AmericanCinematographer201201

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◗ Cold CaseTop: The crewconfronted frigidconditions onlocation inNorthern Europe.Bottom: Workingin the relativewarmth of asoundstage inSweden, the crewsimulates the coldwhile setting up acar shot.From Fincher’s perspective,perhaps the biggest advantage of theRed is its size. “Because it’s small, I feellike the filmmaking process itselfbecomes sort of intimate,” he says.“Filmmaking is a small circus — that’sthe nature of the beast — but I prefer tokeep it as intimate as possible. Whenthe mechanics become too consuming,it’s too easy to get distracted from thereal reason we’re there: to capture theactors’ performances. When the geargets too big, I feel like there’s a wallbetween my cast and me, and it’s hard toget around it to talk to them. I reallyprefer to have that relationship, thatconnection, be immediate. How weshoot, where we shoot and what weshoot with all play a role in finessingthat relationship.”Shooting with two camerassimultaneously and having the cinematographeroperate the B camera areusually part of the plan. “David hasalmost always worked that way,” saysCronenweth. “I was the B-camera operatoron Fight Club and Social Network,and Claudio [Miranda] was the B-camera operator on Benjamin Button.”Fincher explains, “I try as muchas possible to put that second camera ina place where it will get me anothersetup that I actually need — I’m neverjust looking for gravy. It can be frustratingfor my cinematographer and toughfor lighting, but I’m going to challengehim to bring that second camera as fararound as possible, to not just stack [thecameras] and get a medium and close atthe same time. I’m going to shoot apretty wide and fairly disparate view. IfI can, I’ll do opposing coverage, 180degrees. That does make lighting tough,but sometimes getting those perfor-38 January 2012 American Cinematographer
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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
Page 21 and 22: F O R Y O U R C O N S I D E R A T I
Page 24: Top left: The crew films the long w
Page 28 and 29: Clockwise from top-left: ASC Lifeti
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Page 42: ◗ Cold CaseStepping awayfrom herc
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