American Cinematographer - December 2004 - 26

Modern Romance and Period Pop
(Natalie
Portman)

Alice

becomes

enmeshed in

relationships
with two men,
one a

photographer, in
the drama Closer.
Based

Patrick
Marber's

on

successful stage

play, the film
reunited

cinematographer
Stephen
Goldblatt, ASC,
BSC with
director Mike

Nichols.

Managing the Look of Closer
by Hugh Hart
After

collaborating with Mike
Nichols on the Emmy-winning Angels of
America last year, Stephen Goldblatt,
ASC, BSC took
then

a

break for Christmas,

joined the director in London to

shoot Closer, an intense drama about
two unfaithful

couples starring Julia

Roberts, Natalie Portman, Clive Owen
and Jude Law. "My relationship with
Mike is very close now," says
who spent a year on principal

Goldblatt,
photogra¬
phy and another year in post on Angels
in America. "I know what he's thinking
and he sort of knows what I'm thinking."
To
were on

24 December 2004

ensure

the

that he and Nichols

same

page

with the lab

during the making of Angels in America,
Goldblatt used Adobe Photoshop to
manipulate digital stills as a guide for his
color timer (see AC Nov. '03). On Closer,

Goldblatt used Look Manager

throughout the Closer shoot. "I stayed at
the Charlotte Street Hotel in London for
three months, and there was a 24-inch,

Goldblatt decided to streamline the

calibrated monitor in my

process after checking out new colorcorrection software called the Kodak

Laboratories in London had

Manager System. The cinematog¬
rapher recalls, "Kodak saw a few pieces
of Angels in America and invited me to
test Look Manager on Closer. During
preproduction, I was introduced to this
new software by Curtis Clark [ASC], who
Look

gave

me a

demonstration of Look

Manager in Los Angeles at Kodak. The
system is pretty straightforward. I'm
pretty good with computers because I do
so much digital still photography, so I
took to it like

a

duck to water."

hotel room," he
explains. "The night timer at Deluxe
monitor calibrated to

an

identical

exactly the same
specs." Goldblatt documented his key
setups with a specially calibrated,
single-lens reflex digital Canon camera
provided by Kodak. "I would take my
representative stills throughout the day
and come back to my hotel room at night
to download them. I'd adjust the color
using the Kodak software in 'Film Legal'
fashion, which restricts adjustment of
the digital image to a film color space
rather than a digital color space. It's far

CCoGlumoocblaiaid/TvbnrSttfe.ets,y

bStepphhoytns
Closer



American Cinematographer - December 2004

Table of Contents for the Digital Edition of American Cinematographer - December 2004

American Cinematographer - December 2004 - 1
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