepted as correct,
especially if you work in TV. These
include the way you frame a close-up or
a medium shot, and when you use a dolly
or when you use Steadicam. We try to
break out of all that. We will use a hand-
held camera in what seems like a very
standard scene simply because that
movement is not whats expected.
Working with gaffer John
Magallon and key grip Kenny King, Goi
strives to design lighting that creates an
undercurrent of unease. Well often give
a fairly innocent scene a very dark edge.
Sometimes we give a very gruesome
scene a look of complete complacency,
for lack of a better word, because it can be
unnerving for the audience to witness
something horrific in surroundings that
are pleasantly lit.
The productions lighting kit
includes everything from conventional
Fresnels to portable strobe units (for
shock effects). The main sets are elabo-
rately rigged from the perms with Coop
Lights, 2K space lights, 5K Skypans,
10Ks and Arri T12s, with each lamp
wired to a dimmer board. Some fixtures
are gelled, giving Goi the option of U
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Opposite: Kit (Evan Peters) is escorted into the
Briarcliff Manor mental institution, the main setting
for Season 2 of American Horror Story, after he is
accused of murdering his wife. This page, top: A
journalist (Sara Paulson) and Briarcliff staffers
observe the new arrival. Bottom: Another inmate,
Grace (Lizzie Brocher), proves difficult to control.
quickly altering color temperature.
Many smaller units, including Juniors,
Babies, Tweenies, Blondes and Peppers,
are also part of the toolkit.
However, Goi is just as likely to
light a scene with a single incandescent
bulb in a practical desk lamp and let the
rest fall off to black. The lights on
permanent rigs give us overall cover for
those areas, which makes it faster for us
to accommodate long handheld moves
or 360-degree Steadicam shots. But in
many cases, Ill only use a few of those
lights and then supplement from the
floor for the specific effect we want.
I like lighting that feels like its
coming from a strange angle, he contin-
ues. As a matter of course, we throw
away the first lighting idea. Finding new
ways to light a set youve already shot 10
times becomes a challenge, but we try
not to light the same room the same way
twice, and certainly not in the same
episode. We get inspiration from many
sources, so the show has a lot of visual
variety. Its important to find the cohe-
sive thread in all those lighting styles so
it doesnt feel like a hodge-podge to the
viewer.
For a sequence in a recent episode,
the script called for a shred of light to
spill out from underneath a door, draw-
ing a character to the room. Inside, a
murder was underway. Goi developed a
plan for lighting the scene, but when he
saw the rehearsal, he decided on a simpler
approach. I figured that if the light was
coming from underneath the door, it
must have fallen on the floor, so we
knocked a practical lamp down and
placed two units, a Tweenie and a 2K
Blonde, on either side of it. The Blonde
was shooting up at the murderer, and the
Tweenie was shining on the victim on the
floor. We achieved the light under the
door by putting a string of MR-16 bulbs
mounted on a frame and attached to the
door. Those three lights are really all we
needed.
This spontaneity is an important
aspect of Gois approach. I set up the
general lighting based on what the direc-
tor gives me, but when I see the rehearsal
with the actors, something inevitably
shifts. I like that, because it allows me to
dismiss my first concept. Seeing the vari-
ation that comes up in rehearsal forces me
to adapt on the spot, and thats where the
work gets more interesting.
For the 1940s scenes this season,
Goi has been shooting Eastman
Double-X 5222 black-and-white nega-
tive with a hand-cranked Arri 2-C. For
scenes set in the present day, he often
shoots Kodak Ektachrome 100D 5285
color-reversal film. I really wanted to
Top: Sister Jude (Jessica Lange) meets with Dr. Arden (James Cromwell) in her office.
Bottom: Sister Eunice (Lily Rabe) watches a film with the inmates in the asylums common room.
Far right: Arden takes a break in the institutions bakery. Opposite: A lighting plot details Gois
approach to sets on the shows main stage. These include Sister Judes office, a two-story
atrium, the common room and inmate cells.

Bedlams New Address
separate the present from 1964 in a major
way, and 5285 became an integral part of
our 2012 look. We shoot 1964 scenes on
Kodak [Vision3 500T] 5219 and desat-
urate it slightly with pull processing, and
I might also use 5219 for some present-
day sequences simply because there are
elements we need to see, like blood or
detached limbs, that might get swallowed
up in the reversal. In those cases, weve
saturated the color, deepened the blacks
and jacked up the contrast to bring the
5219 more in line with the reversal
footage. The color-reversal material looks
so extreme you cant really duplicate it
exactly, but we get pretty close!
The show offers Goi many oppor-
tunities to underscore characters shifting
psychological states. In one scene, Dr.
Preston (Zachary Quinto) finds himself
at odds with Sister Jude (Lange) while
consulting with a couple whose son is
experiencing violent mood swings. To
lend their interaction extra impact, Goi
employed a split diopter. We had Zach
very big in the foreground, listening to
the couple, as Jessica is watching Zach
for his reaction, because she objects to
the way he treats patients. Using the
diopter allowed us to tie the characters
together in a way thats more powerful
than cutting back-and-forth between two
close-ups. Stacking the actors together in
the same frame in an unusual way
provides a better indication of what
theyre thinking and feeling.
For another sequence, Goi used
Century Precision Optics Swing Shift
lenses to reflect the point of view of a
character who has just undergone elec-
troshock therapy. We also used that tech-
nique for a flashback in which somebody
was relating a horrifying act his son had
committed, he notes. So far, weve only
used it for very overt shock-cut moments.
In some upcoming episodes, there are
moments when we plan to use it a little
more subtly to denote that somethings
not quite right in what seems like a very
persuasive situation. Im looking forward
to that.
For one particular setting, Goi used
a set of discontinued filters to create a look
rife with blown-out highlights and glow-
ing whites. A few years ago, I bought a set
of white, plastic Wilson SupraFrost filters,
which arent made anymore, he explains.
They are very easily scratched and
impossible to clean if you try to clean
them, youll wipe the effect right off the
filter! I bought three pristine sets from

Bedlams New Address
Top: A lighting plot for Stage 5, which houses a bakery, a tunnel that runs beneath the asylum,
Dr. Ardens office and a lab. Bottom photo: A shot of the hallway set containing the inmates cells.
