American Cinematographer July 2013 US

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The smallest camera makes the biggest images.

This still frame was pulled from 5k RED EPIC® motion footage. “The Great Gatsby” © 2013 Warner Bros Entertainment Inc. All Rights Reserved.

www.red.com © 2013 Red.com, Inc. All rights reserved.

After shooting ‘The Knowing’ on the RED ONE, I was looking “forward to shooting on the RED EPIC – and it turned out to be the perfect camera for our 3D feature ‘The Great Gatsby.’ The look and resolution of the images from the EPIC are nothing short of incredible. On ‘300 – Rise of an Empire,’ the EPIC was faultless and the end result was simply stunning 96fps imagery.

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– Simon Duggan, ACS

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On Our Cover: Policeman John Cale (Channing Tatum) picks his way through rubble after terrorists launch an all-out assault on 1600 Pennsylvania Ave. in White House Down, shot by Anna Foerster, ASC. (Photo by Reiner Bajo, courtesy of Sony Pictures Entertainment.)

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Prime Target Anna Foerster, ASC coordinates chaos on White House Down

Wild Planet

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Peter Suschitzky, ASC employs a 4K workflow on After Earth

An Indie Twist on Shakespeare Jay Hunter shoots Much Ado About Nothing on a 12-day schedule

Tournament of Death

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Gil Hubbs, ASC celebrates the 40th anniversary of Enter the Dragon

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Editor’s Note President’s Desk Short Takes: Dreamland Production Slate: Laurence Anyways • Post Tenebras Lux New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Don Burgess

— VISIT WWW.THEASC.COM —

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SEE AND HEAR MORE CINEMATOGRAPHY COVERAGE AT WWW.THEASC.COM Left: Julia Stiles, Melissa George, David Harbour and Taye Diggs star in Between Us. Right: Cinematographer Nancy Schreiber, ASC blocks out a scene with director Dan Mirvish (wearing hat) and crewmembers. (Photos courtesy of Bugeater Filmed Entertainment, LLC.)

In an exclusive online podcast, cinematographer Nancy Schreiber, ASC and director Dan Mirvish will discuss their collaboration on Between Us, a darkly comedic drama about two couples, Grace and Carlo (played by Julia Stiles and Taye Diggs) and Sharyl and Joel (Melissa George and David Harbour), who reunite over the course of two heated evenings. The first encounter takes place in the huge Midwestern home of the wealthy Sharyl and Joel; the second occurs a few years later in New York, when the couples find that their fortunes have turned. Schreiber and Mirvish will discuss how they transcended the limitations of low-budget filmmaking while adapting Joe Hortua’s Off-Broadway play for the screen.

THIS MONTH’S ONLINE QUESTION: Which shots or sequences have inspired you the most? Adrian Sierkowski: “The Lexington Hotel sequence from Road to Perdition [shot by Conrad Hall, ASC]. It’s an amazing shot on a technical level, beautifully lit, and though very intricate it’s not overly flashy or distracting. It shows what it needs to show and really builds tension as we move closer and closer to a murder.”

Frank Salvatierra: “The final scene of Fallen Angels [shot by Christopher Doyle, HKSC] — a beautiful, simple, abstract combination of cinematography, music and performance.”

Tony Murphy: “The hula-hoop sequence in The Hudsucker Proxy [shot by Roger Deakins, ASC, BSC]. Like every great sequence, it’s a movie in itself.”

David Golden: “The most epic shootout ever committed to film: Heat [shot by Dante Spinotti, ASC, AIC]. I watched that and remember Blake Larson: “The opening scene of The saying to my girlfriend at the time, ‘I wanna do Godfather, shot by Gordon Willis, ASC. It ush- that!’ Twenty-odd years later, I am. Life-definered in an entirely new era of dramatic cine- ing moment!” matography.” Adrian Shahrizad: “The ‘God’s-eye view’ Richard Vialet: “The beautifully composed from Taxi Driver [shot by Michael Chapman, shot of Anju stepping out into the lake in San- ASC] right after the climax. This type of camera sho the Bailiff [shot by Kazuo Miyagawa].” angle puts you in a position to judge, and after that scene, that’s exactly what you need.” J.J. Islas: “The scene in Touch of Evil [shot by Russell Metty, ASC] when Hank Quinlan [Orson Clark Mayer: “I always thought the scene in Welles] murders Uncle Joe Grandi [Akim Jurassic Park [shot by Dean Cundey, ASC], Tamiroff]. I’ve never seen any other sequence when Grant [Sam Neill] pulls Lex’s [Ariana quite like it.” Richards] leg up through the ceiling before the raptor bites it is one of the single most susMatt Croyle: “The school bus/hallway penseful shots I have ever seen. It’s the kind of sequence in Donnie Darko [shot by Steven shot rewind and slow-motion frame skipping Poster, ASC]. It’s a marriage of soundtrack and were invented for.” camera. The change of speed, the highlighting of each character — it’s simply too fun not to Filipe Carvalho: “All of The Tree of Life [shot get swept up in it.” by Emmanuel Lubezki, ASC, AMC].”

