November 2024 The International Publication of the American Society of Cinematographers

Revisiting Dune: Part Two

With Greig Fraser, ASC, ACS and Denis Villeneuve
Plus: Preview of Bonus Deep-Dive Coverage

Cover 1_OFC.indd 1 10/3/24 11:50 AM

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 STORIES IN A SINGLE FRAME
STILL PHOTOGRAPHY BY ASC MEMBERS

Images from the ASC Photo Gallery are now available as individual prints (large or small)
or as multi-image box sets (small prints of your choosing in a custom case).
Each photo is a custom archival-pigment print on 100% cotton rag, acid-free paper.
All proceeds go to the Vision Committee fund for ASC Master Class scholarships.

Available images can be found at

store.ascmag.com/collections/asc-photo-gallery
Photos seen here by ASC members Gonzalo Amat, Ava Berkofsky, Richard Crudo, Peter Deming, Dana Gonzales and M. David Mullen.

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 NOVEMBER 2024 VOL. 105 NO. 11

Contents Features
16 Expanding the View for Dune: Part Two
Greig Fraser, ASC, ACS and director Denis Villeneuve lead a deep-dive
exploration beneath the sands of their sci-fi epic.
By Jay Holben

28 Live Crisis: September 5

Markus Förderer, ASC, BVK lends onscreen anxiety to a feature based on
the real-time ABC coverage of the 1972 Olympic terrorist attack in Munich.
By Phil Rhodes

34 The Intricate Dance of Emilia Pérez

Paul Guilhaume, AFC helps envision a unique musical approach to the saga

34
of a Mexican drug lord seeking a dramatic life change.
By Tara Jenkins

42 Robert Richardson, ASC: On Color

The Academy Award-winning cinematographer discusses how his work
with colorists influences his imagery.
By Iain Marcks

50
50 The BSC at 75
A pictorial tribute to the venerable British Society of Cinematographers.
Introduction by BSC President Christopher Ross

Departments
8 President’s Desk
10 Shot Craft: The Cinematographer and the VAD
56 The Virtual World: Real-Time Ray Tracing for Virtual Production
62 Clubhouse News
66 New Products and Services
71 Ad Index
72 Wrap Shot: Dune (1984)

On Our Cover:
A camera crew led by cinematographer Greig Fraser,
ASC, ACS captures a scenic image on location for Dune:
Part Two. (Photo by Niko Tavernise, courtesy of Warner
Bros. Pictures.)

VISIT THEASC.COM

2 / NOVEMBER 2024

p. 2-3 TOC V4.indd 2 10/3/24 9:54 AM AME

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 H
AMERICAN
CINEMATOGRAPHER
MANUAL EDITOR-IN-CHIEF
PAPERBACK EDITION4 Stephen Pizzello

WEB DIRECTOR and PUBLISHER

David E. Williams
This budget-conscious version
of our revised 11th edition of EDITORIAL
our essential technical refer- MANAGING EDITOR Andrew Fish
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ASC and ASC associate Edwin Alpanian
member Rob Hummel,
contributors to this edition
include Society members ADVERTISING
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Topics covered in this edition
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• Evaluating digital cameras
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cinematography DIRECTOR OF FINANCE and ACCOUNTING Thanh Lai
• Imax/large-format cinematography STAFF ACCOUNTANT Ariola Lopez Lamas
• Specialty lenses
MASTER CLASS PRODUCER Alex Beatty
• Variable frame rates
• ASC Color-Decision List (ASC CDL)
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American Cinematographer (ISSN 0002-7928), established 1920 and in its 105th

year of publication, is published monthly in Hollywood by ASC Holding Corp.,
Order today — for yourself or as a gift 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.
— at store.ascmag.com/collections/ Print subscriptions: U.S. $39; Canada/Mexico $59; all other foreign countries
$89 a year (remit international Money Order or other exchange payable in U.S. $).
books-videos Advertising: Rate card upon request from Hollywood office. Copyright 2024 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
THE WORLD’S LEADING INTERNATIONAL JOURNAL professional organization. Membership is
by invitation to those who are actively en-
ON MOTION IMAGING DELIVERS THE INSIDE STORY gaged as directors of photography and have
OF MODERN CINEMATOGRAPHY 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 2024/2025
Shelly Johnson
President
Charlie Lieberman
1st Vice President
Patti Lee
2nd Vice President
Cynthia Pusheck
3rd Vice President
Charles Minsky
Treasurer
Dejan Georgevich
Secretary
Christopher Chomyn
Sergeant-at-Arms