The cells have hard ceilings but their walls fly up to allow flexibility.
Victor Kemper [ASC], and every now and
then, they come in handy. This particular
environment is very different from the
mental institution and the other residences
where the characters live, but its set within
the same time period of 1964. I wanted the
glowing whites and blown highlights, but I
wanted to selectively hold onto certain
details. I was testing with 3 to 4 stops of
overexposure, and on a lark, I decided to try
going 6 stops over on one of the takes. It
was a very strong look, and [episode direc-
tor] Brad Buecker really responded to it. So
now were taking that approach to those
sequences.
When it comes to creating special-
ized looks, Goi prefers to avoid extensive
digital manipulation in post. I like to
produce and incorporate the stylistic effects
in-camera as much as possible. If you can
capture it at the moment of photography, I
think it roots everyone and puts them all on
the same page in terms of where youre
going stylistically. It also saves production a
great deal of money on the post side; they
dont have to play around as much to find
the look because youve already created it.
All of the shows disparate looks fit
into an overall map that takes shape in
Gois mind. This map includes all of the
characters and their arcs, and the complex
web of interactions that play out and pay
off over the course of the entire season.
This year, Murphy has given Goi more
information about the plot than he did last
season, but the cinematographer notes that
only Murphy sees the entire puzzle and
how it all fits together. At any given time,
the audience may not know why some-
thing feels the way it does, but two episodes
later, theres a realization, says Goi. What
were trying to do with the audience
emotionally is to leave things a little uncer-
tain, but then bring them together in a
really horrifying way later. Ryan challenges
everyone constantly because he doesnt do
anything in a conventional way, and I really
enjoy that.
Goi joined American Horror Story
midway through its first season, but this
season, he was involved in discussions of
the visual style from the beginning. I
wanted everything to look a little more
organically cohesive this year, he says.

Bedlams New Address
Top: Goi checks his setup while 1st AC Brice Reid (in mask) and gaffer John Magallon prep the
equipment. Bottom: The shows B-camera crew works between takes. From left are dolly grip
Spencer Wilcox, 2nd AC Shannon DeWolfe and 1st AC Fred McLane.
Direct your sights on the 2013 Sundance Film Festival.
Go to sundance.org/tickets to register.
sundance.org/festival
Thats why we carry an Eyemo instead
of a small digital camera; the Eyemo
allows us to maintain the look were
creating on film. I can generate all these
looks within a film negative and keep
them rooted within the same aesthetic,
even though the look of any given
element may be radically different. I
never want viewers to think, Okay, they
just twisted some knobs and applied a
fancy visual effect.
Encore handles the productions
dailies and final color work, and Goi is
known to show up there at 3 a.m. to go
over the looks. Im a firm believer in the
relationship of the cinematographer
with the dailies timer, he says. I know
the prevailing trend is to basically do
lab-in-a-box on the set, but I prefer to
have somebody put his or her eye on the
footage in the middle of the night and
react to what he or she is seeing
somebody who hasnt been on the set,
somebody who doesnt know what I
went through during shooting. I like to
have that input on the material. That
relationship is critical, especially on a
show like this, where the eyes of the
studio, the network and the production
company are going to be trained on the
first few days of dailies. I made it a point
to go to Encore every night during film-
ing of the first two episodes, then once
every couple of weeks after that.
Goi says some of the films that
have influenced his thinking about
American Horror Story: Asylum are the
Swedish silent film The Phantom
Carriage, shot by Julius Jaenzon; Black
Narcissus, shot by Jack Cardiff, ASC,
BSC; the documentary People on
Sunday, shot by Eugen Schfftan; and
the Rodrigo Garcia film Things You Can
Tell Just By Looking at Her, shot by
Emmanuel Lubezki, ASC, AMC. Of the
latter picture, Goi observes, On almost
every shot, Chivo left massive amounts of
headroom and used grads to darken the
upper portion of the frame, which creates
such a sense of unease. Its essentially a
straight dialogue movie, but the world
feels a little off-kilter. Thats part of a mix
of influences that were tying together this
season.
What I like about silent films is
that virtually every single modern effect,
or what we think of as a modern effect, is
reflected in them, he continues. Weve
certainly refined and adapted a lot of
those looks since then, and in some cases,
weve made them easier to accomplish.
But many of the essential concepts still in
play today were developed by the late
1920s, and much of it came out of
simplicity and inventiveness. Sometimes
its as simple as reversing the camera at a
certain moment; the viewer senses some-
thing is different, but he doesnt quite
realize the action is reversed. For me, a
large part of the fun of being in produc-
tion is tapping what great filmmakers did
in the past and finding ways to make
those techniques resonate with todays
audience. Sometimes people on our set
will say, Wow, that effect in that scene is
really stunning! And I say, Well, it was
stunning in 1927, too!

Bedlams New Address
Top: Director
Brad Buecker
rehearses a
scene as
camera
operator
James Reid
preps for the
next take.
Bottom: Rabe
prepares for a
close-up as
Reid and dolly
grip Jason
Walser adjust
the frame.
TECHNICAL SPECS
1.78:1
3-perf Super 35mm and
4-perf 35mm
Panaflex Millennium XL;
Arri 435 Xtreme, 2-C;
Bell & Howell Eyemo
Panavision Primo,
Compact Zoom;
Angenieux Optimo;
Century Precision Optics
Swing Shift
Kodak Vision3 500T 5219,
Ektachrome 100D 5285,
Eastman Double-X 5222
First-Rate Fare
This years
Emmy-nominated
cinematographers
enjoy their turns in
the spotlight.
|
Left: Steven Silver, ASC poses in the press room with his 7-year-old son, Kai, after the pair went
onstage together to accept Silvers Emmy. Right: Director Tim Van Patten (left) and Jonathan Freeman, ASC
on the set of Boardwalk Empire.
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A
t this years Emmy Awards, top honors went to Steven
Silver, ASC, for the multi-camera series Two and a Half
Men; Jonathan Freeman, ASC, for the single-camera
series Boardwalk Empire; Florian Hoffmeister, for the
miniseries Great Expectations; the cinematography team from
the nonfiction series Frozen Planet; and the cinematography
team from the reality series Deadliest Catch.
