* ! . 5 !

2 9
# A N A D A
8
10 January 2011 American Cinematographer
January 2011 !MERICAN#INEMATOGRAPHER
Creating an Animated Eye of the Storm
Singer Ben Lovett
pilots an airship
into a fierce
storm in the
music video for
his song Eye of
the Storm.
Cinematographer
Craig Kief utilized
bluescreens,
black lights and
fluorescent tape
to isolate key
elements of the
imagery that
would later be
combined with
CG effects.
)
SonyPictures.com/Awards
16 January 2011 American Cinematographer
Tron

Top and middle:

Lovett positions
himself for a
shot as a
crewmember
operates a
small fan. The
Digi Blue
background
was lit with
Kino Flo
bluescreen
tubes, and the
foreground was
lit with a pair
of 4x4 Kino Flo
heads outfitted
with black-light
tubes. Bottom:
Kief takes the
helm on set.
DirecIor Andrev 1arecki (foreground) and 5eresin Iine up a shoI aIongside
1sI AD David WechsIer.

One Look. All Speeds

cookeoptics.com
T

T

30 anar 0 American Cinematographer

January 2011 1
! M E R I C A N # I N E M A T O G R A P H E R
Opposite: Uxbal
(Javier Bardem)
helps his daughter,
Ana (Hanaa
Bouchaib), with her
homework in a
scene from Biutiful,
shot by Rodrigo
Prieto, ASC, AMC.
This page, top: An
HD frame grab from
the scene that
introduces Uxbals
tempestuous ex-
wife, Marambra
(Maricel Alvarez),
illustrates the films
naturalistic lighting
and intimate camera
style. Middle: In
another scene,
Marambra is bereft
after a confrontation
with her ex. Bottom:
Prieto scopes out his
options in a narrow
alley.
w ww.theasc.com January 2011 33
charge of putting his Iife in or er. I feIt
that anamorphic Ienses wouI heIp
isoIate him an con ey his espair
ecause they wouI sIightIy aIter the
te ture of the image. I wante the ack-
groun s at this point to ha e that soft-
focus te ture, that sIightIy Ii ui feeI of
anamorphic. e ma e the aspect-ratio
transition a few scenes Iater on a crane
shot at the each, using an angIe of the
ocean to open the e ges of the screen to
240. I shot most of the mo ie with
ana ision UItra Spee Series
M IIs, an for most of the anamorphic
work I use ana isions -Series
Ienses. hene er there was a source of
Iight in frame, Iike a win ow, the M IIs
wouI cause a sIight fIare, an they ga e
the image a har e ge an contrasty feeI
that we Iike . for certain moments, we
enhance the fIare of right sources
with a 1iffen Smo ue fiIter on the
camera.
Top: This HD
frame grab
shows part of
the films
transition from
spherical 1.85:1
to anamorphic
2.40:1. Prieto
shot this
sequence in 1.85
with anamorphic
lenses. Middle
and bottom:
Uxbals long
walk ends at a
garish, surreal
nightclub, where
he seeks solace
in alcohol and
the opposite sex.
w ww.theasc.com January 2011 35
I rritu, B i u t i f u l W A S S H O t O N l O C A t i O N
7 H A t K i N D O f l i G H t i N G D i D Y O u B R i N G t O
t H E l O C A t i O N S
0 R i E t O
v V > v ' >
` > `
` i ] ` L > L
i ` i v v i V i ]
` i i i
` ` L i ] ' i
` i ` >
36 January 2011 American Cinematographer

