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AMERICAN CINEMATOGRAPHER JUNE 2016 CAPTAIN AMERICA: CIVIL WAR A BEAUTIFUL PLANET THE NICE GUYS ALICE THROUGH THE LOOKING GLASS VOL. 97 NO. 6
J U N E 2 0 1 6 V O L . 9 7 N O . 6
On Our Cover: The titular star-spangled Avenger (Chris Evans) finds himself at odds
with his fellow heroes in Captain America: Civil War, shot by Trent Opaloch. (Photo by
Zade Rosenthal, SMPSP, courtesy of Marvel Studios.)
FEATURES
38 Heroes Divided
Trent Opaloch frames the showdown between Earths
mightiest heroes in Captain America: Civil War
56
56 Time and Space
James Neihouse, ASC trains a crew of astronauts to shoot
the Imax feature A Beautiful Planet
72 Old-School Thrills
Philippe Rousselot, ASC, AFC embraces new technology
for the period action-comedy The Nice Guys
DEPARTMENTS
10 Editors Note 86
12 Presidents Desk
14 Short Takes: Death of a Bachelor
22 Production Slate: High-Rise Love & Friendship
102 New Products & Services
112 International Marketplace
113 Classified Ads
114 Ad Index
116 ASC Membership Roster
118 Clubhouse News
120 ASC Close-Up: Frederic Goodich
VISIT WWW.THEASC.COM
J U N E 2 0 1 6 V O L . 9 7 N O . 6
ACCESS APPROVED
New digital outreach by American Cinematographer means more in-depth coverage for you.
FLASHBACK
AC presents an excerpt from Citizen Kane: A Filmmakers Journey, a
new book by author Harlan Lebo that focuses on wunderkind
writer-director-producer-star Orson Welles relationship with ace
cinematographer Gregg Toland, ASC. In addition, well present
Tolands own personal account of the making of the milestone
film, as published in the February 1941 issue of AC.
www.theasc.com
J u n e 2 0 1 6 V o l . 9 7 , N o . 6
An International Publication of the ASC
6
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.
OFFICERS - 2015/2016
Richard Crudo
President
Owen Roizman
Vice President
Kees van Oostrum
Vice President
Lowell Peterson
Vice President
Matthew Leonetti
Treasurer
Frederic Goodich
Secretary
Isidore Mankofsky
Sergeant-at-Arms
MEMBERS OF THE
BOARD
John Bailey
Bill Bennett
Richard Crudo
George Spiro Dibie
Richard Edlund
Fred Elmes
Michael Goi
Victor J. Kemper
Isidore Mankofsky
Daryn Okada
Lowell Peterson
Robert Primes
Owen Roizman
Rodney Taylor
Kees van Oostrum
ALTERNATES
Karl Walter Lindenlaub
Kenneth Zunder
Francis Kenny
John C. Flinn III
Steven Fierberg
MUSEUM CURATOR
Steve Gainer
Editors Note Our annual summer-blockbuster issue kicks off with Captain
America: Civil War, a Marvel Cinematic Universe epic shot by
Trent Opaloch, who last teamed with the projects sibling
directors Anthony and Joe Russo on Caps previous feature,
The Winter Soldier. In explaining their collaborative approach
to AC contributor Mark Dillon (Heroes Divided, page 38),
Anthony Russo notes, With Trent we asked, As a super-
hero, what makes Captain America stand out? And what
we kept coming back to is that hes a man, only a little bit
more so. So we wanted to approach his story on a human
scale. Cap shines brightest when the camera is close-up and
embedded with him during whatever hes going through.
Fans of action and fantasy can also indulge in Iain
Marcks coverage of The Nice Guys, shot by Philippe Rous-
selot, ASC, AFC (Old-School Thrills, page 72) and Neil Matsumotos piece on Alice Through
the Looking Glass, shot by Stuart Dryburgh, ASC, NZCS (Against the Clock, page 86).
Real-life heroes are the backbone of the Imax documentary A Beautiful Planet, which
offers stunning images of Earth captured by NASA astronauts aboard the International Space
Station. The astronauts were trained by supervising director of photography James Neihouse,
ASC, who also shot the projects terrestrial footage. I have trained all the crews on the Imax
space movies since 1988, Neihouse tells Jay Holben (Time and Space, page 56), adding with
wry humor, I tell everybody that Im the only [cinematographer] who has to train his first unit
how to shoot.
Neihouse was one of the star guests at the recent NAB Show in Las Vegas, where he
participated in an American Cinematographer Creative Master Series session with astronaut
Marsha Ivins; AC contributor David Heuring moderated the fascinating discussion. Our editorial
team also had the honor of hobnobbing with Neihouse, Ivins and her fellow astronaut Terry Virts
during a dinner hosted by Canon at the Brazilian steakhouse Fogo de Cho. Proving hes a
trouper, Neihouse joined ASC President Richard Crudo, the magazines staff and a dozen other
industry friends for a social voyage to The Golden Tiki, a pirate-themed lounge featuring cock-
tails like Hemingways Ruin, the Painkiller and the flaming Polynesian Haze; an animatronic sea
captains skeleton that would spring to life without warning, startling everyone in proximity;
and, best of all, a hunting knife that once belonged to Gonzo journalist Hunter S. Thompson
(gifted to the bars owners by Thompsons goddaughter). The venue recommended by my
attorney, Wick Hempleman, general manager of J.L. Fisher GmbH proved to be a suitable
substitute for our usual Vegas hangout: the Kiss-themed Monster Mini Golf course, temporarily
closed for a pending relocation.
Lest you think NAB is all fun and games, this months New Products & Services section
(page 102) offers an abundance of information our team gathered at the show while marching
impressive distances over thinly carpeted concrete floors at the Las Vegas Convention Center.
(According to her Fitbit bracelet, staffer Sanja Pearce logged an incredible 22 miles over 2 days,
Photo by Owen Roizman, ASC.
while Angie Gollmann estimated her average at 8 miles per day.) Our team met with represen-
tatives from dozens of companies to gather intel and scope out all the new gear, so our roundup
is second to none and perhaps merits a new motto: What happens in Vegas will be revealed
in AC.
Stephen Pizzello
10 Editor-in-Chief and Publisher
Presidents Desk
You could really make a case that the founders of the ASC started a popular trend when they estab-
lished our organization back in 1919.
AAC, ACK, ACS, ABC, ACF, ADF, AEC, AFC, AIC, AMC, AIP, ASK, BAC, BSC, BVK, CSC, DFF,
FNF, FSC, FSF, HFS, HSC, ISC, JSC, KSC, LAC, MSC, NSC, PSC, RGC, SBC, SCS, ZFS ...
These are the initials and Im sure I missed a few that represent the various cinematog-
raphers societies that have sprung up around the world in our wake. (For the record, the acronyms
respectively represent Austria, Czech Republic, Australia, Brazil, Cuba, Argentina, Spain, France,
Italy, Mexico, Portugal, Slovakia, Bulgaria, Great Britain, Germany, Canada, Denmark, Norway,
Finland, Sweden, Croatia, Hungary, India, Japan, Korea, Lithuania, Republic of Macedonia, Nether-
lands, Poland, Russia, Belgium, Switzerland and Slovenia.)