Reflecting upon his trip to the podium, Silver told AC,
On the 220 or so shows weve completed, the week of
production on Sips, Sonnets and Sodomy posed more inher-
ent challenges than any script weve had, and over the years,
we have had some huge shows. The main task was to light the
show for daytime during a supposed power outage. The
producers wanted the atmosphere of a storm so big and dark
that the characters would be forced to light candles indoors.
There were several references and jokes that required candle-
light to be the main source of illumination and not just a deco-
ration in the background. That balance between stormy day
and candle source light is a tricky one; it required us to re-light
every main set on the stage from scratch. We also had four
exterior scenes in the thick of the storm on the Pacific Coast
Highway. The rain had to be so strong that cars were believ-
ably floating down the road. I should also note that those deep,
dark, stormy exteriors were shot on a bright, sunny day.
Freeman described his Emmy win as very humbling,
considering the many deserving candidates. On the first
season of Boardwalk Empire, he shared cinematography duties
with fellow ASC members Stuart Dryburgh and Kramer
Morgenthau during Season 2, he alternated episodes with
David Franco and William Coleman. In our Sept. 10 article
about the series (Mob Money), Freeman noted that the
shows team approach to cinematography is a wise strategy:
Its like youre prepping a mini-movie with the director.
Theres less money wasted because youre getting exactly the
equipment you need, and you save time because youve done
preliminaries ahead of time.
Taking cues from Dryburghs work on the pilot,
Freeman and director/producer Tim Van Patten found further
inspiration in the artwork of the Ashcan school. Freeman
added that he often strives to push the shows chiaroscuro
look, heightening contrast not just in deeper shadows, but in
higher highlights, so the skin tone sometimes becomes
alabaster. Ironically, because modern film stocks are so great at
retaining highlights, thats actually hard to achieve.
Hoffmeister notes that he had 12 days to shoot each
hour-long episode of the three-part Great Expectations. With
Brian Kirk, the director, I watched Citizen Kane as inspiration,
which sums up the gap between ambition and the time we
had to shoot each episode, he says with a laugh. Dickens
work was quite popular literature in its time, so we put the
emphasis on creating an entertaining story. We configured it
as a single-camera show and shot on the Arri Alexa. We shot
most of it with an old set of Cooke S2 lenses; I used short-
focal-length lenses close to the characters, trying to be right in
there, subjective and emotionally compelling. Im an advocate
of in-camera effects and in-camera filtration, so I used a lot of
that as well.
Ive been working in these larger-scale television
projects for four or five years now, and in this particular case,
Im really pleased with the outcome of the miniseries,
Hoffmeister adds. To be recognized for something you feel
close to is really special.
Following is a complete list of
Emmy nominees (*denotes winner):
Outstanding Cinematography,
Multi-Camera Series
Gary Baum
2 Broke Girls, Pilot
(CBS)
Gary Baum
Mike & Molly, Victoria
Cant Drive
(CBS)
Chris La Fountaine
How I Met Your Mother,
46 Minutes
(CBS)
Steven V. Silver, ASC*
Two and a Half Men, Sips,
Sonnets and Sodomy
(CBS)
John Simmons, ASC
Pair of Kings, The Evil King
(Part 2)
(Disney XD)
Single-Camera Series
Jonathan Freeman, ASC*
Boardwalk Empire, 21
(HBO)
Michael Goi, ASC
Glee, Asian F
(FOX)
John Lindley, ASC
Pan Am, Pilot
(ABC)
Christopher Manley, ASC
Mad Men, The Phantom
(AMC)
Michael Slovis, ASC
Breaking Bad, Face Off
(AMC)
Miniseries Or Movie
Ulf Brantas
Treasure Island, Part 1
(Syfy)
Jim Denault, ASC
Game Change
(HBO)
Florian Hoffmeister*
Great Expectations, Part 2
(PBS)
Rogier Stoffers, ASC, NSC
Hemingway & Gellhorn
(HBO)
Fabian Wagner
Sherlock: A Scandal In
Belgravia
(PBS)
Nonfiction Programming
Cinematography Team*
Frozen Planet, Ends of the
Earth
(Discovery Channel)
Cinematography Team
George Harrison: Living in the
Material World
(HBO)
Cinematography Team
Whale Wars, Race to
Save Lives
(Animal Planet)
Buddy Squires
Prohibition, A Nation
of Drunkards
(PBS)
Zach Zamboni, Todd Liebler
Anthony Bourdain: No
Reservations, Mozambique
(Travel Channel)
Reality Programming
Ari Boles
Top Chef, Fit For an
Evil Queen
(Bravo)
Cinematography Team
The Amazing Race, Let
Them Drink Their Haterade
(Lake Manyara, Tanzania)
(CBS)
Cinematography Team*
Deadliest Catch, I Dont
Wanna Die
(Discovery Channel)
Cinematography Team
Survivor, Running the Show
(CBS)
Gus Dominguez
Project Runway, The Finale
Challenge
(Lifetime)
Left: Florian
Hoffmeister on
location while
shooting Great
Expectations.
Middle: The
cinematography
team from Deadliest
Catch. Bottom: The
cinematography
team from Frozen
Planet.
Kodak Introduces Asset-Protection Film
Kodak has introduced Color Asset Protection Film 2332, a
color film that is optimized for content owners who originate or
finish their productions on digital formats and want to protect their
media for the future. The stock offers more than a century of dye
stability when stored in recommended conditions (and decades-
long performance even in ambient environments), and Kodaks
proprietary Estar base guarantees high-quality physical perfor-
mance.
File-based projects often end up stored on tapes or drives,
which need to be continually remastered or migrated and run the
risk of format obsolescence, says ASC associate Kim Snyder, pres-
ident of Kodaks Entertainment Imaging Division. Our goal was to
create an affordable film option designed for content owners work-
ing on television programs, independent features and documen-
taries to assure long-term access and preservation of their content.
Kodak 2332 is designed for exposure on digital film
recorders and processing in standard ECP-2D chemistry. The prod-
uct is built on Kodak Vision Color Print Film 2383 technology with
formulation changes incorporated to improve long-term dye stabil-
ity. Additional features include improved speed for ease of use on
film recorders, and consistent image structure with sharpness and
grain equivalent to 2383.
