American Cinematographer - April 2009 - 33
reasons, we had to commit ahead of time to which scenes would have slow motion. But Zack’s really good about planning things like that; he storyboards every shot.” The rest of the action in Blake’s apartment was filmed in a fully dressed set constructed 8' off the stage floor. “There are practical lights on in the kitchen and the living room, but we determined that most of [the apartment] should be moonlit, with [ambient] city light influencing it,” says Fong. A greenscreen was rigged outside the window for city extensions (done by visual-effects house MPC in Vancouver), and to simulate moonlight, the crew rigged 20Ks with ½ Blue and some diffusion on an I-beam and trolley so they could move the lights quickly; a row of Image 80s with a mixed-tube configuration also hung above the set to provide soft ambience. To suggest the streetlights far below, the crew positioned Par cans along the stage floor and gelled them to affect a sodium-vapor look. In August 1959, Dr. Jon Osterman (Billy Crudup) steps into an experimental chamber in the Gila Flats intrinsic-field test center to retrieve a watch he left behind. Programmed to lock automatically for experiments, the chamber door closes behind him, and none of Osterman’s fellow scientists can countermand the programming. Within moments, every atom in Osterman’s body has been torn apart. A few months later, he successfully reconstitutes himself, and his “resurrection” grants him a level of control over space and time. He is truly the first super-powered superhero, and the U.S. government quickly enlists him as a nuclear deterrent, christening him Dr. Manhattan. When DesJardin began preproduction for Watchmen’s visual effects, in April 2007, determining how to shoot Dr. Manhattan’s size-shifting, luminous body was among his first priorities. “At first, I was less concerned about his blue glow than I was about the fact that he’s 30-feet tall when we first see him, then he shrinks to normal size, and then he’s 200-feet tall when we see him in Vietnam,” recalls DesJardin. “And there have to be three of him in a love scene! Zack and I decided to make him an all-CG character; the problems that solved were massive.” Though his final form was crafted in the computer at Sony Pictures Imageworks (under the guidance of SPI visual-effects supervisor Peter Travers), Dr. Manhattan still needed a presence 33
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American Cinematographer - April 2009
Table of Contents for the Digital Edition of American Cinematographer - April 2009
American Cinematographer - April 2009
Contents
Editor's Note
Short Takes: Patiences
Production Slate
Watchmakers
Sum of All Fears
An Epic Endeavor
Sundance 2009: 5 That Thrived
Post Focus: Autodesk Updates Lastre
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Thomas Ackerman
American Cinematographer - April 2009 - American Cinematographer - April 2009
American Cinematographer - April 2009 - Cover2
American Cinematographer - April 2009 - 1
American Cinematographer - April 2009 - 2
American Cinematographer - April 2009 - Contents
American Cinematographer - April 2009 - 4
American Cinematographer - April 2009 - 5
American Cinematographer - April 2009 - 6
American Cinematographer - April 2009 - 7
American Cinematographer - April 2009 - Editor's Note
American Cinematographer - April 2009 - 9
American Cinematographer - April 2009 - Short Takes: Patiences
American Cinematographer - April 2009 - 11
American Cinematographer - April 2009 - 12
American Cinematographer - April 2009 - 13
American Cinematographer - April 2009 - 14
American Cinematographer - April 2009 - 15
American Cinematographer - April 2009 - Production Slate
American Cinematographer - April 2009 - 17
American Cinematographer - April 2009 - 18
American Cinematographer - April 2009 - 19
American Cinematographer - April 2009 - 20
American Cinematographer - April 2009 - 21
American Cinematographer - April 2009 - 22
American Cinematographer - April 2009 - 23
American Cinematographer - April 2009 - 24
American Cinematographer - April 2009 - 25
American Cinematographer - April 2009 - 26
American Cinematographer - April 2009 - 27
American Cinematographer - April 2009 - Watchmakers
American Cinematographer - April 2009 - 29
American Cinematographer - April 2009 - 30
American Cinematographer - April 2009 - 31
American Cinematographer - April 2009 - 32
American Cinematographer - April 2009 - 33
American Cinematographer - April 2009 - 34
American Cinematographer - April 2009 - 35
American Cinematographer - April 2009 - 36
American Cinematographer - April 2009 - 37
American Cinematographer - April 2009 - 38
American Cinematographer - April 2009 - 39
American Cinematographer - April 2009 - 40
American Cinematographer - April 2009 - 41
American Cinematographer - April 2009 - 42
American Cinematographer - April 2009 - 43
American Cinematographer - April 2009 - Sum of All Fears
American Cinematographer - April 2009 - 45
American Cinematographer - April 2009 - 46
American Cinematographer - April 2009 - 47
American Cinematographer - April 2009 - 48
American Cinematographer - April 2009 - 49
American Cinematographer - April 2009 - 50
American Cinematographer - April 2009 - 51
American Cinematographer - April 2009 - 52
American Cinematographer - April 2009 - 53
American Cinematographer - April 2009 - An Epic Endeavor
American Cinematographer - April 2009 - 55
American Cinematographer - April 2009 - 56
American Cinematographer - April 2009 - 57
American Cinematographer - April 2009 - 58
American Cinematographer - April 2009 - 59
American Cinematographer - April 2009 - 60
American Cinematographer - April 2009 - 61
American Cinematographer - April 2009 - Sundance 2009: 5 That Thrived
American Cinematographer - April 2009 - 63
American Cinematographer - April 2009 - 64
American Cinematographer - April 2009 - 65
American Cinematographer - April 2009 - 66
American Cinematographer - April 2009 - 67
American Cinematographer - April 2009 - 68
American Cinematographer - April 2009 - 69
American Cinematographer - April 2009 - 70
American Cinematographer - April 2009 - 71
American Cinematographer - April 2009 - 72
American Cinematographer - April 2009 - 73
American Cinematographer - April 2009 - 74
American Cinematographer - April 2009 - 75
American Cinematographer - April 2009 - 76
American Cinematographer - April 2009 - 77
American Cinematographer - April 2009 - Post Focus: Autodesk Updates Lastre
American Cinematographer - April 2009 - 79
American Cinematographer - April 2009 - 80
American Cinematographer - April 2009 - 81
American Cinematographer - April 2009 - New Products & Services
American Cinematographer - April 2009 - 83
American Cinematographer - April 2009 - 84
American Cinematographer - April 2009 - 85
American Cinematographer - April 2009 - 86
American Cinematographer - April 2009 - 87
American Cinematographer - April 2009 - 88
American Cinematographer - April 2009 - 89
American Cinematographer - April 2009 - 90
American Cinematographer - April 2009 - 91
American Cinematographer - April 2009 - International Marketplace
American Cinematographer - April 2009 - 93
American Cinematographer - April 2009 - Ad Index
American Cinematographer - April 2009 - 95
American Cinematographer - April 2009 - ASC Membership Roster
American Cinematographer - April 2009 - 97
American Cinematographer - April 2009 - Clubhouse News
American Cinematographer - April 2009 - 99
American Cinematographer - April 2009 - ASC Close-Up: Thomas Ackerman
American Cinematographer - April 2009 - Cover3
American Cinematographer - April 2009 - Cover4
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