Beyond indicating that we are indeed a social lot, this alphabet soup also poses a question:
How many disciplines in the movie industry can make a remotely similar claim to such solidarity,
affection and respect for one another? Anyone who has had the good fortune to attend one of our
annual ASC Awards events will instantly recognize the bond that exists among us; most notable
among the pomp and ceremony is the sincere, wall-to-wall fellowship expressed by everyone there.
You cant help but come away from that evening with a renewed faith in what we do and a reaf-
firmed conviction that, without exception, cinematographers are the most naturally passionate artists in the industry.
And this is precisely why its so easy for us to join together in an effort to protect and expand our interests. Further proof will
come early this month when the ASC hosts the second International Cinematography Summit at our Clubhouse in Hollywood. It
will be attended by representatives of the various cinematography societies from around the world for the purpose of increasing
communication and interaction regarding the artistic and technical changes that are affecting our craft. The first summit, held in
2011, was a huge success; were anticipating even greater results this time around.
Standardization of emerging technologies, archival concerns, future trends these issues are right at the forefront for all
cinematographers, regardless of where we live or work. One issue in particular keeps popping up in most every circle: Its scary to
think that at this late date were still hearing reports about cinematographers being blocked from supervising the finish of their
work in the DI suite. Does discouraging or altogether barring the cinematographer from placing the final touches save money or
time? Example after example has proven the opposite to be true. Equally troublesome, artistic integrity is compromised every time
the original intent developed by the director and cinematographer is cast aside. Since were hired for our taste and expertise
which are generously proffered at every point in the process, by the way you really have to wonder whats going through some-
ones head when they choose the exclusionary route. Compounding the insult, we are rarely paid for our postproduction labor.
Short of a binding, European-style right-of-authorship agreement which will never be enacted in the United States
were pretty much left to cover our own bases in this respect. Our employers are aware of the great commitment we bring to the
job, and many of them are all too eager to use that against us. Right now our only recourse is to develop strong relationships early
on with directors and producers that will serve to protect us when necessary. The irony is that the smart ones understand how
important our contribution is and generally insist that we supervise the DI. Problems usually emerge only when the uninformed are
in control, and sadly there are enough of those running around the industry to fill a stadium. Hopefully the International Cine-
matography Summit will offer some new solutions.
On another note entirely, this column marks my final Presidents Desk appearance. My term at the ASC helm has come to
an end, and Ill soon hand the reins over to a newly elected individual. The past three years in office have been a superlative pleasure,
and Ill always be thankful for being allowed the opportunity to serve this great organization. Its impossible to express how humbled
Ive been by this experience and the wonderful people Ive come in contact with. I want to send a great, big thank-you to our
Photo by Dana Phillip Ross.
members and associates, the ASC staff and Board of Governors, and, most of all, our faithful readers.
And to my successor whomever that may be I have but one word: excelsior!
Richard P. Crudo
ASC President
I Vintage Cool
By Matt Mulcahey
Bader met Soria and colorist Sherwin Lau through mutual friends at
their shared alma mater, Florida State University; Soria and co-director
Brendan Walter are frequent collaborators, having previously joined
Based on the markers of post-millennium pop stardom, none forces on the MTV Video Music Award-winning Uma Thurman by
of the individual elements of 1960s-era Frank Sinatra qualify as Fall Out Boy; and Bader had teamed with both directors on the video
contemporarily cool: not the tux nor bowtie; not the corded micro- for Panic! at the Discos This is Gospel (Piano Version).
phone nor middle age. Yet theres a timeless swagger to Ol Blue Eyes With Bader and the pair of co-directors based on opposite
as he croons standards with those golden pipes. Its that bravado that coasts, much of the prep work occurred via email and conference
Panic! at the Discos new video Death of a Bachelor emulates, only calls. That communication included the sharing of YouTube clips of
with an added touch of what co-director Mel Soria calls Brendon 1960s-era Sinatra performing Fly Me to the Moon and Ive Got
I Faulty Tower
By Phil Rhodes
read the book, so I quickly bought it on Kindle. The architectural
scale of Ballards world raised questions about achievability, though.
People have said its an unfilmable book, says Rose. There are lots
Appropriately for an adaptation of a J.G. Ballard novel, director of things that would be quite expensive to do. The genius of [Amy
High-Rise photos by Aidan Monaghan and Sebastian Solberg, courtesy of Magnolia Pictures.
Ben Wheatleys High-Rise raises many questions both about the Jumps] script was that it made a lot of things more practical. It was
characters it presents and the environment in which its set. The film the most beautifully adapted screenplay.
stars Tom Hiddleston as Dr. Robert Laing, Jeremy Irons as Anthony The production ultimately shot just outside Belfast in Northern
Royal and Sienna Miller as Charlotte Melville, three inhabitants of a Ireland. We looked at various places around the country to find a
newly constructed luxury tower where events quickly take a dark and suitable high-rise, Rose notes. It turns out there isnt anything thats
sinister turn. of [the desired] period thats in any way practical to shoot in, or in a
The production marked the fifth feature collaboration between condition that looks new. Whats more, the plot of High-Rise
Wheatley and director of photography Laurie Rose, and since demanded particular events such as a character dropping a bottle
wrapping High-Rise, they have completed a sixth, Free Fire. Prior to from above onto a lower apartments balcony that would ordinarily
partnering with Wheatley for 2009s Down Terrace, Rose recalls, I be impossible, since balconies on high-rises arent built like that,
was a broadcast cameraman doing a broad range of things, from says Rose. Theyre built for privacy.
documentaries and current affairs to reality, working for any of the To facilitate the narratives needs, production designer Mark
main U.K. broadcasters BBC, Channel 4. Id always secretly Tildesley undertook a significant set build, which to Rose was a
harbored a dream of doing narrative [feature] work, but the completely different world, the cinematographer says. Our budgets
opportunity had never presented itself. had been so meager. The biggest film wed done prior to High-Rise
His introduction to Wheatley came when the director was was Sightseers, which was [made for] a little over a million pounds.
shooting some online, viral comedy shorts for the BBC, Rose One audience-teasing question posed by the design is whether
continues. We became friends and stayed in touch. When Wheatley the story represents a historical period or a retro future. Were we
subsequently approached Rose about Down Terrace, the making a film that was actually set in the Seventies, or were we trying
cinematographer says, he had a feature script, but he wanted to do to pastiche something together that looked like the Seventies? asks
it in a week! Rose. I was kicking that around and struggling with how it should
Rose remembers being on holiday when Wheatley reached out look. In prep, we talked a lot about 1975. Ben has a very big love for
regarding High-Rise: Ben told me they had a script for it. I hadnt that period, and Ive got that from him. The question is ultimately
car in which senior art director Frank Walsh Rec 709. We sometimes tweak [the LUT], with, he muses. For the world to work,
mounted end-to-end mirrors on all four sides says Rose, but I find it doesnt always put you do have to accept the human study and
to create infinite reflections. Rose recalls that me in a good place. I know that if I shoot Rec the social study from the outset.