The Digital Dilemma reports published by the Science and
Technology Council of the Academy of Motion Picture Arts and
Sciences have carefully outlined the risks of digital storage, says
Snyder. Film is still the one true archival medium, and this new,
economical option provides a long-term solution for a variety of
content owners.
Kodak also plans to add a black-and-white separation film to
its asset-protection portfolio.
For additional information, visit www.kodak.com/go/archive.
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.
Reflex Technologies Moves to Burbank
Reflex Technologies, a developer of archival film cleaning,
viewing and scanning technologies, has moved from Alaska to
Burbank, Calif. The company offers a full slate of archiving services
based on its proprietary Reflex Scanner.
Developed by Reed Bovee, the companys chief engineer, the
scanner has six patents pending for its new technologies. In build-
ing this scanner, I tried to overdo it in every area more pixels than
I needed, wider color gamut than I needed, a higher resolution
camera than I needed, a longer zoom than I needed, a gentler drive
mechanism, a more reliable software system and so forth, says
Bovee.
The Reflex Scanner is really seven different systems coexist-
ing together, he continues. There is an air-handling system, a self-
tensioning system and a film-drive system, an imaging system, an
illumination system, a data-
output system, all controlled by a
software system and all in a
durable enclosure with lockable,
air-tight doors through which
operational components can be
accessed and serviced when
needed.
The scanner records each
frame of raw, uncompressed
data to an onboard hard drive;
the scanners software can create
output files in approximately 50
different formats. We like to
provide an uncompressed AVI file
for long-term storage, or we can
provide a DPX file for printing
back to film, says Tim Knapp,
president of Reflex Technologies. We also provide working copies
in any other formats the customer needs.
An 8:1 optical zoom lens sits in front of an extremely high-
resolution camera with a global shutter, so each pixel is recorded
simultaneously. For illumination, the scanner uses a Xenon strobe
with a consistent color temperature of 6,400K that provides flat
illumination from edge to edge with no vignetting.
The hole in the aperture plate is oversized so the film can be
overscanned to the very outer edge of the image, says Bovee.
Also, by overscanning, we can record edge-code information or
even soundtrack information, because those are all contextual
things that need to be recorded to be faithful to the original film.
In terms of resolution, we are oversampling, Bovee contin-
ues. The Reflex scanner captures 8mm and 16mm images at 1920
by 1440, which, for 8mm, is beyond the resolving power of the film,
and for 16mm is almost 4.5 times the aver-
age resolution of 16mm film. We can
capture 35mm film images at up to 6.5K.
And, in terms of color what were doing
here is up to 14 bits per channel thats 42
bits of color depth. Thats 1.5 trillion colors.
The human eye can differentiate about 10
million colors.
The scanner offers gentle film
handling, transporting the film with contin-
uous motion and minimal surface tension
over self-cleaning silicon O-rings. We can
handle film that has shrunk by up to 20
percent, Bovee enthuses. The distance
between the perfs doesnt matter, and it
doesnt even need to be consistent; there
could be different amounts of shrinkage
within one reel.
Well handle all aspects of the
process, from inspecting and cleaning the
film, to scanning it at full resolution, to
delivering it in the format or formats the
customer needs, says Knapp. The scan-
ner is the brains of the process, but knowl-
edgeable, trained operators are the heart.
Reflex is not just about scanning yesterdays
media; its about delivering the highest
quality transfers that can be useful for
tomorrow.
For additional information, visit
www.reflextechnologies.com.
General Dynamics Launches
Cineflex Elite
General Dynamics Global Imaging
Technologies has introduced the Cineflex
Elite. Designed in close collaboration with
cinematographers, the Cineflex Elite gyro-
stabilized system is a compact, lightweight,
Super 35-format digital-production camera
system that combines the proven five-axis
stability of the Cineflex family of camera
systems with Canon Premier lenses and the
Arri Alexa-M digital camera.
The Cineflex Elite is our highest-
resolution system yet, expanding the proven
quality, versatility and rugged reliability of
our systems to motion-picture cinematogra-
phy, says Bob McGill, vice president and
general manager of General Dynamics
Global Imaging Technologies.
Originally designed for helicopters
and aerial platforms, Cineflex camera
systems deliver superior image quality and
are easily integrated onto cable and rail
systems, aircraft, automobiles, boats and
other mobile platforms. They are compati-
ble with a variety of certified mounts and
can be rigged quickly. Image performance is
achieved through extended, clean high-
lights; natural skin tones; excellent color
separation; and cinematic depth of field.
www.cineflex.com and www.gd-
imaging.com.
3am Digital Studios Plugs into
Adobe Premiere
3am Digital Studios has unveiled two
H.264/AVC video-encoder plug-ins for
Adobe Premiere Pro CS5 and CS6: x264 Pro
and x264 ProBD.
The x264 Pro plug-in is a general-
purpose AVC encoder capable of output
from very small to 4K Digital Cinema resolu-
tions. The complementary x264 ProBD plug-
in provides a subset of configuration options
that are defined in the Blu-ray disc specifica-
tions to ensure the resulting video output
can pass Blu-ray compliance testing.
The x264 Pro and x264 ProBD plug-
ins are optimized to deliver the best possible
video output leveraging the very popular
x264' video-encode engine, says Edward
Richards, CEO of 3am Digital Studios. The
x264 encoding engine is popular with highly
technical video professionals, but [it] previ-
ously required intermediate steps to use
with Adobe Premiere Pro. Our plug-ins
remove that complexity by integrating it
with Adobe Premiere Pro CS6 and Adobe
Media Encoder using their familiar menus.
www.x264pro.com.
Reel Apps Releases Shot Lister
Reel Apps has released Shot Lister,
an app designed by director Zach Lipovsky
for use on iPads and iPhones. The app
allows users to digitally build, organize,
schedule and share shot lists from prepro-
duction through to the minute-by-minute
decisions made on set.
Featuring full Retina Display support,
Shot Lister files can be shared on any iOS
device. The app allows users to easily orga-
nize and store hundreds of scenes and
thousands of shots, and
create a shooting sched-
ule on a shot-by-shot and
minute-by-minute basis.
