American Cinematographer - November 2009 - 28

Top to bottom: A conversation between Juliette and Tareq is set against the Great Pyramid of Giza to underscore a feeling of solitude; Montpellier (left) and 1st AC Andy Jekabsons capture the scene; preparing the final shot of the film, Montpellier waits for the right light on the pyramids; Montpellier, Jekabsons and Egyptian key/dolly grip Ehab Atiya line up the final dolly shot of the picture. ate feelings in the viewer even if the picture had no sound; he says this goal made light and its connection to the emotional drama extremely important. The filmmakers also believed the script and the chaotic backdrop of Cairo called for the counterpoint of a more controlled, classical approach to framing and camera movement. They decided to avoid a documentary aesthetic, and that choice had many ramifications for the rest of the shoot. “Because we were shooting on location in a chaotic city of 20 million, without the resources we’d have at hand in Toronto or Los Angeles, our challenge was to create order out of chaos,” says Montpellier. “We faced a paradox. We had to be at the right places, rolling at the right times, controlling the uncontrollable.” The color palette was detailed and precise. Cairo is represented by the warm earth tones that dominate the urban landscape there. At the beginning of the film, Juliette is dressed in and surrounded by cooler, more modern tones, and she slowly progresses to warmer, more golden tones as she begins to explore and engage with the ancient city. On location during prep, Montpellier did extensive testing for wardrobe, makeup, filtration and skin tones, and to gauge the local light patterns, using a Canon 5D camera and film-stock-emulation software. “Throughout the shoot, it was a challenge to balance interiors and exteriors because of the extremely bright African sun, and I wanted to see how far I could push the film stock and still maintain detail outside windows,” he says. “I wanted to avoid blinding the actors by bringing up interior levels. However, there are many scenes where the characters go from inside to outside on a balcony, and that meant I couldn’t ND the windows. It was important for me to know how far I could go with interior levels.” Nadda and Montpellier chose to shoot widescreen (Super 35mm) to integrate the performers with the environment, to isolate single characters in the frame when emotionally appropriate, and sometimes to create the simple 28 November 2009

American Cinematographer - November 2009

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

American Cinematographer - November 2009
Table of Contents
Editor’s Note
President’s Desk
Short Takes: Synaesthesia
Production Slate: The Private Lives of Pippa Lee; Cairo Time
Wild Kingdom
Pandora’s Predicament
Kicked Off the Pitch
The Root of All Evil
Quality Viewing
Post Focus: Restoring Apollo 11 Footage
New Products & Services
International Marketplace
Classified Ads/Ad Index
In Memoriam: Richard Moore, ASC
Clubhouse News
ASC Close-Up: Anastas Michos
American Cinematographer - November 2009 - Intro
American Cinematographer - November 2009 - American Cinematographer - November 2009
American Cinematographer - November 2009 - Cover2
American Cinematographer - November 2009 - 1
American Cinematographer - November 2009 - 2
American Cinematographer - November 2009 - Table of Contents
American Cinematographer - November 2009 - 4
American Cinematographer - November 2009 - 5
American Cinematographer - November 2009 - 6
American Cinematographer - November 2009 - 7
American Cinematographer - November 2009 - Editor’s Note
American Cinematographer - November 2009 - 9
American Cinematographer - November 2009 - President’s Desk
American Cinematographer - November 2009 - 11
American Cinematographer - November 2009 - Short Takes: Synaesthesia
American Cinematographer - November 2009 - 13
American Cinematographer - November 2009 - 14
American Cinematographer - November 2009 - 15
American Cinematographer - November 2009 - 16
American Cinematographer - November 2009 - 17
American Cinematographer - November 2009 - Production Slate: The Private Lives of Pippa Lee; Cairo Time
American Cinematographer - November 2009 - 19
American Cinematographer - November 2009 - 20
American Cinematographer - November 2009 - 21
American Cinematographer - November 2009 - 22
American Cinematographer - November 2009 - 23
American Cinematographer - November 2009 - 24
American Cinematographer - November 2009 - 25
American Cinematographer - November 2009 - 26
American Cinematographer - November 2009 - 27
American Cinematographer - November 2009 - 28
American Cinematographer - November 2009 - 29
American Cinematographer - November 2009 - 30
American Cinematographer - November 2009 - 31
American Cinematographer - November 2009 - 32
American Cinematographer - November 2009 - 33
American Cinematographer - November 2009 - Wild Kingdom
American Cinematographer - November 2009 - 35
American Cinematographer - November 2009 - 36
American Cinematographer - November 2009 - 37
American Cinematographer - November 2009 - 38
American Cinematographer - November 2009 - 39
American Cinematographer - November 2009 - 40
American Cinematographer - November 2009 - 41
American Cinematographer - November 2009 - 42
American Cinematographer - November 2009 - 43
American Cinematographer - November 2009 - 44
American Cinematographer - November 2009 - 45
American Cinematographer - November 2009 - 46
American Cinematographer - November 2009 - 47
American Cinematographer - November 2009 - Pandora’s Predicament
American Cinematographer - November 2009 - 49
American Cinematographer - November 2009 - 50
American Cinematographer - November 2009 - 51
American Cinematographer - November 2009 - 52
American Cinematographer - November 2009 - 52a
American Cinematographer - November 2009 - 52b
American Cinematographer - November 2009 - 53
American Cinematographer - November 2009 - 54
American Cinematographer - November 2009 - 55
American Cinematographer - November 2009 - 56
American Cinematographer - November 2009 - 57
American Cinematographer - November 2009 - Kicked Off the Pitch
American Cinematographer - November 2009 - 59
American Cinematographer - November 2009 - 60
American Cinematographer - November 2009 - 61
American Cinematographer - November 2009 - 62
American Cinematographer - November 2009 - 63
American Cinematographer - November 2009 - 64
American Cinematographer - November 2009 - 65
American Cinematographer - November 2009 - The Root of All Evil
American Cinematographer - November 2009 - 67
American Cinematographer - November 2009 - 68
American Cinematographer - November 2009 - 69
American Cinematographer - November 2009 - 70
American Cinematographer - November 2009 - 71
American Cinematographer - November 2009 - 72
American Cinematographer - November 2009 - 73
American Cinematographer - November 2009 - 74
American Cinematographer - November 2009 - 75
American Cinematographer - November 2009 - Quality Viewing
American Cinematographer - November 2009 - 77
American Cinematographer - November 2009 - Post Focus: Restoring Apollo 11 Footage
American Cinematographer - November 2009 - 79
American Cinematographer - November 2009 - 80
American Cinematographer - November 2009 - 81
American Cinematographer - November 2009 - 82
American Cinematographer - November 2009 - 83
American Cinematographer - November 2009 - New Products & Services
American Cinematographer - November 2009 - 85
American Cinematographer - November 2009 - 86
American Cinematographer - November 2009 - 87
American Cinematographer - November 2009 - 88
American Cinematographer - November 2009 - 89
American Cinematographer - November 2009 - 90
American Cinematographer - November 2009 - 91
American Cinematographer - November 2009 - International Marketplace
American Cinematographer - November 2009 - 93
American Cinematographer - November 2009 - Classified Ads/Ad Index
American Cinematographer - November 2009 - 95
American Cinematographer - November 2009 - In Memoriam: Richard Moore, ASC
American Cinematographer - November 2009 - 97
American Cinematographer - November 2009 - Clubhouse News
American Cinematographer - November 2009 - 99
American Cinematographer - November 2009 - ASC Close-Up: Anastas Michos
American Cinematographer - November 2009 - Cover3
American Cinematographer - November 2009 - Cover4
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