American Cinematographer - August 2009 - 49

too cramped to accommodate a large crew, and the surrounding streets would have been difficult to control. Therefore, a greenscreen set was built onstage in L.A., and the MPC team set forth to gather as much photographic material from the real location as possible. “The environment we created was a combination of multiple bracketed stills taken at different times of day,” says Stammers. “Although it’s a night scene, we shot daytime and nighttime stills and blended them to get day-for-night moonlight; there was no visible moonlight at the location at night, so by adding a percentage of daylight, we gave it a more lit feel, which Sal would have wanted from the location.” Bracketing still images served not only to imitate the look Totino might have achieved on a real night shoot, but also to give the images a much wider dynamic range. “On some occasions, we combined up to seven bracketed shots, in theory creating a greater dynamic range than film could have captured,” says Stammers. “But generally, three bracketed exposures at stops above and below the mid-exposure gave us a pretty good range.” The largest location to which the production was forbidden access was St. Peter’s Square, the vast piazza in front of the basilica. “One of my big concerns was how we were going to track the shots,” says Bickerton. “We were potentially going to go handheld and Steadicam, wandering for up to 100 meters through the square with a crowd of 300 people blocking our markers.” After exploring a few realtime tracking options, Bickerton dismissed them as too cumbersome. Instead, he fixed on the notion of attaching AVCHD camcorders to all of the film cameras and doing the tracking in post. “Angus approached us one day and asked if we’d mind if he put small, consumer HD cameras on our cameras,” recalls Totino. “There was a little extra weight when we were handheld or on Steadicam, but by doing that, Angus was able to track the cameras and see everything they were seeing. My guys were too busy to keep turning the HD cameras on and off, so Visual-effects artists at CIS Vancouver, working under the supervision of Mark Breakspear, tackled a car chase. “Angus shot tiled background plates that we stitched together, and combined with delicate practical camera moves, added vibration and environmental reflections, the shot looks like it was shot for real,” says Breakspear. American Cinematographer 49

American Cinematographer - August 2009

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

American Cinematographer - August 2009
Contents
Editor’s Note
Letters
Short Takes: “Carousel”
Production Slate: ASC/BSC Panel and Stingray Sam
Fellow Foodies
Exposing a Secret Slaughter
When Not in Rome
Robots Run Rampant
Post Focus: Technicolor’s DP Lights 2.0
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Aaron Schneider
American Cinematographer - August 2009 - Intro
American Cinematographer - August 2009 - American Cinematographer - August 2009
American Cinematographer - August 2009 - Cover2
American Cinematographer - August 2009 - 1
American Cinematographer - August 2009 - 2
American Cinematographer - August 2009 - Contents
American Cinematographer - August 2009 - 4
American Cinematographer - August 2009 - 5
American Cinematographer - August 2009 - 6
American Cinematographer - August 2009 - 7
American Cinematographer - August 2009 - Editor’s Note
American Cinematographer - August 2009 - 9
American Cinematographer - August 2009 - Letters
American Cinematographer - August 2009 - 11
American Cinematographer - August 2009 - Short Takes: “Carousel”
American Cinematographer - August 2009 - 13
American Cinematographer - August 2009 - 14
American Cinematographer - August 2009 - 15
American Cinematographer - August 2009 - 16
American Cinematographer - August 2009 - 17
American Cinematographer - August 2009 - Production Slate: ASC/BSC Panel and Stingray Sam
American Cinematographer - August 2009 - 19
American Cinematographer - August 2009 - 20
American Cinematographer - August 2009 - 21
American Cinematographer - August 2009 - 22
American Cinematographer - August 2009 - 23
American Cinematographer - August 2009 - 24
American Cinematographer - August 2009 - 25
American Cinematographer - August 2009 - 26
American Cinematographer - August 2009 - 27
American Cinematographer - August 2009 - Fellow Foodies
American Cinematographer - August 2009 - 29
American Cinematographer - August 2009 - 30
American Cinematographer - August 2009 - 31
American Cinematographer - August 2009 - 32
American Cinematographer - August 2009 - 33
American Cinematographer - August 2009 - 34
American Cinematographer - August 2009 - 35
American Cinematographer - August 2009 - 36
American Cinematographer - August 2009 - 37
American Cinematographer - August 2009 - Exposing a Secret Slaughter
American Cinematographer - August 2009 - 39
American Cinematographer - August 2009 - 40
American Cinematographer - August 2009 - 41
American Cinematographer - August 2009 - 42
American Cinematographer - August 2009 - 43
American Cinematographer - August 2009 - 44
American Cinematographer - August 2009 - 45
American Cinematographer - August 2009 - When Not in Rome
American Cinematographer - August 2009 - 47
American Cinematographer - August 2009 - 48
American Cinematographer - August 2009 - 49
American Cinematographer - August 2009 - 50
American Cinematographer - August 2009 - 51
American Cinematographer - August 2009 - 52
American Cinematographer - August 2009 - 53
American Cinematographer - August 2009 - Robots Run Rampant
American Cinematographer - August 2009 - 55
American Cinematographer - August 2009 - 56
American Cinematographer - August 2009 - 57
American Cinematographer - August 2009 - 58
American Cinematographer - August 2009 - 59
American Cinematographer - August 2009 - Post Focus: Technicolor’s DP Lights 2.0
American Cinematographer - August 2009 - 61
American Cinematographer - August 2009 - 62
American Cinematographer - August 2009 - 63
American Cinematographer - August 2009 - New Products & Services
American Cinematographer - August 2009 - 65
American Cinematographer - August 2009 - 66
American Cinematographer - August 2009 - 67
American Cinematographer - August 2009 - 68
American Cinematographer - August 2009 - 69
American Cinematographer - August 2009 - International Marketplace
American Cinematographer - August 2009 - 71
American Cinematographer - August 2009 - Ad Index
American Cinematographer - August 2009 - 73
American Cinematographer - August 2009 - Clubhouse News
American Cinematographer - August 2009 - 75
American Cinematographer - August 2009 - ASC Close-Up: Aaron Schneider
American Cinematographer - August 2009 - Cover3
American Cinematographer - August 2009 - Cover4
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