American Cinematographer - January 2007 - 73

Most

scenes

in

Apocalypto

were

shot with three Genesis

eras,

and Arri 435s

400-foot

magazines, it all adds up."
During the DI at EFilm,

cam¬

one

man's vision; Mel knew what he

was

doing and what he wanted. No
worked harder

used for

Semler collaborated with colorist

one

high-speed work. Tony Rivetti notes
that Gibson quickly learned to take
advantage of the Genesis' longer
recording time. "We recorded some
very long takes, some as long as 40
minutes. We just kept doing the
scene over and over
again without
breaking momentum, and if Mel felt
we he had
something, we'd shoot it
again, tighter." Semler agrees that the
digital camera's long cassette load
was "a
huge advantage. As soon as

Steve Bowen for the seventh time.

he did. This

were

"Steve has

great eye, and I love to
apply the final brush¬
strokes to my work," says the cine¬
matographer. From the start, Semler
designed the picture for a Vision
a

watch him

Premier

finish, and he marvels

"People talk about 2K,
4K, 10 bits, 12 bits, megapixels, and
so on, but
my theory is: if it looks
great, it looks great. The develop¬
ments

in film stocks have been

superb, and Vision Premier is

in - electricians, makeup peo¬
ple, prop people. But we were able to
continue rolling, and that enabled
Mel to keep the actors going while
they were hot and get the perform¬
ances he wanted. I'd
say we saved an
hour a day on reloads. When you
have three cameras reloading at dif¬

nificent,

ferent times, and

a

Steadicam with

the

set

than

ence

I've

ever

had."

■

TECHNICAL SPECS

the result.

you cut camera on a set, everyone
goes

at

on

the

toughest shoot
physically that I've ever worked on,
but also the most gratifying. In fact,
it was the best filmmaking experi¬
was

When I

a

mag¬

beautiful, gutsy stock.
the

print of Apocalypto,
away."
booking back at his time in
Veracruz, Semler muses, "Everyone
I

was

saw

blown

the

knew

doing
something special, something that
on

set

we

16mm

Panavision Genesis; Arri 435,2-C;

Ikonoskop A-Cam
Panavision Primo, Lightweight;
Nikon lenses
Kodak Vision2 500T 5218/7218,
50D 5201

were

hadn't been done before. It
an

1.85:1

High-Definition Video, 35mm,

was

like

independent film because it

was

Digital Intermediate
Kodak Vision Premier 2393



http://www.kinoflo.com

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
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