www.arridigital.com
ALEXA is now in use on a vast range of 3D and 2D feature lms,
TV shows, commercials, documentar ies and music videos.
All over t he wor ld, filmmaker s such as Mar t in Scor sese
and Roland Emmerich have quickly taken advantage of the
cameras exceptional image quality and streamlined workows
to bring their creative visions to life. With a modular design and
convenient update methods, the future-proof ALEXA enables
cinemat ic stor ytelling like no ot her camer a system before.
To name only a few...
ANONYMOUS 2D feature
HUGO CABRET 3D feature
THE THREE MUSKETEERS 3D feature
DISNEY PROM 2D feature
RED BULL AIR RACE 2D feature
ARMANI PERFUME commercial
MERCEDES BENZ commercial
...much more to come
ALREADY THE CAMERA
OF CHOICE
M A R K I I
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R e p r e s e n t a t i v e i n U . S . :
c a m a d e u s F i l m T e c h n o l o g i e s
N o r t h H o l l y w o o d , C A 9 1 6 0 5
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PL54-mount
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F o r a l l 3 5 m m l e n s e s i n c l .
Optimo Rouge DP

3 5 2
In the
shimmering
heat, a glassy
surface will
soon be
shattered.
w w w . l e e f i l t e r s . c o m
T in k LE E

Wahlberg, Bale and crewmembers prepare to shoot the movies opening scene on the streets of
Lowell. Wahlberg, a Massachusetts native and one of the projects producers, insisted that the
film be shot in his home state to capture the local flavor.
w ww.theasc.com January 2011 53
Opposite: Sam
Flynn (Garrett
Hedlund) follows
in his fathers
footsteps and
races a light cycle
within the world
of the Grid in
Tron: Legacy,
directed by Joseph
Kosinski and shot
by Claudio
Miranda, ASC.
This page, top:
Twenty years after
disappearing into
the Grid, Kevin
Flynn (Jeff
Bridges) is
reunited with his
son. Bottom: The
filmmakers
utilized digital
face-replacement
technology to
create Legacys
antagonist, CLU
2.0.
January 2011
January 2011 !MERICAN#INEMATOGRAPHER

62
Kosinski (lying
on the floor)
works out an
angle with
Miranda (right)
and Hedlund.
January 2011 !MERICAN#INEMATOGRAPHER
/
T r u e G r i t
w ww.theasc.com January 2011 71
O8rother,
WhereArtThou72000,which rought eakinsanotherASCnomination.Clockwisefromtopleft: than
Coenleftand1oelCoenoin eakinsatthecamera eakinsandAndyHarris,hislongtimefirst
assistant,duringa reakinfilmingthecinematographerstoopstocapturesomeactionwithachicken
thefilmmakersdollydownarowofprisoners.
72 January 2011 American Cinematographer
eakins reIates, 1hey sai , he oesnt
Iike working with muItipIe cameras, he
oesnt Iike using a oom Iens, an he
Iikes to operate, as though these were
criticisms. 8ut this assessment was
music to the Coens ears. An from
their ery first encounter, the match feIt
right. e ust seeme to e on the
same wa eIength, says eakins.
1heyre ery straightforwar , unpre-
tentious peopIe.

Top: Deakins and
Harris capture a
close-up of Frances
McDormands legs
for a scene in the
Coens period noir
comedy The Man
Who Wasnt There
(2001), which
brought Deakins
his second ASC
Award. Bottom:
Deakins lines up a
shot of Jennifer
Connelly for Vadim
Perelmans House
of Sand and Fog
(2003), which
required the
creation of some
convincing
exteriors onstage
at Culver Studios.
74 January 2011 American Cinematographer
The
village200 .Top
right: eakinsand
Shyamalanplottheir
approach.Middle:The
cinematographer
stands eneathagrid
ofspacelightsonstage
atUniversalStudios
forSamMendes'
1arhead200 .
8ottom:Ateaseinthe
muck, eakinswaitsto
captureashotfor
1arhead.
District 9
House, M.D.
Devil
Robben Island
Inception
Lost
Avatar
Richard Crudo, ASC (center) presented HPA Awards for Outstanding Color Grading to Stefan
Sonnenfeld (left), Siggy Ferstl (right) and Steve Porter (not pictured).
80

