American Cinematographer - December 2003 - 102

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imaginary encounter with his daughter (Kelsey Lewis, against a bluescreen
County Arboretum) makes Cooper (below) reflect
upon his life.

An

environment shot at the L.A.

vertically with the frame to show that
we're killing him."
Later, A.N.I. presents a series of
idealized, Norman Rockwell-style
scenes featuring Cooper's father, wife
and daughter, all of whom try to
persuade him to do what A.N.I. wants.
The camera returns repeatedly to the
same move, which Schrader says is

When A.N.I.'s efforts to control

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the filmmakers.

Erickson had the

camera

nega¬

master at

Cooper fail, it begins to torture him

SB

set

is

of Switzerland

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RX - RX4 - RX5

Hardberger
during this part of the shoot,
acting as a mentor to Erickson; Wesley
Sewell, whose expertise encompasses
both effects and editing, also advised

was on

over,

the computer

running the same protocol over and
waiting for Cooper to finally deliver
the right answer.

New low

background.

processed at Deluxe, and he did the
transfer and color-timing of the DigiBeta

meant to underscore that

BOLEX SUPER 16

lights and used Maxi-Brutes for the 24'
greenscreen that was his
Visual-effects artist David

instead. For those scenes, which take

place in a stylized computer-generated
environment that represents the world
of the computer, Erickson shot with a
45-degree shutter angle and used very
contrasty lighting to play up the harsh¬
ness.

He lit the actor with 5K tungsten

tive

Global Entertainment Partners

in Sherman Oaks, California; at the time,

postproduction facility had just
opened. Colorist (and owner) Kevin
O'Connor was generous to the produc¬
tion, according to Erickson, who was
impressed by how much support the
production received from industry
professionals. "A lot of generous people
will help you out if you're a dedicated
the

student," he notes. "You don't

see

that
American Cinematographer - December 2003

Table of Contents for the Digital Edition of American Cinematographer - December 2003