A Live Mode function
allows users to track their
progress to the minute
and reorganize the
shooting day in a matter
of seconds.
Within Shot Lister,
users can customize and
order every category to
their tastes and needs. Desktop Import
functionality allows users to build shot lists
in Excel or Numbers using Reel Apps
website templates, and then import those
lists directly into Shot Lister. Users can also
export PDFs of their shot lists with or with-
out estimated times, or share the entire
Shot Lister project file via email with other
crewmembers. Multi-cam support allows
users to assign shots to up to 11 different
cameras and group them together to shoot
simultaneously. Additionally, Calendar View
allows the entire shooting schedule to be
displayed as a calendar on an iPad.
Shot Lister is available in the iTunes
App Store. For more information, visit
www.shotlister.com.
Dougmon Supports
Handheld Operating
International Supplies, a leading
distributer in the photo and video industry,
has brought the Dougmon handheld
camera-support system to market. Invented
by cameraman Doug Monroe, the Doug-
mons adjustable arm support helps reduce
wrist and arm fatigue while offering opera-
tors the flexibility and support needed for
smooth, steady shots with DSLRs and small
video cameras.
With the Dougmon system, the
camera sits on a patented, adjustable fric-
tion ball-head system held in the center of
the operators palm, imitating the move-
ment of the wrist. The arm of the Dougmon
adjusts to fit the length of the users arm
and a padded cuff with adjustable straps
secures it in place. This functional design
allows the camera to go wherever the users
hand or arm goes, enabling the user to
shoot high, low, or over his or her shoulder.
The Dougmon can even be used as a
monopod.
Able to support cameras of up to 5
pounds, the Dougmon weighs 28.5 ounces
and is small enough to fit in a camera bag.
It features an adjustable, stainless-steel fric-
tion ball-head and powder-coated stainless
steel and aircraft aluminum sliding arm.
Adjustments are easy with industrial-grade
knobs and release straps. The Delrin hard
plastic handgrip is designed to reduce pres-
sure points in the hand. The Dougmon is
sold with a Manfrotto 577-style quick-
release head.
The Slingmon, an over-the-shoulder
Dougmon support sling, allows for two-
handed camera operation and use of
slightly heavier cameras.
Street price for the Dougmon is
$530. The Slingmon is sold separately for
$200. A Dougmon and Slingmon carry bag
is available for $30.
www.dougmon.com and www.interna
tionalsupplies.com.
Ready Rig
Ready for Action
Designed by cine-
matographer/director
Mario Di Leo and further developed by his
son, Alessandro Di Leo, Alba Camera
Support Systems Ready Rig is an upper-
body-mounted camera-support system
that balances camera weight and offers
users hands-free operation of the camera.
The Ready Rig is comprised of two
adjustable rods attached to a spring-loaded
back support; a camera mount with an
almost 180-degree tilt head and hand
grips, monitor and accessory mounts; and
an adjustable corset that evenly distributes
all of the cameras weight throughout the
users upper body.
Designed for extreme versatility and
flexibility in the field or studio, the Ready
Rig allows users to quickly and easily adjust
a cameras positioning while still ensuring
smooth and stable footage. Users can
switch angles instantaneously, push out or
pull in, drop low or shoot high, pan from
left to right, and tilt and rotate. The rigs
hands-free operation also enables users to
zoom and pull focus simultaneously. The
camera stays centered and balanced, even
with multiple accessories attached.
Because the monitor is mounted indepen-
dent of the camera platform and remains
level with the operators eye line, the user is
able to view the monitor constantly, even
while the camera is tilted up or down or to
the right or left at a 90-degree angle.
Designed for use with both DSLRs
and HDV cameras, the Ready Rig features a
suggested load capacity of up to 17
pounds. It is made of high-strength
aluminum, weighs 10 pounds and can be
assembled in less than 2 minutes. A custom
designed backpack that allows users to
break the rig down or stow it away fully
assembled and an audio-recording acces-
sory plate are also available, but sold sepa-
rately.
The Ready Rig is distributed by Inter-
national Supplies. Street price is $1,899.99.
All Ready Rig products and parts come with
a one-year warranty.
www.albacamersupport.com and
www.internationalsupplies.com.
Rift Labs Kickstarts Kick Light
Following a successful funding drive
through Kickstarter.com, RiftLabs has intro-
duced the Kick light, a pocket-sized unit for
video and photo applications.
The lightweight Kick generates little
heat and features adjustable color tempera-
ture, any color of light, and built-in lighting
effects such as Rainbow, Strobe, Fire and
Lightning Storm. In addition to working as
an independent light source, the fixture
works in conjunction with a free Kick
iPhone app, which enables users to control
one or more Kick units via a smart phone.
When synced with an iPhone, the Kick
allows users to sample lighting effects by
pointing the iPhones camera toward the
light effect they want the Kick to re-create.
The Kick is available in two versions,
the Kick Plus and
the Kick Basic. The
Plus includes built-
in Wi-Fi, white
and colored light,
built-in effects and
iPhone compati-
bility. The Basic
does not include
Wi-Fi, colored
light, animated
effects or iPhone
interaction, but it does allow users to adjust
brightness and color temperature with
buttons on the fixture.
www.riftlabs.com.
Gekko Expands Karesslite Range
Gekko Technology has expanded its
Karesslite range of fixtures with the Karess
2006. Measuring approximately 12"x4",
the unit is designed to work as a highly
portable location fixture and a versatile
studio fixture.
Drawing 65 watts, the Karess 2006
can be fitted with traditional single-phos-
phor tungsten (3,200K) or daylight-
balanced (5,600K) LEDs, or with remote-
phosphor LED technology, which provides
an even, soft source of light in either tung-
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cover the fixtures spot to flood range of 10-
90 degrees.
Studio.3 users can get clean cuts
with standard barn doors, and the fixture is
the same form factor as a traditional 8"
Fresnel. With a total power draw of 200-
watts, the Studio.3 produces an output
comparable to a 2K tungsten Fresnel. Addi-
tionally, the units color, Correlated Color
Temperature, intensity and magenta/green
output can be controlled via local, DMX or
Ethernet controls.
www.prismprojection.com.
