American Cinematographer - April 2009 - 75
kisslite R Endurance swimmer Martin Strel sits down to a carb-heavy meal in Big River Man, which brought director/cinematographer John Maringouin the Excellence in Cinematography Award in the World Documentary category. LIGHTWEIGHT VERSATILE DESIGN Big River Man photo courtesy of Self Pictures/Earthworks Films. Maringouin photo courtesy of Maringouin. Big River Man Director/Cinematographer: John Maringouin John Maringouin was barely listening when the Sundance jury for the World Documentary competition announced the Excellence in Cinematography Award. He recalls, “I remember they said they were blown away by how many visual ideas were in the film, and then I stopped paying attention because I assumed it wasn’t me!” But Big River Man, Maringouin’s third film, snagged the prize. The award was particularly satisfying because Maringouin’s fear throughout production was that he’d end up with a visually boring film. His subject was Martin Strel, a Slovenian endurance swimmer who tackles the world’s longest rivers and planned to take on the 3,274-mile Amazon. As a subject, Strel was appealing for his contradictions: He’s a marathon swimmer who’s middle-aged, overweight and partial to horse-burgers and two bottles of wine a day, a national icon who is also an “underemployed” guitar teacher and former gambler. But Maringouin made a few worrisome discoveries once he began spending time with Strel: The swimmer speaks no English, so he relied on his son to act as manager and mouthpiece, and once he got in the water, he became uncommunicative. “I realized I would have to express his state of mind visually,” says Maringouin. Maringouin took three trips to Slovenia to capture Strel in training. With no financing in place, and no guarantee that Strel would actually go to the Amazon, he brought just one camera, a Panasonic AGDVX100. “I made sure it was small so I could get close to him without intimidating him,” he explains. Once it became clear the trip to South America was on, Maringouin purchased a Panasonic AGHVX200, which comes with a wideangle Leica Dicomar lens. “In terms of the blow-up and color tones, it was the best match to the camcorder,” he notes. “The catch was that it records to P2 cards, which • Fixed & rotating filter stages • Top & bottom French flags • 12Volt-40Volt input range • Wireless dimming CASINO ROYALE KITE RUNNER MAMMA MIA EASTERN PROMISES GOLDEN COMPASS Sales and Rental Worldwide US www.sl-x.us (818) 764 1313 online www.vfgadgets.com www.gekkotechnology.com 75
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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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