American Cinematographer - July 2009 - 25

collaborations with Mann — The Insider (AC June ’00), Heat (AC Jan. ’96), The Last of the Mohicans (AC Dec. ’92) and Manhunter — were all 35mm productions. Just prior to Public Enemies, Spinotti and Mann shot a commercial on HD using Sony’s CineAlta F23, a 2⁄3" 3-CCD 1920x1080 camera that records 4:4:4 RGB or 4:2:2 Y/Cb/Cr to HDCamSR tape. (The camera has a 2⁄3" bayonet lens mount, and the SRW-1 deck can be mounted directly to the camera, like a film magazine.) “Michael likes images to be sharp, and he likes shooting with smaller chips because he likes the deep depth of field, so we became fans of the F23 on that commercial,” says Spinotti. For Public Enemies, Spinotti decided to shoot side-by-side comparison tests of HD and Super 35mm, using an F23 for the digital work and Kodak Vision3 500T 5219 in the film camera. He set the two cameras up in the parking lot behind Mann’s office and started shooting in the early afternoon, using stand-ins attired in period wardrobe and several period cars; the testing continued through twilight into night. The digital and film footage were taken all the way through post, with Stefan Sonnenfeld handling the color-correction at Company 3. The 35mm material was scanned at 2K, color-corrected and recorded back out to film; the filmmakers dialed in look-up tables to match the final filmout to what they were seeing on the monitor. They decided to compose the film in 2.40:1, which meant the F23’s 1920x1080 resolution had to be cropped to 1920x800, costing a little over 25 percent of the vertical image information. Despite that slight loss of resolution, “the footage from the F23 was very, very sharp,” says Spinotti. “It didn’t have the full tonal range of film, but its response to the night material was very interesting. Digital cameras read into the shadows very differently; there’s an Clockwise from opposite page: Federal agent Melvin Purvis (Christian Bale) pulls the trigger during a gun battle with gangsters; America’s “most wanted,” John Dillinger (Johnny Depp), takes aim from the running board of an automobile; Dante Spinotti, ASC, AIC brandishes his weapon of choice while harnessing the sun’s rays. Photos and frame grabs courtesy of Universal Pictures. American Cinematographer 25

American Cinematographer - July 2009

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

American Cinematographer - July 2009
Contents
Editor’s Note
Short Takes: Puppy Love
Production Slate: Moon and Séraphine
Big Guns
Impressionistic Cinema
Risk and Valor
Terror on the Tracks
Post Focus: Mega Playground’s DP Dailies
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Jack Cardiff, BSC
Clubhouse News
ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - American Cinematographer - July 2009
American Cinematographer - July 2009 - Cover2
American Cinematographer - July 2009 - 1
American Cinematographer - July 2009 - 2
American Cinematographer - July 2009 - Contents
American Cinematographer - July 2009 - 4
American Cinematographer - July 2009 - 5
American Cinematographer - July 2009 - 6
American Cinematographer - July 2009 - 7
American Cinematographer - July 2009 - Editor’s Note
American Cinematographer - July 2009 - 9
American Cinematographer - July 2009 - Short Takes: Puppy Love
American Cinematographer - July 2009 - 11
American Cinematographer - July 2009 - 12
American Cinematographer - July 2009 - 13
American Cinematographer - July 2009 - Production Slate: Moon and Séraphine
American Cinematographer - July 2009 - 15
American Cinematographer - July 2009 - 16
American Cinematographer - July 2009 - 17
American Cinematographer - July 2009 - 18
American Cinematographer - July 2009 - 19
American Cinematographer - July 2009 - 20
American Cinematographer - July 2009 - 21
American Cinematographer - July 2009 - 22
American Cinematographer - July 2009 - 23
American Cinematographer - July 2009 - Big Guns
American Cinematographer - July 2009 - 25
American Cinematographer - July 2009 - 26
American Cinematographer - July 2009 - 27
American Cinematographer - July 2009 - 28
American Cinematographer - July 2009 - 29
American Cinematographer - July 2009 - 30
American Cinematographer - July 2009 - 31
American Cinematographer - July 2009 - 32
American Cinematographer - July 2009 - 33
American Cinematographer - July 2009 - Impressionistic Cinema
American Cinematographer - July 2009 - 35
American Cinematographer - July 2009 - 36
American Cinematographer - July 2009 - 37
American Cinematographer - July 2009 - 38
American Cinematographer - July 2009 - 39
American Cinematographer - July 2009 - 40
American Cinematographer - July 2009 - 41
American Cinematographer - July 2009 - 42
American Cinematographer - July 2009 - 43
American Cinematographer - July 2009 - Risk and Valor
American Cinematographer - July 2009 - 45
American Cinematographer - July 2009 - 46
American Cinematographer - July 2009 - 47
American Cinematographer - July 2009 - 48
American Cinematographer - July 2009 - 49
American Cinematographer - July 2009 - 50
American Cinematographer - July 2009 - 51
American Cinematographer - July 2009 - Terror on the Tracks
American Cinematographer - July 2009 - 53
American Cinematographer - July 2009 - 54
American Cinematographer - July 2009 - 55
American Cinematographer - July 2009 - 56
American Cinematographer - July 2009 - 57
American Cinematographer - July 2009 - 58
American Cinematographer - July 2009 - 59
American Cinematographer - July 2009 - Post Focus: Mega Playground’s DP Dailies
American Cinematographer - July 2009 - 61
American Cinematographer - July 2009 - 62
American Cinematographer - July 2009 - 63
American Cinematographer - July 2009 - New Products & Services
American Cinematographer - July 2009 - 65
American Cinematographer - July 2009 - 66
American Cinematographer - July 2009 - 67
American Cinematographer - July 2009 - International Marketplace
American Cinematographer - July 2009 - Classified Ads
American Cinematographer - July 2009 - Ad Index
American Cinematographer - July 2009 - 71
American Cinematographer - July 2009 - In Memoriam: Jack Cardiff, BSC
American Cinematographer - July 2009 - 73
American Cinematographer - July 2009 - Clubhouse News
American Cinematographer - July 2009 - 75
American Cinematographer - July 2009 - ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - Cover3
American Cinematographer - July 2009 - Cover4
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