MEMBERS
OF THE BOARD
From new camera systems and lighting options to the creative Natasha Braier
use of virtual-production methods, American Cinematographer Patrick Cady
examines the latest tools and techniques while maintaining Michael Goi
Shelly Johnson
sharp focus on essential creative collaborations and the Patti Lee
artistry of visual storytelling. Charlie Lieberman
Karl-Walter Lindenlaub
• Print Edition – Learn from the best Tommy Maddox-Upshaw
and build your permanent reference collection Erik Messerschmidt
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anywhere you are while on the go Lowell Peterson
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store.ascmag.com/collections/subscriptions Ernest Dickerson
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 President’s Desk
Surveying the productions that are covered in this issue, I recognize one
common element: previsualization.
I don’t mean VFX previs, but rather the process of a cinematogra-
pher’s conception of the film in its final form and previsualizing how their
images will create a connection between the story, direction and per-
formances to help those elements land with sincerity for the audience.
The actual art of previsualization grew from working in film. Technically
speaking, you did not get what you saw. Cinematographers needed to
imagine the film-stock characteristics, exposure and development pro-
cess, and allow for how all these steps affect color rendition, contrast
and tone. We had to light and shoot an image that would only be final-
ized at the end of the workflow, in accordance with our understanding
of the entire film manufacture and chemical-development and printing
process.
This method of image construction extended quite naturally to the
previsualized elements used in designing a film’s visual narrative during
PORTRAIT BY JOHN SIMMONS, ASC. prep. The thematic pre-planning stages came as naturally as ordering
a camera package, and assumed a major role in how movies were con-
ceived and shot (at least for me). When we watched projected images
“When digital technology first became a at the lab at 5 a.m., we could appreciate how our images resonated in
viable tool for moviemaking, the idea of a dark room.
I noticed that when digital technology first became a viable tool for
previsualization morphed into something moviemaking, the idea of previsualization morphed into something dif-
different.” ferent. Cinematographers now had the luxury to react to what they saw
on the monitor in terms of color, density and contrast. I began to see
young cinematographers abandon previsualization steps during prep
altogether, in favor of doing the bulk of their visual-design work after
viewing a monitor image on set. I would sometimes caution students
that if they delayed planning their visual concepts until they were of-
fered an image to consider, most of their work on set might feel, to the
viewer, like scratching the surface. A director of photography might be
able to make an image look cool, but would that image have depth and
soul?
Whether you’re shooting a large-scale fantasy story in a built world
or a small domestic drama, the act of previsualizing at an early stage
inspires you to develop your thematic reasons why. These conceptual
elements, established early on, can provide a relatably human, narrative
purpose for the visual strategy.
I should note that there are as many ways to perform the job of cin-
ematographer as there are cinematographers! The true art is to find a
working method that speaks to you, unlocks your spirit and allows you
to shoot from the heart. I believe that an audience can often feel visual
authorship even more than they can see it.

Best regards,

Shelly Johnson
ASC President

8 / NOVEMBER 2024

p. 8-9 President_s Desk V4.indd 8 10/3/24 9:59 AM

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 Shot Craft By Jay Holben

The Cinematographer and the VAD

IMAGES ON THIS PAGE AND OPPOSITE COURTESY OF SYNAPSE VIRTUAL PRODUCTION.

Synapse Virtual Production’s COO Aaron Gordon and Unreal Engine operator Mark Reisch at the
“mission control” monitors for the ICVFX production of the Jackson Wang “Cruel” music video —
directed by Rich Lee (who also headed the VAD) and shot by Christopher Probst, ASC.

The cinematographer’s creative handles the elements of the sets/ LED wall, so that the audience be photographed simultaneous-
partnership with the production backgrounds that appear on the cannot tell one from the other. ly with the practical elements
designer and art department is LED walls in the virtual space. The (including actors) with the goal
critical for a successful produc- virtual realm requires just as much Focus on Prep of producing a final in-camera
tion of any kind. They consult with production design, art direction, In traditional composite work composite that happens live.
each other on the sets, colors, set decoration, props creation, that incorporates blue- or This has significant benefits,
textures, integrated practical set construction, painting and greenscreen, virtual elements not least of which is that it elim-
lighting and so forth. With virtual texturing as the practical one, are created by postproduction inates the guesswork involved
production — and, more specifi- and these elements must be artists long after photography is with blue- and greenscreen
cally, projects employing in-cam- created to match the practical art completed. This means that on photography and gives the cin-
era visual effects (ICVFX), i.e., department’s work in scale, color, set, the cinematographer must ematographer and director more
LED-wall environments — there is texture and dimensionality. make an educated guess about precise — and on-set — control
a hybrid of a physical (practical) With the cinematographer, the how to light and compose their of the image. But it also requires
art department and a virtual art physical art department and the photographic elements to match significantly more work to be
department, or VAD. VAD all working in unison, their what will be made later. In ICVFX done in prep and, ideally, less
Those in the physical de- collective achievement is the and virtual production, it’s the in post. This prep work includes
partment tend to the traditional practical world on the physical opposite: All virtual elements are not only the construction of
set needs required on every stage blending seamlessly with made before shooting so that digital assets, but the physical
production, while the VAD crew the virtual world rendered on the they are available on set and can assets as well. The traditional art