HPA President Leon Silverman reprised his

role as the awards master of ceremonies.
84 January 2011 American Cinematographer
Colorfront Optimizes On-Set Dailies
DSC Labs Adds Red CamBook
Cinedeck Gets
Extreme
Panasonic Introduces P2 Storage Unit
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5ocieIy WeIcomes
EgiIsson, Mooradian
EagIe EgiIsson and George Moora-
dian have joined Ihe 5ocieIy as acIive
members.
EagIe EgiIsson, A5C vas born in
eykjavik, IceIand. from his faIher, he
acquired a deep inIeresI in sIiII phoIography
IhaI evoIved inIo a Iove for moIion picIures.
DeIermined Io vork behind Ihe camera, he
aIIended CoIumbia CoIIege HoIIyvood and
focused on cinemaIography. His crediIs
incIude Ihe IeIefiIms 5wee|1emp|a||on, A
|ace|o||e|or , bu:|ne::|or||ea:ure and
5|ren:,a:we||a:|he:er|e: |ed5hoe||ar|e:,
1heW|re,||even|h|our and||am||ed|ca|.
|ewa:|w|cenom|na|edby|heA5C|orh|:
wor|on|he:er|e: C5|.||am|,andhewon
anA5Caward|n2 9|or|he ven|ce
r|n: ep|:odeo| |ar|b|ue.
born|nA||an|a,Ca.,George Moora-
dian, A5C briefIy sIudied economics aI Ihe
UniversiIy of Georgia before changing Iacks
Io focus on fiIm sIudies aI Ohio UniversiIy.
foIIoving graduaIion, he spenI Ivo years
fiIming his IraveIs across Ihe gIobe and
honing his eye for IighI and composiIion
before reIurning Io Ihe UniIed 5IaIes and
aIIending Ihe Maine PhoIographic Work-
shop. Mooradian noIched his firsI crediI as a
direcIor of phoIography on Ihe feaIure |r|:-
onero|||o,andha::|ncepho|oraphed:uch
|ea|ure:a:|e|roac||ve,Crazya:|e|| and1he
C|rc|e.|eha:earned|mmynom|na||on:|our
year:|narow|orh|:wor|on|he:er|e:
Accord|n|oI|m.
Manaki roIhers
Honor Zsigmond
ViImos Zsigmond, A5C received Ihe
GoIden Camera 300 LifeIime AchievemenI
Avard aI Ihe 31sI Manaki roIhers InIerna-
IionaI CinemaIographers' fiIm fesIivaI in
iIoIa, epubIic of Macedonia. During Ihe
fesIivaI, Zsigmond Ied a cinemaIography
masIer cIass and aIso headed Ihe fesIivaI's
avards jury, vhich presenIed Ihe GoIden
Camera 300 avard Io MarIin GschIachI for
Ihe fiIm WomenW||hou||en.Award:were
a|:opre:en|ed|obeno||eb|e,A|C,|or|n|er
|hevo|d AC Oc|. C|orabeach,|or
|ebanon AC Apr|| 1h|erryCode|roy,|or
W|n|er:be|nn|n Chr|:|ophbeaucarne,
A|C,|or |r.Nobody dam||||enz,|or |a|
Adr|ennand|an| |bou ue|,|or No|h|n
|er:ona|.
A5C usy aI CreaIeasphere
CreaIeasphere recenIIy heId an EnIer-
IainmenI TechnoIogy ExposiIion in urbank,
CaIif., feaIuring Ivo days of paneIs and
evenIs in addiIion Io an exhibiIors' haII and
gear aIIey. A5C members DanieI PearI and
5Ieven PosIer joined camera operaIors
oberI eed AIIman, PauI abin, AIexander
CaIzaIIi, MiIch Dubin, 5Ian McCIain, 1ack
MessiII, Chris TufIy and Dave frederick for Ihe
paneI "Hov Did They GeI ThaI 5hoI?" CurIis
CIark, A5C joined 5ony's PeIer CriIhary and
Dhanendra PaIeI for a 5ony-inIensive discus-
sion, "The EvoIuIion of Ihe HDCam-5
formaI." AddiIionaIIy, 5Iephen LighIhiII,
