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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