Walsh had done an exhibition design at the 709, the log is going to hold everything.
Beatles museum in Liverpool, [including] this The crew worked without a large TECHNICAL SPECS
glass box that had three sides of see-through video village. Ben tends not to like a village
mirror and one side of solid, bright mirror. thats too far away, Rose explains. He likes 2.39:1
[For High-Rises elevator,] we built a big to be close to set, and often that involves a Digital Capture
version with working doors and put Tom in 7-inch [monitor] on a stand. Were still quite Arri Alexa XT Plus
it. The camera remained outside the set, a small team up front. The cinematographer Cooke Varotal, Zeiss Super Speed
I Costumed Comedy
By Patricia Thomson
the job. When I read the script, I was eager
to do it, says the two-time Golden Calf
winner. Its funny, modern, and the
[cinematographers] are trained in working
fast and being forced to be very creative. He
adds that he takes Robert Bressons credo to
If ever there were a perfect match, it dialogue is so witty. heart: Simplicity and lucidity. Sometimes
would be Jane Austen and Whit Stillman. Van Oosterhout came to its not necessary to come up with 10 trucks,
Both possess a droll wit, a mastery of clever cinematography in his late 20s and got his to control everything and every moment. If
Love & Friendship photos by Bernard Walsh, courtesy of Amazon Studios and Roadside Attractions.
repartee, and a bemused view of romance break in 1998 as director of photography on you only have one light, you can make a
in the genteel class. All these fine traits are Rosie, directed by his wife, Patrice Toye. whole film. If you can shoot a scene without
on display in Love & Friendship, Stillmans first Today he is a member of the NSC board any lights, then shoot it!
feature in five years, after a side trip into and the European Film Academy, and hes Van Oosterhout came to Love &
episodic drama with Amazons The served as co-editor of the 2012 book Friendship relatively late and without time to
Cosmopolitans. Shooting Time: Cinematographers on do much more than a makeup and wardrobe
The film is an adaptation of Lady Cinematography. test with Beckinsale and co-star Chlo
Susan, a novella written by Austen circa age When interviewing for Love & Sevigny. But, the cinematographer says, that
20 but left unpublished until five decades Friendship, van Oosterhout had one big was okay. I like to work using my intuition,
after her death. Using the epistolary form advantage: Hed just shot The Legend of he notes. If you have a lot of prep, you think
popular in the 18th century, Austen sketched Longwood at Howth Castle, the same and rethink. I like to work in the moment.
out a comedy of manners that centers on an location that would serve as Churchill, the The only visual references Stillman
unscrupulous flirt, Lady Susan Vernon estate of Lady Susans relations, in Stillmans provided were his earlier films: Metropolitan,
(played by Kate Beckinsale). Newly widowed, film. Just as important, he knew how to Barcelona, The Last Days of Disco (AC June
she arrives uninvited at her brother-in-laws handle a tight 28-day schedule during 98) and Damsels in Distress. He wanted this
castle to let a scandal blow over and to snag which, on a single day, the production would one to be as gorgeous as possible, with
husbands for herself and her daughter, shoot a dance scene with extras, a wedding camera subservient to the actors and the
Frederica (Morfydd Clark). The novella, being and reception, a tte--tte inside a church, atmospheric Georgian mansions in and
both obscure and short, served Stillman well: and an establishing shot of the DeCourcy in- around Dublin. Love & Friendship was shot
He wouldnt be paring down a beloved laws. It was really a tough day, yet he entirely in these practical locations, including
tome, but fleshing out something new to the managed to get that lit, says Stillman. In Newbridge House, a real hero location,
Austen film canon. fact, Love & Friendship finished a day early. says Stillman.
The Irish-Dutch-French co-production I was trained in Holland, van Though wickedly funny, Stillmans
called for a Dutch director of photography, Oosterhout notes. Budgets and time are dialogue-heavy script made van Oosterhout
and Richard van Oosterhout, NSC, SBC got really an issue there. All the Dutch gulp. You think, Oh my god, how are we
Top: Captain
America searches
for Barnes, who
was a childhood
friend and fellow
soldier in World
War II. Middle: In
an effort to
protect Barnes,
Captain America
clashes with the
police. Bottom:
Barnes
commandeers a
motorcycle to
escape his
pursuers.
Top: Captain America chases after Black Panther/TChalla (Chadwick Boseman), who believes Barnes is guilty of a recent and personal act of
terrorism. Bottom: A Libra remote head supports the camera for a fight between Black Panther and Captain America.
of a single attention-grabbing image effects supervisor Dan Sudick as Blackmagic Pocket Cinema Camera
instead of multiple panels. All of the Hawkeye and Scarlet Witch run toward was used for security-camera footage
Alexa cameras recorded to 512GB an objective. In another scene, a Dragon that was played back via on-set moni-
Codex XR Capture Drives, which was mounted to a remote-controlled car tors.
yielded 35 minutes of footage for the to provide the point of view from one of The second unit will go for a
XT Plus and 10 minutes for the Alexa Falcons reconnaissance drones as it cameras form factor over anything else,
65. maneuvers underneath a moving truck. Opaloch notes. Spicer adds, We always
Red Epic Dragon cameras, For car-chase sequences, GoPro tried to capture the footage from each
which recorded Redcode raw at Hero4 Black units were rigged as crash camera uncompressed and at the maxi-
6144x3160 resolution to Red Mini- cameras and captured 3840x2160 in mum resolution possible.
Mags, were also used for certain action Protune mode with the Flat color The Russos like to shoot action
scenes. In the splash-panel sequence, for profile. This allowed us to add an input scenes with a 45-degree shutter angle
example, one was installed in a drone to color transform to match closer to the and at 22 fps, which results in a slightly
provide an aerial view of multiple prac- Alexas look, explains digital-imaging stuttering effect when played back at 24
tical explosions overseen by special- technician Kyle Spicer. Additionally, a fps. The characters are superheroes, so
For the films handheld action Russo notes. We know were covered
sequences, the crew used a bungee on our A and B [cameras], so we force
camera-support system that Coo built the C into interesting positions and
out of 30' to 40' of surgical tubing wind up with a dynamic frame. And
suspended from a Condor. The tubing three cameras will give you a lot more
would be tethered to the top handle of coverage a lot quicker. Working
the XT Plus or Alexa 65, lightening the through seven actors in costume on a
load for the operators. Ive never been hot summer day in Atlanta with one
a big fan of some of the other support camera is not preferable.
systems, because they usually place the However, Opaloch points out,
cameras center of balance at the top of Once you roll in a third camera, you
the camera instead of on your shoul- have to compromise your lighting. It
der, Opaloch says. With this system, normally means moving your diffusion
once you achieve the camera height, or neg frames out of [the cameras] way.
youre not fighting it at all. You can hold But every now and then on Winter
the camera above your head and you Soldier there was a C-camera shot I
wont be fighting to pull it down. It has didnt think would work, but wed get a
this really cool zero-g effect. great moment and Id be glad we did it.