Elias le Daaboul: “Grace Kelly going in for the kiss in Rear Window [shot by Robert Burks, ASC].” Lance Mazmanian: “The handheld, fullmagazine follow/master with multiple exposure changes in Steven Spielberg’s Duel [shot by Jack Marta, ASC] — the scene when Dennis Weaver walks from daylight outside, into the diner, through the diner, to the dimly lit bathroom, where he talks to the mirror and then goes back out to consider all the patrons while standing in the middle of the diner. All one shot, in a 1971 made-for-TV movie!” Denis Buckley: “The house-fire sequence in Tarkovsky’s The Mirror [shot by Georgi Rerberg]. The language of film is its own music.” Matt Manning: “In Lawrence of Arabia [shot by Freddie Young, BSC], as Lawrence ventures into the desert, the sense of scale is amazing. The men and their camels are hardly visible among the towering cliffs.”

To read more replies, visit the magazine’s Facebook page: www.facebook.com/AmericanCinematographer

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www.theasc.com ———————————————————————————————————— PUBLISHER Martha Winterhalter ————————————————————————————————————

EDITORIAL EXECUTIVE EDITOR Stephen Pizzello SENIOR EDITOR Rachael K. Bosley ASSOCIATE EDITOR Jon D. Witmer TECHNICAL EDITOR Christopher Probst PHOTO EDITOR Julie Sickel CONTRIBUTING WRITERS Benjamin B, Douglas Bankston, Robert S. Birchard, John Calhoun, Michael Goldman, Simon Gray, David Heuring, Jay Holben, Noah Kadner, Jean Oppenheimer, Iain Stasukevich, Patricia Thomson ————————————————————————————————————

ART DEPARTMENT CREATIVE DIRECTOR Marion Kramer ————————————————————————————————————

ADVERTISING ADVERTISING SALES DIRECTOR Angie Gollmann 323-936-3769 FAX 323-936-9188 e-mail: [email protected] ADVERTISING SALES DIRECTOR Sanja Pearce 323-952-2114 FAX 323-876-4973 e-mail: [email protected] CLASSIFIEDS/ADVERTISING COORDINATOR Diella Peru 323-952-2124 FAX 323-876-4973 e-mail: [email protected] ————————————————————————————————————

CIRCULATION, BOOKS & PRODUCTS CIRCULATION DIRECTOR Saul Molina CIRCULATION MANAGER Alex Lopez SHIPPING MANAGER Miguel Madrigal ———————————————————————————————————— ASC GENERAL MANAGER Brett Grauman ASC EVENTS COORDINATOR Patricia Armacost ASC PRESIDENT’S ASSISTANT Delphine Figueras ASC ACCOUNTING MANAGER Mila Basely ASC ACCOUNTS RECEIVABLE Nelson Sandoval ———————————————————————————————————— American Cinematographer (ISSN 0002-7928), established 1920 and in its 93rd year of publication, is published monthly in Hollywood by ASC Holding Corp., 1782 N. Orange Dr., Hollywood, CA 90028, U.S.A., (800) 448-0145, (323) 969-4333, Fax (323) 876-4973, direct line for subscription inquiries (323) 969-4344. Subscriptions: U.S. $50; Canada/Mexico $70; all other foreign countries $95 a year (remit international Money Order or other exchange payable in U.S. $). Advertising: Rate card upon request from Hollywood office. Article Reprints: Requests for high-quality article reprints (or electronic reprints) should be made to Sheridan Reprints at (800) 635-7181 ext. 8065 or by e-mail [email protected]. Copyright 2013 ASC Holding Corp. (All rights reserved.) Periodicals postage paid at Los Angeles, CA and at additional mailing offices. Printed in the USA. POSTMASTER: Send address change to American Cinematographer, P.O. Box 2230, Hollywood, CA 90078.

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American Society of Cinematographers The ASC is not a labor union or a guild, but an educational, cultural and professional organization. Membership is by invitation to those who are actively engaged as directors of photography and have demonstrated outstanding ability. ASC membership has become one of the highest honors that can be bestowed upon a professional cinematographer — a mark of prestige and excellence. Come visit our showroom or call for our latest Magliner product catalog We W e are the largest retailer specializing in Magliner Magline customized products and accessories for the Film m and T Television elevision e Industry in the world

OFFICERS - 2012/2013 Stephen Lighthill President

Daryn Okada Vice President

Richard Crudo Vice President

Kees Van Oostrum Vice President

Victor J. Kemper Treasurer %DFNVWDJH(TXLSPHQW,QF‡/DQNHUVKLP%O‡1RUWK+ROO\ZRRG&$‡ ‡)D[ ‡EDFNVWDJHG#DROFRP‡ZZZEDFNVWDJHZHEFRP % DFNVWDJH (TXLSPHQW ,QF ‡  /DQNHUVKLP %O ‡ 1RUWK +ROO\ZRRG &$  ‡   ‡ )D ) [    ‡ EDFNVWDJHG#DROFRP ‡ ZZZEDFNVWDJHZHEFRP

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