American Cinematographer - June 2009 - 53
because McG wanted more depth in there.” HPL space lights, which incorporate halogen Pars, provided the base exposure in the set. “The wide shots played nicely with the top source, but for close-ups, we brought in a little fill for their eyes,” says Hurlbut. When the Salvation crew returns from lunch, they prepare to shoot in another section of Skynet, the lab where experiments involving human skin and hair are conducted. The lab reflects the clinical atmosphere of Serena’s tower but has a morgue-like quality thanks to the human cadavers lying on surgical tables. In the scene at hand, Connor, Reese and a girl named Star (Jadagrace) try to make their way out of the facility, and when Terminators take up the chase, things start to explode. Practical lights adorn much of the set, with an overhead grid of near- ly 100 space lights providing overall ambience. To facilitate CG extensions in post, a bluescreen lines the outer edge of the set; it is lit by Kino Flo Image 80s along the top and bottom, all fitted with Super Blue tubes. “That’s mainly what I use for stage applications, and when we do bluescreen work outside, I use 18Ks,” says Hurlbut. The cinematographer goes on to explain his preference for bluescreen over greenscreen: “If you have blue contamination on a face, you can desaturate it to make it look like skylight. But what can you do with green contamination?” Despite the extensive visualeffects work, effects were achieved practically and in-camera as often as possible. “I wanted all the explosions, all the velocity, to be a tactile experience,” says McG. “When people see CG elements, they sort of detach from the movie, and this story is a cautionary tale. We live in a science-fiction world, and if we don’t watch out, this could happen.” With that ominous prediction hanging in the air, McG surveys the set and turns once more to face the future. “Make it hot!” he shouts. “Let’s go!” I TECHNICAL SPECS 2.40:1 Super 35mm Panaflex Millennium XL, Platinum; PanArri 435 Extreme; Arri 235, 35-3 Primo lenses Kodak Vision2 50D 5201, 200T 5217; Vision3 500T 5219 Digital Intermediate Printed on Kodak Vision 2383 53
http://www.walterklassen.com
http://www.walterklassen.com
American Cinematographer - June 2009
Table of Contents for the Digital Edition of American Cinematographer - June 2009
American Cinematographer - June 2009
Contents
Editor's Note
Short Takes: A 65mm Microsoft Installation
Production Slate: Drag Me to Hell Downloading Nancy
A Bold, New Enterprise
Back to the Future
Making History Fun
Testing Digital Cameras
Assessing Previs
Post Focus: Cinematographers, Colorists and the DI
New Products & Services
International Marketplace
Ad Index
Classified Ads
ASC Membership Roster
Clubhouse News
ASC Close-Up: Alan Caso
American Cinematographer - June 2009 - American Cinematographer - June 2009
American Cinematographer - June 2009 - Cover2
American Cinematographer - June 2009 - 1
American Cinematographer - June 2009 - 2
American Cinematographer - June 2009 - Contents
American Cinematographer - June 2009 - 4
American Cinematographer - June 2009 - 5
American Cinematographer - June 2009 - 6
American Cinematographer - June 2009 - 7
American Cinematographer - June 2009 - Editor's Note
American Cinematographer - June 2009 - 9
American Cinematographer - June 2009 - Short Takes: A 65mm Microsoft Installation
American Cinematographer - June 2009 - 11
American Cinematographer - June 2009 - 12
American Cinematographer - June 2009 - 13
American Cinematographer - June 2009 - Production Slate: Drag Me to Hell Downloading Nancy
American Cinematographer - June 2009 - 15
American Cinematographer - June 2009 - 16
American Cinematographer - June 2009 - 17
American Cinematographer - June 2009 - 18
American Cinematographer - June 2009 - 19
American Cinematographer - June 2009 - 20
American Cinematographer - June 2009 - 21
American Cinematographer - June 2009 - 22
American Cinematographer - June 2009 - 23
American Cinematographer - June 2009 - 24
American Cinematographer - June 2009 - 25
American Cinematographer - June 2009 - 26
American Cinematographer - June 2009 - 27
American Cinematographer - June 2009 - A Bold, New Enterprise
American Cinematographer - June 2009 - 29
American Cinematographer - June 2009 - 30
American Cinematographer - June 2009 - 31
American Cinematographer - June 2009 - 32
American Cinematographer - June 2009 - 33
American Cinematographer - June 2009 - 34
American Cinematographer - June 2009 - 35
American Cinematographer - June 2009 - 36
American Cinematographer - June 2009 - 37
American Cinematographer - June 2009 - 38
American Cinematographer - June 2009 - 39
American Cinematographer - June 2009 - Back to the Future
American Cinematographer - June 2009 - 41
American Cinematographer - June 2009 - 42
American Cinematographer - June 2009 - 43
American Cinematographer - June 2009 - 44
American Cinematographer - June 2009 - 45
American Cinematographer - June 2009 - 46
American Cinematographer - June 2009 - 47
American Cinematographer - June 2009 - 48
American Cinematographer - June 2009 - 49
American Cinematographer - June 2009 - 50
American Cinematographer - June 2009 - 51
American Cinematographer - June 2009 - 52
American Cinematographer - June 2009 - 53
American Cinematographer - June 2009 - Making History Fun
American Cinematographer - June 2009 - 55
American Cinematographer - June 2009 - 56
American Cinematographer - June 2009 - 57
American Cinematographer - June 2009 - 58
American Cinematographer - June 2009 - 59
American Cinematographer - June 2009 - 60
American Cinematographer - June 2009 - 61
American Cinematographer - June 2009 - 62
American Cinematographer - June 2009 - 63
American Cinematographer - June 2009 - Testing Digital Cameras
American Cinematographer - June 2009 - 65
American Cinematographer - June 2009 - 66
American Cinematographer - June 2009 - 67
American Cinematographer - June 2009 - 68
American Cinematographer - June 2009 - 69
American Cinematographer - June 2009 - Assessing Previs
American Cinematographer - June 2009 - 71
American Cinematographer - June 2009 - 72
American Cinematographer - June 2009 - 73
American Cinematographer - June 2009 - 74
American Cinematographer - June 2009 - 75
American Cinematographer - June 2009 - 76
American Cinematographer - June 2009 - 77
American Cinematographer - June 2009 - Post Focus: Cinematographers, Colorists and the DI
American Cinematographer - June 2009 - 79
American Cinematographer - June 2009 - 80
American Cinematographer - June 2009 - 81
American Cinematographer - June 2009 - 82
American Cinematographer - June 2009 - 83
American Cinematographer - June 2009 - New Products & Services
American Cinematographer - June 2009 - 85
American Cinematographer - June 2009 - 86
American Cinematographer - June 2009 - 87
American Cinematographer - June 2009 - 88
American Cinematographer - June 2009 - 89
American Cinematographer - June 2009 - 90
American Cinematographer - June 2009 - 91
American Cinematographer - June 2009 - International Marketplace
American Cinematographer - June 2009 - 93
American Cinematographer - June 2009 - Classified Ads
American Cinematographer - June 2009 - 95
American Cinematographer - June 2009 - ASC Membership Roster
American Cinematographer - June 2009 - 97
American Cinematographer - June 2009 - Clubhouse News
American Cinematographer - June 2009 - 99
American Cinematographer - June 2009 - ASC Close-Up: Alan Caso
American Cinematographer - June 2009 - Cover3
American Cinematographer - June 2009 - Cover4
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