AmericanCinematographer201201

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◗ Cold CaseTop: Banks offluorescentfixtures augmentsource lamps fora dialogue sceneinvolvingPlummer andCraig. Bottom:Cronenwethpractices hisbedside mannerduring ahospital scene.and doesn’t have that camera’s quirks,”continues the cinematographer. “Inaddition, you can overcrank up to 96 fpsand stay in 5K [resolution]. David alsolikes to have the option of manipulatingthe final composition or stabilizing theimage, and with the Epic we had 5K towork with. We utilized the extra resolutionto create our own frame lines,smaller than what you get using theentire sensor. Actually, we did that withboth the One and the Epic, allowingroom for repositioning shots. For example,if an operator clipped an eyebrow ona tilt up, we had plenty of space tocorrect the composition. We also usedthe extra space created by the extraresolution to help stabilize manyshots, including all the driving footagewe shot in Stockholm. The Epic givesyou much more information than youactually need, and that gives you moreflexibility.”“I like the picture the Red givesme, the way it feels,” says Fincher.“Ultimately, that’s what people are talkingabout when they say they prefer oneformat over another. When peoplespeak fondly of the anamorphic lensesfrom the 1970s, they’re talking about thefeeling they get from that certain kind ofimage. I like the Red One MX a lot —in fact, I wish we hadn’t switched to theEpic at the end of our shoot. There’snothing wrong with the Epic, but I sortof like the graininess of the MX[image]. It’s an aesthetic choice, not atechnical one.”➣36 January 2012 American Cinematographer
© Kodak, 2011. Vision and Kodak are trademarks.
Page 1: JANUARY 2012$5.95Canada $6.95
Page 5 and 6: J A N U A R Y 2 0 1 2 V O L . 9 3 N
Page 7 and 8: “ A SPLENDID EXAMPLE OF HOW TO TU
Page 9 and 10: BEST CINEMATOGRAPHYHOYTE VAN HOYTEM
Page 11 and 12: © 2011 Paramount Pictures. All Rig
Page 13 and 14: C O N S I D E R . . .“THE CINEMAT
Page 16 and 17: Top: String Theory begins in a dust
Page 18: Top, left and right:Shooting at 1,0
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Page 24: Top left: The crew films the long w
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