Elation Unveils Pro Wash,
Licenses Litepanels Tech
Elation Professional has unveiled the
Platinum Wash ZFX Pro RGBW moving-
head wash fixture, which boasts more
output than comparable wash fixtures
thanks to its high-power Quad Color Osram
LED chipset and innovative high-output
optical lens design. The powerful, fast and
compact Platinum Wash ZFX Pro is
equipped with 19 10-watt LEDs for a 190-
watt LED engine with an output that rivals
a 700-watt wash.
ZFX stands for Zoom and Effects,
features that are new to Elations Platinum
Wash series. The ZFX Pro features a wide-
range, high-speed 9-21-degree beam angle
motorized zoom (with a 17-
43-degree field angle), as
well as controllable LED array
Chase and Zone effects.
The Platinum Wash
ZFX Pro also features a built-
in EWDMX wireless DMX
receiver. When used with an
Elation EWDMXT wireless
DMX transmitter, the unit is
capable of receiving DMX
signals wirelessly from up to
3,000' away. Additionally,
the fixture incorporates a high-speed,
flicker-free, smooth electronic dimmer/shut-
ter LED driver, along with built-in macros for
variable white color balance from 2,700K-
8,000K. The unit also features a low-noise
operation mode.
Operable in three DMX control
modes 20, 32 and 42 channels the
Platinum Wash ZFX Pro gives users the abil-
ity to control all functions of the unit with
built-in macros for various color combina-
tions and LED arrays. When running in
extended DMX Mode (42 channels), users
can enable 16-bit fine resolution on all color
channels and fine master dimmer channel,
zoom optics, and LED array/ring control,
enabling the creation of fully customizable
dynamic chase effects. Users can also create
up to four of their own User Mode channel
setups for customizable control or to
mirror/mimic other DMX modes.
The Platinum Wash ZFX Pro can also
be operated manually without a DMX
controller, in either Standalone or
Master/Slave modes, via internal programs
or programmable shows. Users can also
record live snapshot remote DMX controller
programs with the units built-in DMX
record function. A battery backup menu
display button allows users to address the
unit without power to the fixture, and a
high-resolution color touchscreen display
menu panel makes it easy to scroll through
menu options.
The Platinum Wash ZFX Pros
compact size (14.4"x9"x19.4") and light
weight (33 pounds) make it easy to trans-
port and set up. The unit includes 3 and 5-
pin DMX in/out, A/C Powercon input and an
auto-switching multi-voltage power supply.
The Osram LEDs are rated at 100,000 hours,
and the fixture consumes just 350 watts of
power at maximum use of all
LED and motor functions.
Additionally, Elation
Professional Lighting has
entered into a licensing agree-
ment with Litepanels, Inc.
Under the terms of the agree-
ment, Elation has been
granted the rights to use
Litepanels patented LED tech-
nology for the primary illumi-
nation of subjects for image
capturing in film and video.
sten or daylight balance. (The single-phos-
phor version boasts slightly more output.)
Both versions are color stable when
dimmed and are designed to work in ambi-
ent temperatures of up to 122F. Addition-
ally, both can be powered via mains trans-
former or industry-standard batteries, and
they can also accept a range of mounting
accessories.
Gekko has
also unveiled its
Karesslite Dual
fixture. Available in both
6012 and 6006 configu-
rations, the Karesslite
Dual is tunable between
3,200K and 5,600K in
100 Correlated Color
Temperature steps, which are controlled by
proprietary algorithms to allow consistent
color from lamp to lamp. The Karesslite
Dual also features switchable sectors, color
stability throughout its dimming range,
DMX control, built-in RDM and the ability to
run on V-lock batteries. The fixture also
accepts the wide range of accessories
Gekko already offers for the Karesslite
family.
www.gekkotechnology.com.
Prism Reveals Studio.3
Prism Projection has launched the
third generation of its Studio LED fixture,
the Reveal Studio.3 Fresnel, which works
like a traditional Fresnel while producing
more lumens and a wider zoom range. The
fixture combines energy efficient and long-
lasting solid-state LEDs with Prisms propri-
etary projection optics and TrueSource
color-control algorithms, which allow the
fixture to deliver exact color over its entire
lifespan.
Building on the previous generations
of the Reveal Studio and responding to
customer feedback, Prism has expanded the
feature set of the Studio.3 LED Fresnel to
make it a true replacement for a compara-
ble tungsten fixture. According to Prisms
photometrics, the Studio.3 produces 9,700
lumens. The fixture also boasts a tunable
Correlated Color Temperature of 2,700K-
8,000K with a CRI above 93, enhanced
white +/- correction, and a manual zoom
focus mechanism to smoothly and easily
The patented Litepanels technology will be
used in Elation lighting fixtures intended for
television, film and video production appli-
cations, such as the TVL2000.
www.elationlighting.com.
Philips Introduces PLCyc
Selecon and Strand Lighting, divi-
sions of the Philips Entertainment group,
have introduced the PLCyc LED luminaire,
which delivers smooth
and even color in a
compact, lightweight
design.
Capable of illuminat-
ing drops up to 16'
high, the PLCycs
RGBW engine offers an
infinite choice of colors
in addition to support-
ing color temperatures
from 3,000K to
5,600K, and color balance remains
constant across the fixtures dimming range.
Color presets simplify matching to existing
light sources, and the unit offers quick
selection of Warm White, Cool White and
Daylight. User-defined on-board presets
allow users to record their own preferred
color compositions.
The PLCyc may be used for top or
bottom lighting with fixtures spaced on 4'
centers for optimum performance; they can
be top or floor mounted with a yoke or
kickstand. Additionally, the units field can
be shaped using a barn door accessory to
provide a clean cutoff line.
Each luminaire can replace the
equivalent of a traditional four-color, 500-
watt-per-circuit cyc light, and with the
convenient PowerCon cabling system, the
PLCyc can light a typical cyclorama with a
single 20-amp circuit. The PLCyc also
features DMX512 input/output with 8- or
16-bit resolution, and a wireless DMX512
option is also available. An on-board LCD
menu enables easy set-up and addressing
of the fixtures.
www.seleconlight.com and www.strand
lighting.com.
