American Cinematographer - September 2009 - 28

Top: Backed up by Multinational United agents, Ven De Merwe hopes for a friendly exchange with one of the aliens. Middle: An alien offers its human guards an inscrutable expression. Bottom: With the help of 1st AC Houston Hadden (right) and 2nd AC P.J. Makosholo (wearing yellow), Opaloch (seated at camera) frames a shot for Blomkamp (holding monitor). cally to get that look. “It’s amazing how different the summer looks,” he continues. “We had to do some pickups in December, South Africa’s summer, and it was clean and green and lush! We had to be very selective about our framing to try and match the winter photography.” The winter shoot had a visible effect on the gear, which included six Red One cameras owned by Peter Jackson, the film’s producer, and two Sony PMW-EX1s. “My first assistant, Houston Hadden, would take me into the camera truck and show me the dirt and grime he was pulling out of the camera every night, and it looked like an ashtray had been poured out of the camera!” recalls Opaloch. Despite the conditions, however, the cameras remained in working order throughout the shoot. The One’s 4K image serves as the movie’s main perspective, whereas the 1920x1080 HD image from the EX1 represents footage shot by journalists embedded in the alien township. “We briefly considered shooting Super 16, and we talked a bit about shooting with the Sony F23, but the Red offered us more of the look and functionality we wanted,” says Opaloch. “If Sony’s F35 had been out at the time, we certainly would have considered it, too. “I like the Red system, and we got a lot of support from the company,” he continues. Working in Redcode 36, “we were shooting onto 8-gig CF cards, which started to feel a bit like a film shoot because we were limited to the shooting time, about 4½ minutes per card. Also, the accessories for the Red were all what we’re used to using [with film cameras]. The great benefit to shooting digitally was the ability to run to the digital-imaging technician’s truck and see the footage right away.” On the truck, Red camera supervisor Jonathan Smiles had two 30" HD monitors. Smiles would receive the CF cards from the set, open the footage in Red Cine, and then he and Opaloch would apply either a preset or custom curve to the raw footage for viewing the selected shots. ¢ 28 September 2009

American Cinematographer - September 2009

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

American Cinematographer - September 2009
Contents
Editor’s Note
President’s Desk
Short Takes: Love Hate
Production Slate: North Face / District 9
Anarchy in the BRD
A Nazi’s Worst Nightmare
An Appetite for Crime
Testing Digital Cameras: Part 2
Post Focus: The Red Shoes / Mr. Hulot’s Holiday
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Alexander Gruszynski
American Cinematographer - September 2009 - Intro
American Cinematographer - September 2009 - American Cinematographer - September 2009
American Cinematographer - September 2009 - Cover2
American Cinematographer - September 2009 - 1
American Cinematographer - September 2009 - 2
American Cinematographer - September 2009 - Contents
American Cinematographer - September 2009 - 4
American Cinematographer - September 2009 - 5
American Cinematographer - September 2009 - 6
American Cinematographer - September 2009 - 7
American Cinematographer - September 2009 - Editor’s Note
American Cinematographer - September 2009 - 9
American Cinematographer - September 2009 - President’s Desk
American Cinematographer - September 2009 - 11
American Cinematographer - September 2009 - 12
American Cinematographer - September 2009 - 13
American Cinematographer - September 2009 - Short Takes: Love Hate
American Cinematographer - September 2009 - 15
American Cinematographer - September 2009 - 16
American Cinematographer - September 2009 - 17
American Cinematographer - September 2009 - 18
American Cinematographer - September 2009 - 19
American Cinematographer - September 2009 - Production Slate: North Face / District 9
American Cinematographer - September 2009 - 21
American Cinematographer - September 2009 - 22
American Cinematographer - September 2009 - 23
American Cinematographer - September 2009 - 24
American Cinematographer - September 2009 - 25
American Cinematographer - September 2009 - 26
American Cinematographer - September 2009 - 27
American Cinematographer - September 2009 - 28
American Cinematographer - September 2009 - 29
American Cinematographer - September 2009 - 30
American Cinematographer - September 2009 - 31
American Cinematographer - September 2009 - Anarchy in the BRD
American Cinematographer - September 2009 - 33
American Cinematographer - September 2009 - 34
American Cinematographer - September 2009 - 35
American Cinematographer - September 2009 - 36
American Cinematographer - September 2009 - 37
American Cinematographer - September 2009 - 38
American Cinematographer - September 2009 - 39
American Cinematographer - September 2009 - 40
American Cinematographer - September 2009 - 41
American Cinematographer - September 2009 - 42
American Cinematographer - September 2009 - 43
American Cinematographer - September 2009 - A Nazi’s Worst Nightmare
American Cinematographer - September 2009 - 45
American Cinematographer - September 2009 - 46
American Cinematographer - September 2009 - 47
American Cinematographer - September 2009 - 48
American Cinematographer - September 2009 - 49
American Cinematographer - September 2009 - 50
American Cinematographer - September 2009 - 51
American Cinematographer - September 2009 - 52
American Cinematographer - September 2009 - 53
American Cinematographer - September 2009 - 54
American Cinematographer - September 2009 - 55
American Cinematographer - September 2009 - 56
American Cinematographer - September 2009 - 57
American Cinematographer - September 2009 - An Appetite for Crime
American Cinematographer - September 2009 - 59
American Cinematographer - September 2009 - 60
American Cinematographer - September 2009 - 61
American Cinematographer - September 2009 - 62
American Cinematographer - September 2009 - 63
American Cinematographer - September 2009 - 64
American Cinematographer - September 2009 - 65
American Cinematographer - September 2009 - 66
American Cinematographer - September 2009 - 67
American Cinematographer - September 2009 - 68
American Cinematographer - September 2009 - 69
American Cinematographer - September 2009 - Testing Digital Cameras: Part 2
American Cinematographer - September 2009 - 71
American Cinematographer - September 2009 - 72
American Cinematographer - September 2009 - 73
American Cinematographer - September 2009 - 74
American Cinematographer - September 2009 - 75
American Cinematographer - September 2009 - 76
American Cinematographer - September 2009 - 77
American Cinematographer - September 2009 - Post Focus: The Red Shoes / Mr. Hulot’s Holiday
American Cinematographer - September 2009 - 79
American Cinematographer - September 2009 - 80
American Cinematographer - September 2009 - 81
American Cinematographer - September 2009 - 82
American Cinematographer - September 2009 - 83
American Cinematographer - September 2009 - 84
American Cinematographer - September 2009 - 85
American Cinematographer - September 2009 - New Products & Services
American Cinematographer - September 2009 - 87
American Cinematographer - September 2009 - 88
American Cinematographer - September 2009 - 89
American Cinematographer - September 2009 - 90
American Cinematographer - September 2009 - 91
American Cinematographer - September 2009 - 92
American Cinematographer - September 2009 - 93
American Cinematographer - September 2009 - 94
American Cinematographer - September 2009 - 95
American Cinematographer - September 2009 - International Marketplace
American Cinematographer - September 2009 - 97
American Cinematographer - September 2009 - Ad Index
American Cinematographer - September 2009 - 99
American Cinematographer - September 2009 - ASC Membership Roster
American Cinematographer - September 2009 - 101
American Cinematographer - September 2009 - Clubhouse News
American Cinematographer - September 2009 - 103
American Cinematographer - September 2009 - ASC Close-Up: Alexander Gruszynski
American Cinematographer - September 2009 - Cover3
American Cinematographer - September 2009 - Cover4
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