When not handheld, cameras I try to be flexible and learn from the
would most often reside on dollies or process.
Technocranes. Steadicam, handled by One three-camera setup that
A-camera operator Mark Goellnicht, proved particularly tricky features U.S.
was used for only a handful of shots. I Secretary of State Thaddeus Ross
am not a fan of the Steadicam look, (William Hurt) reading the riot act to
Opaloch explains. It feels like TV the Avengers at the super-groups head-
hospital-drama to me. We pulled it out quarters. Ross, engaged in a long
only when we otherwise would see monologue in a glass-walled meeting
dolly track or if a crane arm couldnt fit room, walks about before coming to
in the space. rest in front of a large monitor; the
Per the Russos preference, the Avengers seated around the board table
crew usually ran three cameras, with watch somberly as the monitor shows
Goellnicht on A, Maurice McGuire on scenes of carnage related to their activi-
B, and Kent Harvey who also served ties.
as splinter-unit director of photography The scene was shot on location
on C. Sometimes that third camera inside Porsche Cars North Americas
gets the most interesting shot, Joe headquarters beside the Hartsfield-
Heroes Divided
Top, from left:
Stan, co-directors
Joe Russo and
Anthony Russo,
and Evans discuss
a scene inside the
Quinjet set.
Middle: A remote-
operated camera
keeps the hero in
frame as Captain
America enters the
Siberian facility
where Winter
Soldier had been
held for decades.
Bottom: Iron Man
and Winter Soldier
duke it out inside
the facility.
54
ensure the heroes costumes featured the he wanted. For example, if the cine- movies will be radical, promises
color levels Marvel wanted and comic- matographer wasnt able to get the Anthony Russo. It will be a real depar-
book fans would expect. During desired contrast on a character ture for all of us in terms of the ground
production, images were evaluated on perhaps because the dolly tracks from weve tread up to this point, and were so
set on Sony PVMA250 OLED moni- multiple cameras prevented the proper grateful that Trent is coming with us.
tors. Under Opalochs direction, Spicer placement of negative fill it could be
created CDLs that, along with detailed added or accentuated in the grade. Its
notes, were sent to dailies colorist Scott like rotoscoping-in a fill side, Opaloch
Fox at Shed in Atlanta. says. Its a fantastic way to work,
Technicolor reports that 320 because Im trying to make the Russos
hours were spent on the final grade for and the studio happy while also trying
the 2D release, operating with an end- to get our [days work] done. [I have] a
to-end 16-bit half-float linear EXR good sense of security knowing that as
workflow. (Technicolor also provided long as the lighting direction and broad
3D and Imax 3D versions.) ASC asso- strokes are there, I can finesse things TECHNICAL SPECS
ciate Steven Scott Technicolors vice later.
president of theatrical imaging and The cinematographers schedule 2.39:1, 1:90:1 (Imax)
supervising finishing artist worked will not get any easier, with 180 days Digital Capture
with Autodesk Lustre 2016 Extension lined up to shoot the Infinity War
2 on an HP Z840 workstation. movies beginning this coming Arri Alexa XT Plus, Alexa 65;
Faced with the speed of produc- November. Slated for release in 2018 Red Epic Dragon;
tion and the three-camera shooting and 2019, the features will propel the GoPro Hero4 Black
method, Opaloch was confident that he largest-ever assemblage of Marvels Panavision G Series, E Series,
and Scott would be able to use the DI onscreen heroes beyond the Earth and C Series, T Series, AWZ2,
process to bring the images to the level into an intergalactic adventure. The ATZ; Arri Prime 65
55
Time and
Space James Neihouse, ASC and
a team of astronauts offer
a unique view of Earth and
humanitys impact on it
in the Imax feature
A Beautiful Planet.
By Jay Holben
We talk about the California drought. he adds, I tell everybody that Im the fundamentals of Imax photography and
We have great shots of the West Coast only [cinematographer] who has to train the functions of the camera so that the
and Lake Powell and Lake Mead, and his first unit how to shoot. astronaut could operate reasonably well
we talk about the water situation there. We had three different astronaut and make lens, exposure and composition
Thats the kind of film A Beautiful Planet crews on this film, he continues. Barry decisions. Eight hours was crazy,
is. Butch Wilmore [ISS Expeditions 41 Neihouse admits. Butch really put a lot
Although he photographs the and 42], Terry Virts [42 and 43], and of extra effort into getting up to speed on
requisite terrestrial footage for these Imax Kjell Lindgren [44 and 45] were the our cameras.
films, Neihouse has never been in space, primary shooters. Additional crew were [Shooting] with digital really
and his primary responsibility as director Samantha Cristoforetti [42 and 43], helps, the cinematographer continues.
of photography is to properly train the Kimiya Yui [44 and 45], and Scott Kelly [The astronauts] would get feedback
astronauts to serve as proxy [44 and 45]. right away, and they could download
cinematographers capable of shooting The time Neihouse had to train proxies for us to see what they were
the footage themselves. I have trained all the astronauts was extremely limited. shooting. When they needed help, theyd
the crews on the Imax space movies since With Wilmore, Neihouse was given a reach out about what exposure or focal
1988, he explains and with a laugh, scant eight hours to teach him the length Id suggest for this or that situation.
That was often done via email, but Id back. When we went digital, we were and Canon Cinema EOS C300. We
sometimes get a phone call. I have to say, bringing back Codex data packs the size shot side-by-side tests against [15-perf
its fun to get a call when the caller ID of a cell phone with 30 minutes of 65mm] Imax, then compared each
comes up as International Space footage. We also increased our low-light camera, Neihouse explains. We went
Station. capture substantially; we never would away from the F65 because of the size,
With the retirement of NASAs have gotten some of the shots [in A power consumption and complex menu
Space Shuttle program in 2011, Beautiful Planet] with film. We were able selections. Although these astronauts are
transportation to and from the ISS to shoot clean audio without hearing the geniuses, they can get space brain and
became extremely limited, impacting the roaring sound of the camera which become unable to perform relatively
choice of shooting format for A Beautiful sounded like a pissed-off sewing simple tasks because they have so much
Planet. The Space Shuttle was a space machine on steroids permeating every to focus on every day they just get
truck, says Neihouse. It would ferry shot so we can actually use audio from overloaded. So we try to keep things as
things back and forth as needed, but its the astronauts and get real moments. simple in orbit as possible. We also want
not flying anymore. Now, you can get And we were able to shoot a lot more to keep it simple so that it doesnt take
things up to the Station you just cant footage, especially inside the Station, and much time for them to execute the shots.
get stuff back [on a regular schedule]. capture some really wonderful, candid, The Phantom 65 had the same
That was one of the key reasons we went interpersonal moments that we never issue it was just too complex and
digital. could have imagined getting with film. menu-intensive, Neihouse continues.
