American Cinematographer - January 2007 - 63
brand-new Libra V Head. I
Left: After
I'd
kidnapping
Jaguar Paw
use
this
thought
equipment for special
shots, but
as
with it for
most
it turned out,
we
of the movie. I
shot
and several
other
must
men
from
his
village, the
Mayans take
their prisoners
across a raging
give full marks to A-camera opera¬
tor Ian Fox, 1st AC Tony Rivetti,
dolly grips Jeff'Moose' Howery and
John Murphy, crane operator Carlos
river. Below:
Director Mel
Gonzalez, and Libra technicians
Gibson
Rocky Babcock and Adam Austin
for their coordination in not only
executing many magnificent shots,
but also using the Super Techno as a
day-to-day workhorse."
Based on his experience on
runs
through the
scene
with
the cast.
Click, Semler knew he would be
spending most of the Apocalypto
shoot in the "Digi Tent," basically an
8'x8' portable darkroom set adjacent
to video village. The Genesis cam¬
eras' outputs were wired to the
Panavision and EFilm equipment in
the tent, where Semler could switch
between
cameras
and view the
image on a 24" Sony HD monitor in
4:2:2 color space, alongside a wave¬
form monitor and wireless iris
con¬
trols. The HD
signals
then
down-converted
to
video monitors
the video
were
NTSC feeds
to
for Gibson in
village. The director joined
Semler in the
set up
tent to
view the HD
image when he had a concern or
question.
Although Semler started the
shoot working with his light meter,
he quickly grew to rely on the HD
monitor to evaluate exposure and
the overall image, occasionally using
the waveform monitor
to
double¬
check
particular highlights. "The
tent was my workstation - I was
basically looking at the release
print!" he says. "I'd prefer to be out¬
side, by the camera or the director,
but it was a small price to pay for
being able to see exactly what I was
getting. The dailies, or 'immediatelies,'
as
Mel called them,
were very
reassuring for us, because at the end
of the day, we knew we had it."
On Click, Semler worked with
EFilm to define
used the
a
workflow, and he
same one
on
Apocalypto.
American
Cinematographer 63
American Cinematographer - January 2007
Table of Contents for the Digital Edition of American Cinematographer - January 2007
Contents
American Cinematographer - January 2007 - Cover1
American Cinematographer - January 2007 - Cover2
American Cinematographer - January 2007 - 1
American Cinematographer - January 2007 - 2
American Cinematographer - January 2007 - Contents
American Cinematographer - January 2007 - 4
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American Cinematographer - January 2007 - Cover3
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