A5C saI dovn viIh American fiIm InsIiIuIe
graduaIes UIa rieseviIz, Darren GeneI, PeIra
Korner and Tommy Maddox-Upshav for
"The CinemaIography Program aI AfI."
A5C associaIe KrisIin PeIrovich
Kennedy, presidenI of CreaIeasphere,
noIed, "We have Ihe priviIege of vorking
and mingIing viIh some of Ihe smarIesI,
mosI inIeresIing peopIe in any business,
anyvhere. Our shov grovs because Ihe
expos shine a spoIIighI on Ihe broad spec-
Irum of conIenI creaIors and Ihe companies
vorking viIh Ihem as Ihey push Ihe enve-
Iope of IechnoIogy and creaIiviIy, every
singIe day."
foIIoving Ihe exhibiIion, CreaIeas-
phere aIso hosIed a Ivo-day PosIproducIion
MasIer CIass. A5C associaIe 1oshua Pines
parIicipaIed in Ihe cIass' keynoIe kickoff, and
David 5Iump, A5C added insighI Io Ihe
"Camera Io PosI" roundIabIe.
WexIer ides Wild River
HaskeII WexIer, A5CrecenIIy joined
MichaeI PogorzeIski, direcIor of Ihe Acad-
emy fiIm Archive, 5chavn eIsIon, senior
vice presidenI of Iibrary and IechnicaI services
for fox fiImed EnIerIainmenI, and acIor
ruce Dern for a paneI discussion abouI EIia
Kazan's W||d||ver 9 a||heAcademy:
5amue|Co|dwyn1hea|er.Wex|er:erveda:
anadd|||ona|pho|orapheron|he2 |h
Cen|ury|ox|||m,wh|chwa:recen||y
re:|oredby|heAcademy|||mArch|ve.1he
:creen|nwa:par|o| A2 |hAnn|ver:ary
1r|bu|e|o1he|||m|ounda||on, amu|||-
venue:er|e:oran|zedby|he|o:Ane|e:
Coun|y|u:eumo|Ar||||m|epar|men|.
AC EdiIors NoIch
foIio NominaIions
AII Ihree AC ed||or:haveearned
nom|na||on:|or|o||o|dd|eAward:|orbe:|
5|n|eAr||c|e.|xecu||veed||or5|ephen
||zze||o|:nom|na|ed|orh|:Oc|. 9ar||c|e
abou| bron:on:en|ored||or|achae|r.
bo:|ey|:nom|na|ed|orherOc|. 9ar||c|e
abou||ad|enanda::oc|a|eed||orIon|.
W||mer|:nom|na|ed|orh|:|ay ar||c|e
abou| |ron|an2 .Co|d,:||verandbronze
pr|ze:w|||beawardedIan. |nNew or|.

ighI. EagIe
EgiIsson, A5C.
eIov. George
Mooradian, A5C.
94 January 2011 American Cinematographer
auuary 2011 r au u a ra r
When you were a child, what film made the strongest impres-
sion on you?
Which cinematographers, past or present,
do you most admire, and why?
What sparked your interest in photography?
Where did you train and/or study?
Who were your early teachers or mentors?
What are some of your key artistic influences?
How did you get your first break in the business?
Sea
Theme
American Cinematographer
What has been your most satisfying
moment on a project?
The Lion and the Giraffe.
Have you made any memorable blunders?
What is the best professional advice youve ever received?
What recent books, films or artworks have inspired you?
Winged Migration
Do you have any favorite genres, or genres you would like to
try?
If you werent a cinematographer, what might you be doing
instead?
Which ASC cinematographers recommended you for member-
ship?
How has ASC membership impacted your life and career?

* A C K # U F F E R ! 3 # $ M P T F V Q