Digital gave us other advantages, The cinematographer tested We rejected the Alexa M because, at the
too, Neihouse continues. When we several digital cameras for A Beautiful time, it was a two-piece system with a
were shooting film, three minutes worth Planet, beginning with a Red Epic cable from the camera down to the
of [15-perf 65mm Imax] film weighed 10 Mysterium-X, Vision Research recorder. Power was another issue the
pounds thats a lot of volume to bring Phantom 65, Sony F65, Arri Alexa M camera is power-hungry. That left us with
70
ground. And not one byte was lost! They were really wonderful. A Beautiful Planet to the screen, Neihouse
Photography wrapped in mid- In comparing the conversion offers, Its been a very fun project to do,
December, 2015. The final color grade process to shooting in native 3D, and the crew was just incredible. The film
was performed by Brett Trider with Neihouse notes, Im a fan of shooting compares living on the planet to living on
Autodesk Lustre at Technicolor 3D natively, but that really was not an the Space Station. We have all these
Toronto. Final DCP was 4K, as was the option for this project. The amount of things that we just take for granted
color-grading resolution, Neihouse data would have been overwhelming; if water, air but when those things are
says. The cinematographer further notes it had been in native 3D, [the existing] limited like they are on the space station,
that because the C500 was generally number would have doubled. There were everyone has to do [his or her] part to
used for interiors and the 1D C other reasons that led us to shoot 2D and conserve. The people on Earth need to
primarily for Earth shots and that the post-convert, such as not wanting to fly a be treating each other like crewmates,
GoPros and Phantom were used in such 3D rig and having to deal with the respecting our needs and taking care of
different kinds of environments there challenges that brings to the table. our resources. Theres no free ride.
were no substantial issues with matching Its hard to believe that Im saying
the footage between cameras. this, because Im an old film guy,
The film also underwent a Neihouse continues, but I was amazed TECHNICAL SPECS
stereoscopic post-conversion performed seeing the results of the C500 footage
1.44:1
by Legend3D. Hugh Murray was our through Imaxs new xenon laser dual-
stereographer, and he supervised the projector system on a full Imax screen. Digital Capture
conversion process, Neihouse says. I sat The way the stuff looks on the laser
in on some of the depth-approval system really does rival [15-perf ] 70mm Canon Cinema EOS C500,
screenings. I was very impressed with the film especially Imax 15/70 original EOS-1D C; GoPro Hero4 Silver;
Vision Research Phantom Flex4K
job Legend3D did with the conversions, film that goes through a DI process with
and even more impressive was the a filmout at 5.6K. Canon EF, Nikon Nikkor,
excitement they had for the project. Reflecting on the journey to bring Arri/Zeiss Master Prime
71
Old-School
Thrills Employing modern
technology for a vintage look,
Philippe Rousselot, ASC, AFC
helps re-create 1970s Los Angeles
for The Nice Guys.
By Iain Marcks
T
he year is 1977. The place: Los
Angeles. The story is a sharp-
edged, Chandler-esque thriller in
which a private detective named
March (Ryan Gosling) and a freelance
enforcer named Healy (Russell Crowe)
team up to track down a runaway girl
(Margaret Qualley) with a devastating
secret. The Nice Guys is Shane Blacks
third feature as a director, and its close
Unit photography by Daniel McFadden, courtesy of Warner Bros. Entertainment Inc.
Top: Multiple
cameras are
rigged for a
driving scene in
Marchs
convertible.
Middle and
bottom: Marchs
driving goes
awry.
so Rousselot could use them as light departments as highly practical. Im not With the exception of NDs, Rousselot
sources, and to add some visual interest. telling them what he or she should do, eschewed filtration. I was never fond of
The integration between the art he says. Its not my job; they dont need doing things like bleach bypass, or flash-
department and lighting department is my advice. Set design is a bit more ing, or putting a lot of stuff in front of
important, because the more you can involved, but they still dont need me to the camera, he explains. Sometimes I
build into the set, the less you have to tell them what color to put on the wall. did, but not very often. My policy is to
inconvenience your cast and crew with The aesthetic is theirs. be as simple as possible and then do all
lighting instruments that are in the way, G and E Series anamorphic the tricks later in the DI and then I
says Stern. If you can light a room with prime lenses were rented from go into the DI, and I dont use any tricks,
just one additional light instead of 20, Panavision Woodland Hills, and an or very few!
that gives the actors more freedom to Optimo 56-152mm A2S (T4) compact This may seem controversial,
move around, and helps you bring an anamorphic zoom was provided by Rousselot continues, but I care more
audience into the story. Angenieux. A Red Epic Dragon with about what the film is going to be as a
Rousselot agrees, and sees his Kowa anamorphic primes was used for whole than my cinematography, because
relationships with the other design drone shots of the hedonistic party. my work will never be better than the
Digital Capture
Multiple cameras are lined up on Gosling for a night-exterior scene in the woods.
others, Rousselot adds. The Nice Guys extremely fine details, sometimes to
DI was useful for matching the different bridge shots in the same scene that were
mattes and visual effects; compared to actually filmed in different places. There
timing on film, you can have almost was no blanket style. It was all according
perfect color. We were working with to taste.
85
Against the
Clock
Stuart Dryburgh, ASC, NZCS and
a host of collaborators employ a
mix of digital and physical tools to usher
Alice Through the Looking Glass.
By Neil Matsumoto
Top: Alices
mother, Helen
(Lindsay Duncan,
holding
Wasikowskas
hand), worries
about her
daughters sanity.
Bottom, left and
right: Alice travels
through the
looking glass,
returning to
Underland.
we had to match on stage. appeared in the prior project, though says. James and I were thinking in
In addition to his collaboration different aspects of the environment terms of the live action and what
with Bobin, Dryburgh worked closely are presented. Indeed, to maintain a camera was going to give us the best
with production designer Dan look for Underland that was consistent results, but also fulfill the needs of the
Hennah and visual-effects supervisor with that of the first feature, Dryburgh visual-effects department.
Ken Ralston, the latter of whom had and the effects team continually Shooting interiors, exteriors and
worked on Burtons Alice in referred to the world that Burton and night shots around the Disney lot, they
Wonderland. As Dryburgh notes, the Ralston had previously designed. tested an Arri Alexa XT against a
world of Underland which, as Shooting camera tests was a top Sony F65 and F55. Ralston and his
explained in the first movie, is priority during prep. We wanted to co-visual-effects supervisor, Jay Redd,
Wonderlands actual name is determine what would be the best were firm that they needed 4K for
instantly recognizable as the place that camera to shoot the movie, Dryburgh visual-effects shots, especially those
create a LUT, which you can then re- day I have to restrain myself from
import either directly to the camera as grabbing the lights [or at least]
an Arri LUT or in a LUT box minimize it so I dont drive my light-
between the DIT station and the ing crew completely bonkers.
camera. On Alice Through the Looking
In the old days we would say Glass, Dryburghs lighting for daytime
we want a blue-green soft look, so location work was heavy on HMIs,
were going to shoot Fuji, continues with a number of Arrimax M18s and
Dryburgh. If we wanted a high- M40s. In the studio, he typically used
contrast and colorful [image], we 5K tungsten units and Arri T12s.
would go with Kodak 5245. For digital Perhaps the cinematographers
youre making similar decisions, but most difficult location was the Syon
essentially youre creating your own House an 18th-century estate in
film stocks. Im an old film guy, so I west London that is owned by the
cant describe it any other way. The Duke of Northumberland which
LUT is the film stock and the CDL is served as the residence of Lady Ascot
the subsequent grading decision that (Geraldine James) and her son
you make on set, which is conveyed to Hamish (Leo Bill), who were partners
the dailies colorist. The production with Alices father. The locations
crew viewed dailies at Shepperton historic designation placed numerous
Studios on a 12' screen using a 4K restrictions on gaffer Harry Wiggins
projector. and key grip Kevin Frasers crews.
