American Cinematographer - April 2001 - 82
Striking "Digital Prints"
Lindenmaier
disagrees, saying
actually recommends
that digital filmmakers avoid using
the film/ffame mode unless they're
working with HD 24p. "It's not a true
progressive mode, so when you
transfer it to film there's a significant
Swiss Effects
loss of resolution, and it's very
jittery," he says.
Daviau used
For Sweet,
a
PAL
Sony VX-1000 that director Elyse
Couvillion
obtained
from
Filmmakers Alliance. "We had
the
For the first
time,
the ASC is pleased
to
offer this incredible 92-minute documen¬
tary
about the craft of cinematography.
This work
is
also
is
a
history of cinematog¬
raphy and filmmaking, featuring examples of
The
Art
Of
Cinematography
significant advances and highlights culled
from the imagery of major cinematographic
innovators.
Included
are more
than 100
seen
before, and we were really
camera
impressed with the quality of the
picture," Daviau notes. On Chelsea
Walls, Richmond and Rutkowski
used
two PAL
Sony PD-100s, and
Richmond used the
same
cameras
again for The Chateau. "While we
filming or taping, we were
always thinking about what it was
going to look like [on film],"
were
Richmond recalls.
Maryse Alberti employed the
Sony PD-100 on Linklater's
Tape, and she says that the qualities
PAL
excerpts
from classic films, including ET:
The Extra-Terrestrial, Raging Bull, Birth of a
she valued
its
were
Nation, Citizen Kane, In Cold Blood, The
Graduate, Rosemary's Baby and
others. Among those interviewed
"One
ofthe 10 best films ofthe year. "
-MIKt Cl ARK. USA TODAY
"Great film.
-
f f T t R TRAVfRS- ROIUNC STONI
A must forfilm buffi, "-siskei and ibirt
"Hugely entertaining... Does for cinematography what 'That's Entertainment'
didfor musicals. "-CARY.V SAMIS, f HI NIW YORK TIMES
ASC members
as
are
such
Allen Daviau, Owen
Roizman, Conrad Hall, Victor J. Kemper,
Vilmos Zsigmond, Gordon Willis, Stephen
Burum, Michael Chapman, Caleb
Nestor Almendros, Charles Rosher Jr.,
1.800.448.0145 (US only)
323.969.4344 all areas
Harry L. Wolf, Chari es Lang, Sven Nykuist,
Robert Wise, Laszlo Kovacs, James Wong
Howe, Haskell Wexler, Vittorio Storaro,
John A. Alonzo, Bill Butler, Michael Ball-
haus, Frederick Elmes, Sandi Sissell and oth¬
Fax orders:
ers.
323.876.4973
Or order online
at
www.cinematographer.com
Visions of Light is
a
about the
and
use.
seduced
are
because it's
observes.
camera
of
ease
Because
by the
really small," she
it
fits
into
a
person's hand, she continues, the
camera
allows
frames and
a
filmmaker
moves
to create
that would take
a
long time to achieve with a 35mm or
even a
16mm
camera.
"It frees your
come up with
unusual frames and execute them
imagination to
Deschanel, William A. Fraker, John Bailey,
To order by phone:
"Filmmakers
camera
many
most
size
must-have for the
quickly."
Alberti
says DV's greatest
strength is its ease of use, not its abil¬
ity to mimic film. "People always
want to make tape look like film, but
my philosophy is: don't, because it's
not film. If you shoot tape, use the
medium, and find what is exciting in
that medium." She adds that DV
was
especially well-suited to Tape because
concentrates mainly on
actors' faces. "Once I blew up the
close-ups, they looked very good,"
she says. "But when you go wide, you
the film
serious
film professional, movie buff
or
cinema
student, and would also be
a
fanastic gift for the cineaste in
(VHS, U.S. format)
your
life.
lose
a
little bit of detail.
[To shoot
American Cinematographer - April 2001
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