American Cinematographer - September 2008 - 53

TECHNICAL SPECS proved very useful because I could play around a bit with the lighting.” The cinematographer has high praise for his international crew on Blindness, which included Canadians, Brazilians and Uruguayans. “My longtime Brazilian grip and gaffer are great, as were camera assistants Fabio Burtin and Cris Assunçao. In Uruguay, camera operator Analia Pollio put together a great team of people, including key grip Jose Luis ‘El Gallego’ Rodriguez. I prefer to use local crews wherever I go — whoever is at home has more resources and knows how to help you get things, and they take you to better bars!” He also notes that Technicolor’s Toronto facility, which handled the production’s processing, dailies and DI, provided him with “the best lab experience I’ve ever had. They were so generous. They supported me in the hundreds of tests I wanted to do, and they proved equally fantastic in post, especially colorist Jim Fleming, DI supervisor Lex Batton and dailies colorist Trevor White.” The VistaVision footage was scanned (at 6K and 4K) at Technicolor’s Los Angeles facility and sent to Toronto for grading; the rest of the footage was scanned at 2K in Toronto. Alessandra Casolari, Charlone’s Brazilian post supervisor, oversaw the post work, including the digital effects in Brazil (at O2 Films Post). The filmmakers have requested that Blindness be projected digitally wherever possible “because of the whiteness,” says the cinematographer. “Film too easily attracts bits of dust, and we want the clean whiteness you get with digital.” I 1.85:1 Super 35mm, Super 16mm, 8-perf 35mm, MiniDV Super 35mm (3-perf): Cameras: Arricam Studio, Arri 435; Panaflex Platinum, Lightweight; Aaton 35-III Lenses: Zeiss, Panavision, Cooke, Angenieux Super 16mm: Cameras: Aaton A-Minima, XTR Prod, Xterá Lenses: Zeiss, Canon, Fujinon, Century 8-perf 35mm: Beaumont “Mini” VistaVision Primo lenses MiniDV: Sony DCR-PC110 Kodak Vision2 50D 5201/7201, 250D 5205/7205, 500T 5218/7218 Digital Intermediate Printed on Fuji Eterna-CP 3513DI www.panther.tv of Panther Dollies years Passion of movement And 1.000 Panther dollies. From the beginning, Panther products have made significant contributions to the film industry. In 1990, the Super Panther, the first and most popular electromechanical dolly in the world, received a technical Oscar, the “Scientific and Engineering Award”, in Hollywood. Today Panther dollies are used on major movies worldwide, because Panther stands for innovation, strength and superior quality. prototype 1983 25 Super Panther 1985 Evolution Dolly 1998 Classic Dolly EvoPlus 2003 2006 See you at: -> IBC, #11.E40 and Cinec, # 3-E1; 3-F14 PANTHER GmbH Raiffeisenallee 3 | 82041 Oberhaching–Munich | Germany T +49.89.613 900–01 | F +49.89.61 31 00 0 contact@panther.tv | www.panther.tv Panther Dollies & Cranes, LLC 7358 Radford Ave. | North Hollywood, CA 91605 | USA T +1.818.764 1234 | F +1.818.764 1144 contact@panther.us | www.panther.us 53
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American Cinematographer - September 2008

Table of Contents for the Digital Edition of American Cinematographer - September 2008