A graduate of University of You couldnt put a nail into a wall, so
Auckland with a degree in architec- we couldnt put up spreaders, says
ture, Dryburgh came up the ranks as a Dryburgh. Candles were allowed, so
gaffer, shooting low-budget movies Dryburgh had the props department
and music videos in the mid-1980s. use as many as possible in each room
Early on my strength was lighting, in order to get a base exposure for the
he says, and I had to learn the skills of Alexa. As toplight was difficult, any
camera operating on the job. Lighting light from above was accomplished by
is a very technical business, and to this hanging a soft light typically a Jem
98
Ball on a boom pole.
Dryburgh also employed a fair
amount of ground bounce laying
white sheets on the floor and bounc-
ing Par cans off of them to raise his
ambient light level. We did use a lot
of what my British gaffers call coop
lights, which are a wireframe ground
row with a lot of light bulbs, says
Dryburgh. You can wrap your gels
around them and hook it up to a
flicker box. We were hiding those
behind the furniture or in the fire-
places, jamming them in wherever we
could. Pretty much everything was
candlelight, ground bounce and small
units carefully hidden. But you still
feel that youre keying off the candles.
The balance was the most challeng-
ing.
Another challenging lighting
scenario was Times castle. With a
swirling ocean below, Dryburgh
bottom-lit with an array of Vari-Lites
for moving light effects. And for
Times clock room, the art department
created gobos of gears, spindles and
springs through which light could be
projected. Time also has a glowing orb
called a Chromosphere that is about
the size of a baseball and, when
thrown, turns into a time machine.
When Alice steals it from Time and
is holding it in her hand, we needed it
to glow, so gaffer Harry Wiggins
worked with the art department to
create a 3D-printed sphere that was
full of LED lights, says Dryburgh. It
had an interior battery, so you could
literally pick it up, throw it, and it still
glowed. As long as we kept the ambi-
ent light level down, it became the
dominant source in the space. Thats
kind of amazing that you could create
so much light energy in such a small,
self-contained unit.
Above the set for Witzend, the
crew positioned more than 250 space
lights, with very large 20-foot-wide
strips of soft blue diffusion extending
over the entire stage, below the space
lights, Dryburgh explains. Also
employed were Dinos and Maxi-
Brutes that provided a strong side key
Against the Clock
expensive. Plus we had such a high
electricity load that they had to bring
in massive generators. When we came
back to do some additional photogra-
phy, I was delighted to see that the
production manager had suggested to
the gaffer, You know what? Why dont
we use LEDs this time? At the end of
the day, they had spent more money on
air conditioning and generators than
they would have spent renting LEDs.
At the time of this writing,
Dryburgh is keen to begin color-grad-
ing sessions at Company 3 in Los
Angeles with colorist and ASC associ-
ate Stefan Sonnenfeld, who would be
working with Blackmagic Designs
DaVinci Resolve for a 16-bit finish
A telescopic crane moves the camera into position for a medium shot of Anne Hathaway
as the White Queen. optimized for HDR versions, with a
resolution of 1998x1080 for the 1.85:1
along the width of the street. Though dismay over the decision, Dryburgh aspect ratio. Versions will be delivered
Wiggins had suggested the use of recounts, What they discovered was for 2D, 3D, Imax Laser and Dolby
LED panels for the overheads instead that the stage got so hot that they had Vision.
of space lights, the notion was nixed to bring in two truck-size air-condi- Whats great about working
due to the high rental cost. Noting his tioning units, which are unbelievably with Stefan, Dryburgh attests, is that
100
TECHNICAL SPECS
1.85:1
Digital Capture
Bobin (left) studies the action as Wasikowska stands aboard a rig worthy of Wonderland.
he is inclined to let the on-set photog- and hes got a great sense of taste and a
raphy speak for itself, rather than great sensitivity thats relative to
saying, Ill make this look high- photography. Hes a brilliant artist in
contrast in red just because I can. Ive his own right.
done several movies with him now,
101
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CW Sonderoptic, sister company to Leica Camera, has added clamp-on matte boxes can also be used. A
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105
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110
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International Marketplace
114
American Society of Cinematographers Roster
OFFICERS 2015-16 ACTIVE MEMBERS Peter L. Collister Xavier Grobet Bruce Logan
Richard Crudo, Thomas Ackerman Jack Cooperman Alexander Gruszynski Gordon Lonsdale
President Lance Acord Jack Couffer Rick Gunter Emmanuel Lubezki
Marshall Adams Vincent G. Cox Rob Hahn Julio G. Macat
Owen Roizman, Javier Aguirresarobe Jeff Cronenweth Gerald Hirschfeld Glen MacPherson
Vice President Lloyd Ahern II Richard Crudo Henner Hofmann Paul Maibaum
Kees van Oostrum, Russ Alsobrook Dean R. Cundey Adam Holender Constantine Makris
Vice President Howard A. Anderson III Stefan Czapsky Ernie Holzman Denis Maloney
James Anderson David Darby John C. Hora Isidore Mankofsky
Lowell Peterson, Peter Anderson Allen Daviau Tom Houghton Christopher Manley
Vice President Tony Askins Roger Deakins Gil Hubbs Michael D. Margulies
Matthew Leonetti, Christopher Baffa Jan de Bont Paul Hughen Barry Markowitz
Treasurer James Bagdonas Thomas Del Ruth Shane Hurlbut Steve Mason
King Baggot Bruno Delbonnel Tom Hurwitz Clark Mathis
Frederic Goodich,
John Bailey Peter Deming Judy Irola Don McAlpine
Secretary
Florian Ballhaus Jim Denault Mark Irwin Don McCuaig
