American Cinematographer - July 2007 - 30

Simon Duggan, ACS, and crew members share their experiences in the shooting of “Live Free or Die Hard” with Bruce Willis You’ll have to agree that there are three key factors in the success of most any shoot. First is the skill of the crew, from the DP right down through the assistants. Second, there’s selecting the optimum equipment (cameras, lenses and accessories) for the job. Third —but critically important from our point of view— is the performance and dependability of the equipment, as well as technical support. That’s what The Clairmont Advantage is all about. We thank Simon Duggan, ACS (Director of Photography), Anthony Cappello (“A” camera 1st AC), and John Holmes (“B” camera 1st AC) for elaborating on points two and three. Credit Holmes for the production stills used in this ad. THE CLAIRMONT ADVANTAGE… 12mm through 180mm and a full set of Optimo Angenieux Zooms, the 15-40mm, the 17-80mm and the 24-290mm lens.” THE EQUIPMENT USED Award-winning cinematographer Simon Duggan, ACS, on the set of “Live Free or Die Hard” HOLMES: “I’ve had dealings with Clairmont Camera for 18 years now, and I can always count on reliable gear and great service. Their equipment is second to none! I have dealt with rental houses all over the world and I have dealt with some good ones —but I would have to say that Clairmont is my favorite.” CAPPELLO: “I’ve worked with Clairmont for over ten years and my experience has always been a good one. Their staff, especially Alan, Irving and Tom Boelens have been extremely helpful, supportive, and reliable.” DUGGAN: “When it came to selecting the cameras and equipment for Live Free or Die Hard I went with essentially the same package from Clairmont that I’d used for a previous project, Underworld: Evolution. Between Main and Action units we used a complete Arriflex package including the Arricam ST and LT, several 435s and two of the lightweight 235s. Lenses included complete sets of Cooke S4 Primes from WHY CLAIRMONT? DUGGAN: “I had a very good experience the first time I used Clairmont, and the ACs all wanted to go there knowing they would be looked after. And when it came to pricing, Clairmont was very competitive.” EQUIPMENT AVAILABILITY DUGGAN: “Clairmont had everything we required right on schedule and the gear was all in like-new condition. The ACs “A” Camera operator Mitch Dubin (left), “B” Camera 1st AC John Holmes, and “B” Camera/Steadicam operator Colin Hudson (right) on the set of Live Free or Die Hard

American Cinematographer - July 2007

Table of Contents for the Digital Edition of American Cinematographer - July 2007

Contents
Editor’s Note
DVD Playback
Production Slate
One-Man Riot Squad
Laws of the Jungle
A Hollywood Whodunit
Pièce de Résistance
Short Takes
Post Focus
Filmmakers’ Forum
New Products & Services
Points East
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up
American Cinematographer - July 2007 - Cover1
American Cinematographer - July 2007 - Cover2
American Cinematographer - July 2007 - 1
American Cinematographer - July 2007 - 2
American Cinematographer - July 2007 - Contents
American Cinematographer - July 2007 - 4
American Cinematographer - July 2007 - 5
American Cinematographer - July 2007 - 6
American Cinematographer - July 2007 - 7
American Cinematographer - July 2007 - Editor’s Note
American Cinematographer - July 2007 - 9
American Cinematographer - July 2007 - 10
American Cinematographer - July 2007 - 11
American Cinematographer - July 2007 - DVD Playback
American Cinematographer - July 2007 - 13
American Cinematographer - July 2007 - 14
American Cinematographer - July 2007 - 15
American Cinematographer - July 2007 - 16
American Cinematographer - July 2007 - 17
American Cinematographer - July 2007 - Production Slate
American Cinematographer - July 2007 - 19
American Cinematographer - July 2007 - 20
American Cinematographer - July 2007 - 21
American Cinematographer - July 2007 - 22
American Cinematographer - July 2007 - 23
American Cinematographer - July 2007 - 24
American Cinematographer - July 2007 - 25
American Cinematographer - July 2007 - 26
American Cinematographer - July 2007 - 27
American Cinematographer - July 2007 - 28
American Cinematographer - July 2007 - 29
American Cinematographer - July 2007 - 30
American Cinematographer - July 2007 - 31
American Cinematographer - July 2007 - One-Man Riot Squad
American Cinematographer - July 2007 - 33
American Cinematographer - July 2007 - 34
American Cinematographer - July 2007 - 35
American Cinematographer - July 2007 - 36
American Cinematographer - July 2007 - 37
American Cinematographer - July 2007 - 38
American Cinematographer - July 2007 - 39
American Cinematographer - July 2007 - 40
American Cinematographer - July 2007 - 41
American Cinematographer - July 2007 - 42
American Cinematographer - July 2007 - 43
American Cinematographer - July 2007 - Laws of the Jungle
American Cinematographer - July 2007 - 45
American Cinematographer - July 2007 - 46
American Cinematographer - July 2007 - 47
American Cinematographer - July 2007 - 48
American Cinematographer - July 2007 - 49
American Cinematographer - July 2007 - 50
American Cinematographer - July 2007 - 51
American Cinematographer - July 2007 - 52
American Cinematographer - July 2007 - 53
American Cinematographer - July 2007 - A Hollywood Whodunit
American Cinematographer - July 2007 - 55
American Cinematographer - July 2007 - 56
American Cinematographer - July 2007 - 57
American Cinematographer - July 2007 - 58
American Cinematographer - July 2007 - 59
American Cinematographer - July 2007 - 60
American Cinematographer - July 2007 - 61
American Cinematographer - July 2007 - Pièce de Résistance
American Cinematographer - July 2007 - 63
American Cinematographer - July 2007 - 64
American Cinematographer - July 2007 - 65
American Cinematographer - July 2007 - 66
American Cinematographer - July 2007 - 67
American Cinematographer - July 2007 - 68
American Cinematographer - July 2007 - 69
American Cinematographer - July 2007 - 70
American Cinematographer - July 2007 - 71
American Cinematographer - July 2007 - Short Takes
American Cinematographer - July 2007 - 73
American Cinematographer - July 2007 - 74
American Cinematographer - July 2007 - 75
American Cinematographer - July 2007 - 76
American Cinematographer - July 2007 - 77
American Cinematographer - July 2007 - Post Focus
American Cinematographer - July 2007 - 79
American Cinematographer - July 2007 - 80
American Cinematographer - July 2007 - 81
American Cinematographer - July 2007 - 82
American Cinematographer - July 2007 - 83
American Cinematographer - July 2007 - Filmmakers’ Forum
American Cinematographer - July 2007 - 85
American Cinematographer - July 2007 - New Products & Services
American Cinematographer - July 2007 - 87
American Cinematographer - July 2007 - 88
American Cinematographer - July 2007 - 89
American Cinematographer - July 2007 - 90
American Cinematographer - July 2007 - 91
American Cinematographer - July 2007 - Points East
American Cinematographer - July 2007 - 93
American Cinematographer - July 2007 - International Marketplace
American Cinematographer - July 2007 - Classified Ads
American Cinematographer - July 2007 - Ad Index
American Cinematographer - July 2007 - 97
American Cinematographer - July 2007 - Clubhouse News
American Cinematographer - July 2007 - 99
American Cinematographer - July 2007 - ASC Close-Up
American Cinematographer - July 2007 - Cover3
American Cinematographer - July 2007 - Cover4
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