93
International Marketplace
Alura Carry Handles
toll free: 877-467-8666
www.oppenheimercameraproducts.com
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 without 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 Classifieds 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/adver-
tiser, or e-mail: classifieds@theasc.com.
Classifieds
Watch out
for ex-demo and
used equipment!
www.movietech.de
EQUIPMENT FOR SALE
4X5 85 Glass Filters, Diffusion, Polas etc. A
Good Box Rental 818-763-8547
14,000+ USED EQUIPMENT ITEMS. PRO
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AND www.ProVideoFilm.com
EMAIL: ProVidFilm@aol.com
CALL BILL 972 869 9990, 888 869 9998.
Worlds SUPERMARKET of USED MOTION
PICTURE EQUIPMENT! Buy, Sell, Trade.
CAMERAS, LENSES, SUPPORT, AKS &
MORE! Visual Products, Inc. www.visual
products.com Call 440.647.4999
SERVICES AVAILABLE
STUCK? BLOCKED?
Give me 30 minutes (at no cost to you):
212.560.2333. www.laurienadel.com
STEADICAM ARM LONG-TERM RENTAL(2
YEARS)& ARM REBUILDS.
VISIT OUR WEBSITE AT
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OVERHAUL AND UPDATES. QUICK TURN-
AROUND. ROBERT LUNA (323) 938-5659.
Advertisers Index
16x9, Inc. 94
Abel Cine Tech 19
AC 1, 97
Adorama 13, 49
AFI 99
AJA Video Systems, Inc. 23
AZGrip 94
Backstage Equipment, Inc.
89
Barger-Lite 6, 95
Birns & Sawyer 94
Blackmagic Design, Inc. 9
Brain Emo 95
CameraImage 81
Cammate 6
Cavision Enterprises 69
Chapman/Leonard Studio
Equipment Inc. 47
Chemical Wedding 73
Cinematography
Electronics 93
Cinekinetic 94
Clairmont Film & Digital 59
Codex Digital Ltd. 21
Cooke Optics 7
Deluxe C2
Dolby Laboratories, Inc. 41
Eastman Kodak C4
EFD USA, Inc. 45
Film Gear 63
Filmotechnic USA 50
Filmtools 91
Friends of the ASC 85
General Dynamics Global
Imaging Technology 17
Glidecam Industries 61
Government Video Tech
Expo 71
Grip Factory Munich/GFM 89
Hertz Corporation 25
J.L. Fisher 65
K5600 C3
Kino Flo 51
Lights! Action! Co. 94
Manios Optical 94
M. M. Mukhi & Sons 94
Movie Tech AG 94, 95
NBC/Universal 43
New York Film Academy 29
Nila Inc. 75
Oppenheimer Camera Prod.
94
Panther Gmbh 91
Pille Film Gmbh 94
Polecam Ltd. 6
Pro8mm 94
Rag Place, The 63
Red Digital Cinema 30-31
Rosco Laboratories, Inc. 64
Schneider Optics 2
Sundance Film Festival 83
Super16 Inc. 94
Thales Angenieux 11
Tiffen 27
Tiffen Company 5
Transvideo/France 15
VF Gadgets, Inc. 95
Visionary Forces 89
Willys Widgets 94
www.theasc.com 4, 74
93, 96
96
Society Welcomes Ballhaus,
Richmond
New active member Florian Ball-
haus, ASC was born and raised in
Germany, and he began working as an
assistant for his father, Michael Ballhaus,
ASC, when he was 16. After graduating
from high school, he moved to the United
States, where he spent 15 years working as
a camera assistant or operator on such
features as Broadcast News, Goodfellas,
Dracula, Quiz Show and Men in Black.
He returned to Germany to begin
working as a cinematographer, and after
notching credits on a variety of projects, he
moved back to the States and shot the final
season of Sex and the City. Since then, he
has shot such features as The Devil Wears
Prada (AC July 06), Marley & Me, The Time
Travelers Wife, Red and Hope Springs. His
credits as second-unit cinematographer
include The Legend of Bagger Vance, Men in
Black II and Gangs of New York.
Born in Bronxville, N.Y., Tom Rich-
mond, ASC demonstrated an early interest
in car design, architecture and painting
before such movies as Bullitt, Rosemarys
Baby and Blow Up steered him toward a
career behind the camera. After graduating
from Harvard University with a major in art
and architecture, he found work as a free-
lance photographer in Houston, Texas, and
then moved to Los Angeles, where he stud-
ied cinematography at the graduate level at
the University of California-Los Angeles and
the American Film Institute.
As his career was taking off, he shot
the MTV Award-winning video for Pearl
Jams Jeremy. His work has also been
honored at the Independent Spirit Awards
and the Sundance Film Festival. His feature
credits include The Chocolate War, Roadside
Prophets, A Midnight Clear, Killing Zoe, Little
Odessa, Knockaround Guys, The Singing
Detective, House of 1000 Corpses and Nick
and Norahs Infinite Playlist.
Kanfer Becomes
Associate Member
New ASC associate Mike Kanfer is a
senior solutions consultant at Adobe, where
he specializes in digital-production technol-
ogy and workflows for motion pictures and
video. He graduated from the University of
Rochester with a degree in Fine Art and
Science, and he began a career in visual
effects as a graphic artist and motion-control
camera operator at Charlex, Inc. In 1993,
Kanfer joined the visual-effects house Digital
Domain, where he earned an Oscar nomina-
tion for his work on Apollo 13, and shared
the Oscar for Titanic.
In 2001, Kanfer joined EFilm as a DI-
mastering supervisor. He returned to visual-
effects work for the features Sky Captain
and the World of Tomorrow and Superman
Returns. He joined Adobe in 2005. Kanfer
has been a member of the Visual Effects
Branch of the Academy of Motion Picture
Arts and Sciences since 1998.
Scott Joins Technicolor
Award-winning colorist and ASC
associate member Steven J. Scott has
joined Technicolor following a long tenure at
EFilm. He is based at Technicolors digital hub
in Hollywood.