Isidore Mankofsky, Michael Ballhaus Caleb Deschanel Levie Isaacks Michael McDonough
Sergeant-at-Arms Michael Barrett Ron Dexter Peter James Seamus McGarvey
Andrzej Bartkowiak Craig DiBona Johnny E. Jensen Robert McLachlan
MEMBERS John Bartley George Spiro Dibie Matthew Jensen Geary McLeod
OF THE BOARD Bojan Bazelli Ernest Dickerson Jon Joffin Greg McMurry
John Bailey Frank Beascoechea Billy Dickson Frank Johnson Steve McNutt
Bill Bennett Affonso Beato Bill Dill Shelly Johnson Terry K. Meade
Mat Beck Anthony Dod Mantle Jeffrey Jur Suki Medencevic
Richard Crudo
Dion Beebe Mark Doering-Powell Adam Kane Chris Menges
George Spiro Dibie Stuart Dryburgh Stephen M. Katz Rexford Metz
Bill Bennett
Richard Edlund Andres Berenguer Bert Dunk Ken Kelsch Anastas Michos
Fred Elmes Carl Berger Lex duPont Victor J. Kemper David Miller
Michael Goi Gabriel Beristain John Dykstra Wayne Kennan Douglas Milsome
Victor J. Kemper Steven Bernstein Richard Edlund Francis Kenny Dan Mindel
Isidore Mankofsky Ross Berryman Eagle Egilsson Glenn Kershaw Charles Minsky
Daryn Okada Josh Bleibtreu Frederick Elmes Darius Khondji Claudio Miranda
Oliver Bokelberg Robert Elswit Gary Kibbe George Mooradian
Lowell Peterson
Michael Bonvillain Scott Farrar Jan Kiesser Reed Morano
Robert Primes Richard Bowen Jon Fauer Jeffrey L. Kimball Donald A. Morgan
Owen Roizman David Boyd Don E. FauntLeRoy Adam Kimmel Donald M. Morgan
Rodney Taylor Russell Boyd Gerald Feil Alar Kivilo Kramer Morgenthau
Kees van Oostrum Uta Briesewitz Cort Fey David Klein Peter Moss
Jonathan Brown Steven Fierberg Richard Kline David Moxness
ALTERNATES Don Burgess Mauro Fiore George Koblasa M. David Mullen
Stephen H. Burum John C. Flinn III Fred J. Koenekamp Dennis Muren
Karl Walter Lindenlaub
Bill Butler Anna Foerster Lajos Koltai Fred Murphy
Kenneth Zunder Frank B. Byers Larry Fong Pete Kozachik Hiro Narita
Francis Kenny Bobby Byrne Ron Fortunato Neil Krepela Guillermo Navarro
John C. Flinn III Patrick Cady Greig Fraser Willy Kurant Michael B. Negrin
Steven Fierberg Sharon Calahan Jonathan Freeman Ellen M. Kuras Sol Negrin
Antonio Calvache Tak Fujimoto Christian La Fountaine James Neihouse
Paul Cameron Alex Funke George La Fountaine Bill Neil
Gary Capo Steve Gainer Edward Lachman Alex Nepomniaschy
Russell P. Carpenter Robert Gantz Jacek Laskus John Newby
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Alan Caso Dejan Georgevich John R. Leonetti Crescenzo Notarile
Vanja ernjul Michael Goi Matthew Leonetti David B. Nowell
Michael Chapman Stephen Goldblatt Peter Levy Rene Ohashi
Rodney Charters Paul Goldsmith Matthew Libatique Daryn Okada
Enrique Chediak Frederic Goodich Charlie Lieberman Thomas Olgeirsson
Christopher Chomyn Nathaniel Goodman Stephen Lighthill Woody Omens
James A. Chressanthis Victor Goss Karl Walter Lindenlaub Michael D. OShea
T.C. Christensen Jack Green John Lindley Vince Pace
Joan Churchill Adam Greenberg Robert F. Liu Anthony Palmieri
Curtis Clark Robbie Greenberg Walt Lloyd Phedon Papamichael
Daniel Pearl Dante Spinotti Joseph J. Ball Fritz Heinzle Jeff Okun Franz Wieser
Brian Pearson Buddy Squires Amnon Band Charles Herzfeld Marty Oppenheimer Beverly Wood
Edward J. Pei Terry Stacey Carly M. Barber Larry Hezzelwood Walt Ordway Jan Yarbrough
James Pergola Eric Steelberg Craig Barron Frieder Hochheim Ahmad Ouri Hoyt Yeatman
Dave Perkal Ueli Steiger Thomas M. Barron Bob Hoffman Michael Parker Irwin M. Young
Lowell Peterson Peter Stein Larry Barton Vinny Hogan Dhanendra Patel Michael Zacharia
Wally Pfister Tom Stern Wolfgang Baumler Cliff Hsui Elliot Peck Bob Zahn
Sean MacLeod Phillips Robert M. Stevens Bob Beitcher Robert C. Hummel Kristin Petrovich Nazir Zaidi
Bill Pope David Stockton Mark Bender Zo Iltsopoulos-Borys Ed Phillips Michael Zakula
Steven Poster Rogier Stoffers Bruce Berke Jim Jannard Nick Phillips Joachim Zell
Tom Priestley Jr. Vittorio Storaro Steven A. Blakely George Joblove Tyler Phillips Les Zellan
Rodrigo Prieto Harry Stradling Jr. Joseph Bogacz Joel Johnson Joshua Pines
Robert Primes David Stump Jill Bogdanowicz Eric Johnston Carl Porcello HONORARY MEMBERS
Frank Prinzi Tim Suhrstedt Mitchell Bogdanowicz John Johnston Sherri Potter Col. Edwin E. Aldrin Jr.
Cynthia Pusheck Peter Suschitzky Jens Bogehegn Mike Kanfer Howard Preston Col. Michael Collins
Richard Quinlan Attila Szalay Michael Bravin Andreas Kaufmann Sarah Priestnall Bob Fisher
Declan Quinn Masanobu Takayanagi Simon Broad Marker Karahadian David Pringle David MacDonald
Earl Rath Jonathan Taylor Michael Brodersen Frank Kay Doug Pruss Cpt. Bruce McCandless II
Richard Rawlings Jr. Rodney Taylor William Brodersen Debbie Kennard David Reisner Larry Mole Parker
Frank Raymond William Taylor Garrett Brown Glenn Kennel Christopher Reyna D. Brian Spruill
Tami Reiker Romeo Tirone Terry Brown Robert Keslow Colin Ritchie Marek Zydowicz
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Giuseppe Rotunno Theo van de Sande Michael Cioni Karl Kresser Bill Russell
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Steven Shaw Peter Wunstorf Ray Feeney Karen McHugh John L. Sprung
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Sandi Sissel Kenneth Zunder John A. Gresch Michael Morelli Bill Turner
Santosh Sivan Jim Hannafin Dash Morrison Stephan Ukas-Bradley
Michael Slovis ASSOCIATE MEMBERS Bill Hansard Jr. Nolan Murdock Mark van Horne
Dennis L. Smith Pete Abel Lisa Harp Dan Muscarella Dedo Weigert
Roland Ozzie Smith Rich Abel Richard Hart Iain A. Neil Marc Weigert
Reed Smoot Alan Albert Robert Harvey Otto Nemenz Steve Weiss
Bing Sokolsky Richard Aschman Michael Hatzer Ernst Nettmann Alex Wengert
Peter Sova Kay Baker Josh Haynie Tony Ngai Evans Wetmore
Left, from left: David Heuring; James Neihouse, ASC; and Marsha Ivins. Right, from left: Aaron Latham-James, Steve Mahrer, associate member
Doug Leighton and Bill Bennett, ASC.
