American Cinematographer - May 2009 - 61
effect, the crew “set up a blacked-out tent in the Disney Hall parking lot while the first unit was shooting in the Grand Street tunnel,” says McGarvey. “I was able to pop in and out between takes to see how [2ndunit director] Thomas Napper and John Moffat were progressing. The effect itself was really as basic as shining a Mac 2000 with shifting color sequences straight down the lens and sometimes through the eyepiece; at times, we would interrupt the pure light with bits of glass or jam jars to create prismatic effects. We were shooting wide open on the 4080mm zoom; the extra elements in that lens helped introduce more flares and collisions of light.” There isn’t a pat storybook ending for either Ayers or Lopez, but by the end of The Soloist, each man has been deeply affected by the friendship. According to McGarvey, the filmmakers’ experience mirrored the protagonists’ feelings of camaraderie and enlightenment. “That was one aspect of Skid Row that was quite surprising: the strength of the community, the fun people manage to have, and the love they have amongst themselves. Even though pockets of the area can be dark and violent, there’s generally this incredible respect among people that is very lacking elsewhere. They are extraordinary people who became our friends.” I e? al Europ in Centr Filming k, That Wor r Shoots eader! Fo Market L ermany’s G Contact B R O A D C A ST S E R V I C E S W E ’ V E G OT YO U R B AC K . THE VERY LATEST IN DIGITAL MOVIE-MAKING MULTI-LINGUAL STAFF 24/7 TECHNICAL SUPPORT CALL +49.30.230 989 0 VISIT www.camelot-berlin.de “At LFS each filmmaker learns to discover their “voice”. The training is second to none and the growth that I experienced in two years is really unquantifiable ” Barney Elliott, MA filmmaking graduate 2003. Barney’s short film ‘True Colours’ has screened at over 80 festivals winning nine first prizes. He was selected for the prestigious Cannes Cinéfondation Résidence and the Binger Film Lab. TECHNICAL SPECS 2.40:1 Anamorphic 35mm Panaflex Platinum, Millennium XL2 C-Series and G-Series lenses Kodak Vision2 200T 5217, Vision3 500T 5219 Digital Intermediate Printed on Kodak Vision 2383 THE LFS TWO-YEAR MA FILMMAKING STARTS IN JANUARY, MAY AND SEPTEMBER. To find out more about training in all departments, on a minimum of six film exercises, including two 35mm projects, in a working studio with students from 30 countries visit lfs.org.uk THE LONDON FILM SCHOOL A 24 SHELTON STREET, LONDON, WC2H 9UB U.K. TELEPHONE: +44 (0)20 7836 9642 EMAIL INFO@LFS.ORG.UK TRADITION OF INNOVATION 61
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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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