American Cinematographer - April 2008 - 51

be relatively straightforward, but it was a quite difficult process to make them convincing on camera,” says Major. “Patrick Tatopolous, a well-known creature designer, did the initial design, and we finessed his work and sent an order to a Chinese factory. The Chinese were a little reluctant because it was a small order for them, even though it was a large order for us! Also, this wasn’t really a vine that previously existed, so we had to start from scratch with the artwork, molds and casting processes. The hero vines were constructed from a combination of plastics and rubbers, and a thickness of 1⁄2mm to 1⁄3mm gave us the right translucency.” “The vines are a very important presence in the film, and polarizing the light on them [with a Schneider TruePola] made them look fresh and real, tender and more transparent,” says Khondji. “I also found that every time the vines were backlit, they looked very good. On the interiors, I tended to keep the vines dark and sketchy. Inside the shaft and chamber, the actors and walls were lit with only the flaming torches, and we didn’t add much light to the vines; we simply left them in the dark. That way, the structure of the vine on the wall became almost an etching.” Reflecting upon his collaboration with Khondji, Smith offers, “What I appreciated most was Darius’ passion for telling this story. To photograph a horror movie entirely in bright daylight was an incredible challenge, and his passion for working in this new and very raw way was really exciting. And I simply enjoyed getting to spend each day with him; he’s a gentle and inspiring presence, and I learned very quickly that that kind of energy on set really makes all the difference.” Khondji credits his siblings and the house he grew up in with sparking his love of horror. “We grew up in a large house in Paris that had a dark-gray, slate roof, and there was even a big dog like the hound of the Baskervilles,” he says. “My sister, who is older than me, would often lie in wait in a dark corner of the stairway and jump out at me. She would also lock me in the cellar every so often. Soon, I began to enjoy being scared!” I TECHNICAL SPECS 2.40:1 Anamorphic 35mm Panaflex Millennium XL, Lightweight Panavision C-Series, E-Series, Super High Speed lenses Fuji Eterna 250T 8553, 500T 8573 Digital Intermediate 51

http://www.rosco.com/swatchbook http://www.rosco.com/swatchbook http://www.rosco.com/rewards

American Cinematographer - April 2008

Table of Contents for the Digital Edition of American Cinematographer - April 2008