ASC, AC Attend NAB A number of other ASC members was launched by Bill Bennett, ASC, who
During the recent NAB Show in Las also participated in various events over the introduced associate member Doug
Vegas, AC presented the Creative Master course of the show. Among them were Leighton, Panasonics senior partner and
Series session Cinematography in Space Curtis Clark, Dejan Georgevich, David sales manager. The subsequent slideshow
for A Beautiful Planet. Moderated by jour- Klein, Robert Legato, Steven Poster, was presented by Panasonics senior tech-
nalist and former AC editor David Heuring, Frank Prinzi, Roberto Schaefer and nologist Steve Mahrer, and senior produc-
the session featured cinematographer David Stump. tion market technical specialist Aaron
James Neihouse, ASC and space-opera- Latham-James was available to answer addi-
tions consultant Marsha Ivins in conversa- ASC Hosts Panasonic tional questions. Society members in atten-
tion about the making of the Imax film. VariCam LT Discussion dance included James A. Chressanthis,
Neihouse also appeared on Canons Live The Society recently opened the Curtis Clark, Steven Fierberg, Victor
Learning Stage on the show floor to discuss doors of its Clubhouse in Hollywood for a Goss, Mark Irwin, Jacek Laskus, Peter
working with the companys EOS C500 and presentation showcasing Panasonics new Moss, James Neihouse, John Newby,
Top-right photo by Alex Lopez. Radin photo courtesy of the ASC archives.
Longtime ASC associate member Philip S. Radin Sonnenfeld Named Deluxe CCO
died at his home in Woodland Hills on March 28. He ASC associate member Stefan
was 62. Sonnenfeld was recently named chief
Radin was born on April 3, 1953, in Los Angeles creative officer of Deluxe Entertainment
to Morris and Bess Radin; he was the second of their Services Group. Sonnenfeld will continue to
four children. He joined Panavision when he was 23, work as a colorist for film and commercial
starting in the shipping and receiving department projects while developing new customer
before moving into camera rentals. In 1987, he was relationships in North America.
appointed the companys vice president of marketing Sonnenfeld got his start in postpro-
and sales. Responsible for Panavisions entire North duction with a summer job delivering dailies
American inventory, Radin supervised all departments that interacted with cinematogra- for the series Miami Vice. He co-founded
phers, directors and producers, and shared those filmmakers feedback with Panavisions Company 3 with Mike Pethel and Noel
research and development team. Castley-Wright in 1997; the company was
Radins significant contributions did not go unnoticed, and he was made an ASC purchased by Liberty Media Corp. in 2000,
associate on Jan. 8, 1990, after having been proposed by ASC members Woody Omens and then acquired by Deluxe in 2010. Sonnen-
Victor J. Kemper. Radin remained with Panavision for the rest of his career, and most recently felds recent feature credits as a DI colorist
served as the companys executive vice president of worldwide marketing. In 2012, the Soci- include Batman v Superman: Dawn of
ety of Camera Operators presented Radin with its Presidents Award. Justice (AC May 16), Zoolander 2 and Star
Radin is survived by his son and daughter, Jeremy and Kayla. Wars: The Force Awakens (AC Feb. 16).
When you were a child, what film made the strongest impression ation critic led to steady employment, first as an assistant, then shoot-
on you? ing and directing at Encyclopedia Britannica Films in Hollywood.
Three in black-and-white: The Third Man, for its theme of best-friend
betrayal, and for its aggressive and tactile lighting, deep shadows and What has been your most satisfying moment on a project?
silhouettes, backlit stone textures, the sewer-tunnel chase shots, the Directing, writing and producing Kickstart Theft [AC Nov. 12]. Vilmos
striking interplay of faces, and Orson Welles insidious smile; Bicycle was the cinematographer, and he allowed me to operate only one
Thieves, for the empathy it generated over the father and sons dilem- shot. He said it wouldnt work, but later told me it was great!
mas, the naturalness and simplicity of the images, and the irony of a
seemingly tiny yet hugely significant family drama played out on indiffer- Have you made any memorable blunders?
ent city streets; and City Lights, for Chaplins pathos Turning down a music-video offer in NYC from
and humor, his playfulness and gentle kindness, world-famous director Ken Russell felt like a
and his expressive body language. significant blunder at the time career-wise, but
my dear wife, Donna, said I made the right deci-
Which cinematographers, past or present, do sion, choosing instead to be with my son, Nik, at
you most admire? his graduation in Santa Monica. Indeed, I could
Vilmos Zsigmond, ASC, HSC; Emmanuel Lubezki, always shoot another video, but Nik would grad-
ASC, AMC; Conrad L. Hall, ASC; Gianni Di uate from high school only once. It was a cele-
Venanzo, AIC; Laszlo Kovacs, ASC. bration of family, of our dreams and aspirations.
Turning down Julie Corman to shoot a feature at
What sparked your interest in photography? $100 a week was a true blunder career-wise.
As a child, I loved to draw. On occasion, Id watch
my older cousin process and print rolls of 35mm still What is the best professional advice youve
film in the temporary darkroom hed set up over his ever received?
bathroom sink. One day I found myself shooting stills in my Bronx neigh- Remain a student. Respect your crew. Collaborate.
borhood just for the fun of it, using a 35mm Leica IIIf borrowed from a
buddy in junior high school. I realized then that making photo images What recent books, films or artworks have inspired you?
was a premier pleasure! Eventually, while at college, I found a job work- Book: Dalton Trumbo: Blacklisted Hollywood Radical. Film: Carol.
ing in the Film Library at the Museum of Modern Art in New York City, Painting: Epiphany #1 by Nikolai Soren Goodich.
surrounded by prints and original negatives of films Id seen and loved in
theaters. Some of them were in bad shape. Handling them with care, Do you have any favorite genres, or genres you would like to
shipping prints to schools and other museums, Id incurred an enormous try?
responsibility. I was hooked! Neo-film-noir.
Where did you train and/or study? If you werent a cinematographer, what might you be doing
On the job mostly, but initially at the Robert Flaherty Institute at the City instead?
College of New York, and later at the University of California, Los Ange- Fiction writer.
les.
Which ASC cinematographers recommended you for member-
Who were your early teachers or mentors? ship?
My grandmother Rose Schoenholz, and cinematographers Isidore John Bailey, Isidore Mankofsky, Bob Primes, Peter Anderson, John Toll.
Mankofsky, ASC; Haskell Wexler, ASC; and Jordan Cronenweth, ASC.
How has ASC membership impacted your life and career?
What are some of your key artistic influences? Recognized! Reinvented! Membership authenticated and reinvigo-
Caravaggio, John Alton and Robert Krasker, BSC, for single-source light- rated my lifes passion the technical and artistic sides. It led to teach-
ing ideas; Henri Cartier-Bresson, for his decisive moments; Mark ing and shooting gigs. And new friendships! I look forward to partic-
Photo by Todd Sharp.
Rothko, for his spiritual use of color. ipating in Society activities, hanging out with colleagues of different
backgrounds, sharing issues and tales of our experiences, engaging
How did you get your first break in the business? with students. I value the responsibility of being an ASC officer and
Although Id already been shooting news-style documentaries out of the chair of the ASC International Committee, grateful for the privi-
Washington, D.C., a chance meeting in Venice, Calif., with a Beat Gener- lege and the trust bestowed.