American Cinematographer - May 2009 - 50

Reforming A Ladies’Man How did your post work on this show begin? One of our strategies was to pre-time as much as we could in a non-destructive way, which meant using only primaries to time shots that were going to the effects team. So last July, we started using DI time that we’d planned to use four months later so I could spend a few hours a week on that work; by taking that step, we didn’t have to finetune those shots as much when they came back to us. When we started doing final reviews of effects shots, I insisted we view them on the screen we’d be using for the DI, and that proved to be invaluable because we saw little irregularities that we wouldn’t have seen on a monitor. Monitors can hide a lot of motion artifacts, so projecting on a large screen at full resolution, 24 fps, with the intended look is the only way to inspect the work properly. This was your first experience shooting a feature on Vision3 [500T 5219] and taking it through a DI. Were there any surprises? Okada: Only in post. 5219 is a remarkable technology — I shot most of this movie with it and used it in daylight with an 85 filter because of its incredible latitude in the brightest areas, such as snow. While checking test scans after finishing principal photography, we discovered 5219 has more information and latitude than the Cineon/DPX 10-bit file format can contain; it just doesn’t reach what 5219 can do in the highlights when the scan is written as a file referring to a print density. Granted, there might be things in that area you don’t want or need, but you want to be able to get to it. In this case, the visual-effects team wanted that information because they were using it to get hints about where to paint or not paint snow in the shot. When I checked the early test scans done at various facilities in the DI theater at LaserPacific, we could Top: Shortly before he meets the Ghost of Girlfriends Present, a panicked Connor contemplates escaping back to Manhattan. This scene features a lighting scheme that wound up being “Plan B” after high winds and heavy snow took a toll on Okada’s original lighting setup. Middle: Okada and his crew prepare to film outside the mansion in Ipswich, Mass. Bottom: The crew films Connor as he is stopped in his tracks by the Ghost of Girlfriends Future. This scene features the soft, glowing “moonlight” Okada hoped to use on all of the night exteriors. (The lights he used can be seen on page 52.) 50 May 2009

American Cinematographer - May 2009

Table of Contents for the Digital Edition of American Cinematographer - May 2009

American Cinematographer - May 2009
Contents
Editor's Note
Short Takes: ASC Heritage Award Winners
Production Slate: Grey Gardens and Adoration
Wolverine's Hour
On the Record
Reforming a Ladies' Man
A Friend in Need
Technical Knockouts
Cinematography's Summit
Post Focus: The Red Machine and My Suicide
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: John Lindley
American Cinematographer - May 2009 - American Cinematographer - May 2009
American Cinematographer - May 2009 - Cover2
American Cinematographer - May 2009 - 1
American Cinematographer - May 2009 - 2
American Cinematographer - May 2009 - 3
American Cinematographer - May 2009 - Contents
American Cinematographer - May 2009 - 5
American Cinematographer - May 2009 - 6
American Cinematographer - May 2009 - 7
American Cinematographer - May 2009 - Editor's Note
American Cinematographer - May 2009 - 9
American Cinematographer - May 2009 - Short Takes: ASC Heritage Award Winners
American Cinematographer - May 2009 - 11
American Cinematographer - May 2009 - 12
American Cinematographer - May 2009 - 13
American Cinematographer - May 2009 - 14
American Cinematographer - May 2009 - 15
American Cinematographer - May 2009 - Production Slate: Grey Gardens and Adoration
American Cinematographer - May 2009 - 17
American Cinematographer - May 2009 - 18
American Cinematographer - May 2009 - 19
American Cinematographer - May 2009 - 20
American Cinematographer - May 2009 - 21
American Cinematographer - May 2009 - 22
American Cinematographer - May 2009 - 23
American Cinematographer - May 2009 - Wolverine's Hour
American Cinematographer - May 2009 - 25
American Cinematographer - May 2009 - 26
American Cinematographer - May 2009 - BC1
American Cinematographer - May 2009 - BC2
American Cinematographer - May 2009 - 27
American Cinematographer - May 2009 - 28
American Cinematographer - May 2009 - 29
American Cinematographer - May 2009 - 30
American Cinematographer - May 2009 - 31
American Cinematographer - May 2009 - 32
American Cinematographer - May 2009 - 33
American Cinematographer - May 2009 - 34
American Cinematographer - May 2009 - 35
American Cinematographer - May 2009 - On the Record
American Cinematographer - May 2009 - 37
American Cinematographer - May 2009 - 38
American Cinematographer - May 2009 - 39
American Cinematographer - May 2009 - 40
American Cinematographer - May 2009 - 41
American Cinematographer - May 2009 - 42
American Cinematographer - May 2009 - 43
American Cinematographer - May 2009 - 44
American Cinematographer - May 2009 - 45
American Cinematographer - May 2009 - 46
American Cinematographer - May 2009 - 47
American Cinematographer - May 2009 - A Friend in Need
American Cinematographer - May 2009 - 49
American Cinematographer - May 2009 - 50
American Cinematographer - May 2009 - 51
American Cinematographer - May 2009 - 52
American Cinematographer - May 2009 - 53
American Cinematographer - May 2009 - 54
American Cinematographer - May 2009 - 55
American Cinematographer - May 2009 - 56
American Cinematographer - May 2009 - 57
American Cinematographer - May 2009 - 58
American Cinematographer - May 2009 - 59
American Cinematographer - May 2009 - 60
American Cinematographer - May 2009 - 61
American Cinematographer - May 2009 - Technical Knockouts
American Cinematographer - May 2009 - 63
American Cinematographer - May 2009 - 64
American Cinematographer - May 2009 - Cinematography's Summit
American Cinematographer - May 2009 - 66
American Cinematographer - May 2009 - 67
American Cinematographer - May 2009 - 68
American Cinematographer - May 2009 - 69
American Cinematographer - May 2009 - 70
American Cinematographer - May 2009 - 71
American Cinematographer - May 2009 - 72
American Cinematographer - May 2009 - 73
American Cinematographer - May 2009 - Post Focus: The Red Machine and My Suicide
American Cinematographer - May 2009 - 75
American Cinematographer - May 2009 - 76
American Cinematographer - May 2009 - 77
American Cinematographer - May 2009 - New Products & Services
American Cinematographer - May 2009 - 79
American Cinematographer - May 2009 - 80
American Cinematographer - May 2009 - 81
American Cinematographer - May 2009 - International Marketplace
American Cinematographer - May 2009 - Classified Ads
American Cinematographer - May 2009 - Ad Index
American Cinematographer - May 2009 - 85
American Cinematographer - May 2009 - Clubhouse News
American Cinematographer - May 2009 - 87
American Cinematographer - May 2009 - ASC Close-Up: John Lindley
American Cinematographer - May 2009 - Cover3
American Cinematographer - May 2009 - Cover4
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