American Cinematographer - April 2008
Contents
Editor's Note
Global Village: The Counterfeiters
Short Takes: Milia
Production Slate: Paranoid Park
Production Slate: All the Boys Love Mandy Lane
Card Sharks
Temple of Doom
3-D Cinematography
Sundance 2008: Mining for Movies
Post Focus: Digital Film Tree Gets into Peyote
Post Focus: FotoKem’s 3-D Workflow
Post Focus: Technicolor Digs in at Pinewood
Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - American Cinematographer - April 2008
American Cinematographer - April 2008 - Cover2
American Cinematographer - April 2008 - 1
American Cinematographer - April 2008 - 2
American Cinematographer - April 2008 - Contents
American Cinematographer - April 2008 - 4
American Cinematographer - April 2008 - 5
American Cinematographer - April 2008 - 6
American Cinematographer - April 2008 - 7
American Cinematographer - April 2008 - Editor's Note
American Cinematographer - April 2008 - 9
American Cinematographer - April 2008 - Global Village: The Counterfeiters
American Cinematographer - April 2008 - 11
American Cinematographer - April 2008 - 12
American Cinematographer - April 2008 - 13
American Cinematographer - April 2008 - Short Takes: Milia
American Cinematographer - April 2008 - 15
American Cinematographer - April 2008 - 16
American Cinematographer - April 2008 - 17
American Cinematographer - April 2008 - Production Slate: All the Boys Love Mandy Lane
American Cinematographer - April 2008 - 19
American Cinematographer - April 2008 - 20
American Cinematographer - April 2008 - 21
American Cinematographer - April 2008 - 22
American Cinematographer - April 2008 - 23
American Cinematographer - April 2008 - 24
American Cinematographer - April 2008 - 25
American Cinematographer - April 2008 - 26
American Cinematographer - April 2008 - 27
American Cinematographer - April 2008 - 28
American Cinematographer - April 2008 - 29
American Cinematographer - April 2008 - Card Sharks
American Cinematographer - April 2008 - 31
American Cinematographer - April 2008 - 32
American Cinematographer - April 2008 - 33
American Cinematographer - April 2008 - 34
American Cinematographer - April 2008 - 35
American Cinematographer - April 2008 - 36
American Cinematographer - April 2008 - 37
American Cinematographer - April 2008 - 38
American Cinematographer - April 2008 - 39
American Cinematographer - April 2008 - 40
American Cinematographer - April 2008 - 41
American Cinematographer - April 2008 - Temple of Doom
American Cinematographer - April 2008 - 43
American Cinematographer - April 2008 - 44
American Cinematographer - April 2008 - 45
American Cinematographer - April 2008 - 46
American Cinematographer - April 2008 - 47
American Cinematographer - April 2008 - 48
American Cinematographer - April 2008 - 49
American Cinematographer - April 2008 - 50
American Cinematographer - April 2008 - 51
American Cinematographer - April 2008 - 3-D Cinematography
American Cinematographer - April 2008 - 53
American Cinematographer - April 2008 - 54
American Cinematographer - April 2008 - 55
American Cinematographer - April 2008 - 56
American Cinematographer - April 2008 - 57
American Cinematographer - April 2008 - 58
American Cinematographer - April 2008 - 59
American Cinematographer - April 2008 - 60
American Cinematographer - April 2008 - 61
American Cinematographer - April 2008 - 62
American Cinematographer - April 2008 - 63
American Cinematographer - April 2008 - Sundance 2008: Mining for Movies
American Cinematographer - April 2008 - 65
American Cinematographer - April 2008 - 66
American Cinematographer - April 2008 - 67
American Cinematographer - April 2008 - 68
American Cinematographer - April 2008 - 69
American Cinematographer - April 2008 - 70
American Cinematographer - April 2008 - 71
American Cinematographer - April 2008 - 72
American Cinematographer - April 2008 - 73
American Cinematographer - April 2008 - 74
American Cinematographer - April 2008 - 75
American Cinematographer - April 2008 - 76
American Cinematographer - April 2008 - 77
American Cinematographer - April 2008 - 78
American Cinematographer - April 2008 - 79
American Cinematographer - April 2008 - 80
American Cinematographer - April 2008 - 81
American Cinematographer - April 2008 - 82
American Cinematographer - April 2008 - 83
American Cinematographer - April 2008 - Post Focus: Technicolor Digs in at Pinewood
American Cinematographer - April 2008 - 85
American Cinematographer - April 2008 - 86
American Cinematographer - April 2008 - 87
American Cinematographer - April 2008 - 88
American Cinematographer - April 2008 - 89
American Cinematographer - April 2008 - Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
American Cinematographer - April 2008 - 91
American Cinematographer - April 2008 - 92
American Cinematographer - April 2008 - 93
American Cinematographer - April 2008 - New Products & Services
American Cinematographer - April 2008 - 95
American Cinematographer - April 2008 - 96
American Cinematographer - April 2008 - 97
American Cinematographer - April 2008 - 98
American Cinematographer - April 2008 - 99
American Cinematographer - April 2008 - 100
American Cinematographer - April 2008 - 101
American Cinematographer - April 2008 - 102
American Cinematographer - April 2008 - 103
American Cinematographer - April 2008 - 104
American Cinematographer - April 2008 - 105
American Cinematographer - April 2008 - 106
American Cinematographer - April 2008 - 107
American Cinematographer - April 2008 - 108
American Cinematographer - April 2008 - 109
American Cinematographer - April 2008 - International Marketplace
American Cinematographer - April 2008 - 111
American Cinematographer - April 2008 - Ad Index
American Cinematographer - April 2008 - 113
American Cinematographer - April 2008 - Clubhouse News
American Cinematographer - April 2008 - 115
American Cinematographer - April 2008 - ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - Cover3
American Cinematographer - April 2008 - Cover4
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