American Cinematographer - September 2009 - 54
A Nazi’s Worst Nightmare Quentin wants to create the feeling that nobody’s getting out of here easily.’” Complicating matters further, the actors frequently move from seated to standing positions. After trying and rejecting inframe practicals as too cluttered, the crew attached rows of tungsten bulbs to the ceiling, adding two layers of muslin beneath them to create a soft base light. The headroom was so tight that the bottom layer of muslin had to be removed when actors stood. Richardson then decided to add Parcan toplights and bounced backlights as the shots progressed, reflecting the scene’s mounting tension. “Slowly, as the scene evolved, I moved from the soft top and started adding hard lights off the table to increase the contrast. I also began bringing in soft backlights to separate actors from the background. I just felt this need to do it as I went along, but I tried not to do it in an obvious manner so the audience wouldn’t be aware of it.” Although the transition is subtle, Richardson confesses that he wondered at the time whether altering the light was “a gigantic error.” Kincaid concedes, “We were very busy in there; every setup was a new challenge. We have a saying, though: Pressure makes diamonds.” When the shootout starts, the lighting changes dramatically, with beams of hard light shining through the smoke and gunfire. Tarantino punctuates the scene with a few of his signature snap-zooms into Germans firing their weapons. The timing of the shootout feels realistically rapid, without the extensive high-speed work that has become a convention in contemporary action films. The lighting for the dramatic climax in the movie theater involved a series of 6K and 9K Maxi-Brutes hung from the ceiling with black skirts and silk frames. A fire effect was created mostly with real fire generated by an extensive network of gas pipes, supplemented by red gels on the Maxis. Richardson did the digital intermediate for Basterds at EFilm with colorist Yvan Lucas, and the colorist says he did the color-correction “the old-fashioned way,” starting from the qualities Tarantino and Richardson liked in the workprint made by Arri Munich during shooting. While he was timing the tavern scene, Lucas recalls, “Bob said, ‘Yvan, I know you come from film, so you’re going to match the faces, right? You’re not going to do it like the video timers, who match the backgrounds?’ His point was that faces are what jump out at you, and that was the big idea of the film: to work the old-fashioned way, by matching faces, and then seeing what we could do with the backgrounds if there were any problems.” 54
http://www.walterklassen.com
http://www.walterklassen.com
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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