The DI suite has evolved into the
final aperture of feature finishing, says
Scott, who is also a member of the Visual
Effects Society. With my background in
visual effects, Im keenly aware of the amaz-
ing tools that we can incorporate from the
compositing and CGI worlds into the DI. Im
very excited about the opportunity to do
pioneering work with Technicolor to bring
these worlds together, and to offer cine-
matographers more creative options and
control than theyve ever had before.
Arri Welcomes AC to Deutschland
Arri recently welcomed AC associate
editor Jon D. Witmer to the companys facil-
ities in Munich and Stephanskirchen in
Germany. At the Munich facility, Witmer
toured the Alexa assembly department, Arris
rental department and Arri Film & TVs post
facility, which includes a film lab, editing
rooms, color-correction suites, archive and
restoration facilities, sound-mixing stages
and a visual-effects department. In Stephan-
skirchen, Witmer was guided through the
production process behind Arris lighting
technology.
AC thanks Stephan Schenk, Catia
Marini, Michaela Braun, Andreas Weeber,
Harald Schernthaner, Daniel Vogl, Dominik
Trimborn, Christian Littmann and Martin
Lorenz from the Munich facility; Peter
Schwarzenberger, Alexandra Musto, Dennis
Jackstien and Erwin Melzner from the
Stephanskirchen office; and ASC associate
Franz Wieser for arranging the visit.
To see photos of the tour, visit ACs
Facebook page, www.facebook.com/Ameri
canCinematographer.
Clubhouse News
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Top: Florian Ballhaus, ASC.
Bottom: Tom Richmond, ASC
When you were a child, what film made the strongest impres-
sion on you?
Its a tossup between Citizen Kane (1941) and The Bridge on the
River Kwai (1957).
Which cinematographers, past or present, do you most
admire?
Thats very hard to narrow down
because there are so many, particularly
contemporary ones. But my early influ-
ences include Lee Garmes, ASC, for his
atmospherics in Shanghai Express; James
Wong Howe, ASC, for his urban realism
in Sweet Smell of Success; and Gregg
Toland, ASC, for being an artist and
innovator.
What sparked your interest in
photography?
The ability to capture a moment in time
or a performance that tells a story, and
my dads Super 8 camera.
Where did you train and/or study?
After graduating from the University of Wisconsin-Madison, I
attended the American Film Institute.
Who were your early teachers or mentors?
George Folsey Sr., ASC was one of my teachers at AFI, and he had
years of knowledge, experience and advice. He shot his first film in
1919 at Astoria Studios in New York and was there for the advent of
so many milestones: the light meter (can you imagine?), color
photography, Technicolor, the introduction of large soft sources and
overhead silks, and CinemaScope! He was nominated for an Acad-
emy Award 13 times and never won. I think the Academy owes him
one! And Caleb Deschanel, ASC became a mentor after I met him in
1980; he gave me a lot of encouragement and advice, and he spon-
sored me for ASC membership.
What are some of your key artistic influences?
I studied the light in paintings from all sorts of periods and styles. I
think you can relate them all to photography and storytelling. Also,
of course, observing real life.
How did you get your first break in the business?
Ive always believed that everyone gets a break at some point along
the way, although you may not know its your break at the time. Just
make it all about the work, the craft. Forget the hype, and youll be
fine.
What has been your most satisfying moment on a project?
Thats so hard to say. Its exciting to create a look exactly as you saw
it in your head beforehand (a rare feat for any of us), and its equally
exciting to capture the unexpected, to create something completely
in the moment thats born of the performance, the location, the
time of day or circumstances beyond my control.
Have you made any memorable
blunders?
Of course! Havent we all? But I like to
think my best blunders are ahead of me.
What is the best professional advice
youve ever received?
From George Folsey Sr.: Whenever you
go into production, eat a good breakfast
and sit down whenever you can. Good
advice.
What recent books, films or
artworks have inspired you?
I am most inspired by films that offer
great storytelling, films that move me, entertain me or take me to a
place I know nothing about, have never been to or can never go to
films that completely transport me from the chair Im sitting in.
The one I keep going back to is City of God. It succeeded on almost
every level, and it has stuck with me.
Do you have any favorite genres, or genres you would like to
try?
I like them all and would like to be able to do them all, although I
am partial to darker dramas.
If you werent a cinematographer, what might you be doing
instead?
Maybe an architect or a musician? I really have no other marketable
skills!
Which ASC cinematographers recommended you for
membership?
Caleb Deschanel, Fred Murphy and Mark Irwin.
How has ASC membership impacted your life and career?
I think having ASC after your name says that you absolutely didnt
just get off the bus! It conveys a certain level of experience and, I
hope, inspires some measure of respect.
Peter Deming, ASC Close-up
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GUI L L E R MO NAVAR R O, AS C
ONFILM
To order Kodak motion picture lm,
call (800) 621-lm.
Eastman Kodak Company, 2012.
Photography: 2012 Douglas Kirkland
There are many variables in every scene
of each lm, including interactions
between actors. Great cinematography
happens when all the variables come
together. You have to be sensitive to what
the space around the actors is telling you.
Many times its not about lighting. Its
about taking light away, deciding what to
reveal or conceal with your framing and
choosing the right lens. Im not interested
in shooting pretty pictures and impressing
people with aesthetics. I am constantly
searching for images with the energy
that serves the story. Even though you
need many collaborators, lmmaking can
still be a very personal process with a
completely subjective outcome. It takes a
lot more than mastering technology and
techniques. Filmmaking is a universal
language that I am continuously learning
and a form of artistic expression that
draws on a lifetime of visual memories.
Guillermo Navarro, ASC won an Oscar
in 2007 for Best Achievement in
Cinematography for his work on Pans
Labyrinth. His credits include Cabeza de
Vaca, Cronos, Desperado, From Dusk Till
Dawn, The Long Kiss Goodnight, Jackie
Brown, Stuart Little, Spy Kids, The Devils
Backbone, Hellboy, Hellboy II, Zathura,
I Am Number Four, The Twilight Saga:
Breaking Dawn Part 1 and Part 2, and
the upcoming Pacic Rim. Navarro also
leads an efort to have lm recognized by
UNESCO as a World Heritage.
For an extended Q&A with Guillermo Navarro,
visit www.kodak.com/go/onlm.

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