10 / NOVEMBER 2024

p. 10-15 Shot Craft V4.indd 10 10/3/24 10:01 AM

 department must craft bespoke
set elements, props and dressing
far in advance of photography
— because these physical items
need to be designed, approved
and constructed with ample time
for them to be scanned and then
reproduced in the virtual world.
This is a key step that enables
virtual props and set dressing to
match real-world items, making
the transition between the two
unnoticeable to the audience.
This also puts the onus on the
production to hire prop teams,
construction teams and set dec-
orators much earlier than usual. It
requires constant communication
between the virtual and practical
art departments — as last-minute
shopping for props or set dress-
ing would create significant issues
for the virtual department, and,
Above: Probst captures Wang and dancers Natsuki Miya, Bianca Vallar, Kylie Montoya and
conversely, virtual artists can’t
Selene Haro as gaffer Nizar Najm operates an interactive Aputure MC LED light mounted on
just incorporate stock items into
a boom pole. Below: The corresponding frame from the final piece.
a scene (such as furniture and
lighting fixtures) if there must be
a practical matching component. placement of the sun, or another computer, need to have the approach to the project.”
This workflow also dictates main light source, is in a position cinematographer adjust color
that decisions affecting cinema- which will make lighting the vol- and contrast before they get sent Safeguarding the Production
tography — including practical ume sets conducive to achieving to the volume for uploading,” he Christopher Probst, ASC has pho-
lighting, placement and size of the mood and efficiency the continued. “So, the cinematogra- tographed more than 20 ICVFX
windows, direction and intensity production requires. pher’s schedule needs to include projects, and he taught a seminar
of sunlight, etc. — must be made “Virtual-production assets, non-consecutive prep for the pur- on virtual production for the ASC
very early in preproduction. even those that were photo- pose of being able to contribute Master Class earlier this year.
As Michael Goi, ASC, ISC — graphed rather than built in the to these foundations of the visual He is the chief innovation officer
who served as director of photog-
raphy, executive producer and
producing director on the Netflix
series Avatar: The Last Airbend-
er (AC July ’24) — expressed to
me in a recent correspondence,
“With the expanding use of virtual
production, it is essential that
the cinematographer be on the
production’s prep schedule earlier
than they would normally be hired
for traditional prep. The cinema-
tographer who will shoot the film
would ideally also be the person
who photographs or helps design
the assets to be used on the LED
screen in order to ensure that the

NOVEMBER 2024 / 11

p. 10-15 Shot Craft V4.indd 11 10/3/24 10:01 AM

 Shot Craft

and also assesses any existing

practicals that can be utilized
— all of that still applies with
virtual production. There can
often be several sessions where
the director and cinematographer
TOP IMAGE BY ROBERT FALCONER, COURTESY OF NETFLIX.

work with the VAD team and are

able to virtually scout the various
3D environments being created.
Ideally, this is when a cinematog-
rapher can add input into what
BOTTOM IMAGE COURTESY OF THE ASC.

angles may be shot, how that

scene is lit virtually — and will ul-
timately tie into how the practical
set is lit.
“Maybe you ask for a window
on one side of a set because
you know you’ll have a character
staged at the table, and with that
window over their shoulder, you’ll
have cool daylight on one side
and can add a virtual sconce with
“With the expanding use of virtual production, it and co-owner at Synapse Virtual a warm glow on the opposite
is essential that the cinematographer be on the Production in Los Angeles, which wall, introducing color contrast
operates its own LED ICVFX in the virtual world that you can
production’s prep schedule earlier than they stage and consults with and extend into the practical world
would normally be hired for traditional prep.” facilitates other LED stages as with on-set lighting. As a cine-
well. Probst and I spoke recently matographer, I’m going to know
about the cinematographer/VAD the best position for that window
Above: Michael Goi, ASC, ISC works with actor Kiawentiio on an ICVFX relationship. and the height of the sconce,
stage for the Netflix production Avatar: The Last Airbender. Below: “When shooting at a practical because I know the shots we’re
A techvis session for the ASC MITC StEM2 short film The Mission, location,” he says, “the cine- going to do.
attended by cinematographer Probst; visual-effects supervisor matographer typically scouts “So, when prepping or con-
David Stump, ASC; director-producer and ASC associate Jay Holben;
and looks at the time of day for sulting on a virtual-production
production designer John Muto; producer, postproduction producer and
ASC associate Joachim Zell; and the virtual-environment-creation team optimal shooting, the angles and project, my job as cinematogra-
— i.e., the VAD — of Happy Mushroom. directions you want to shoot, pher is to help solve any potential
points of failure and safeguard
the production — I don’t want
anyone’s production to go bad on
VP. Part of the vetting process
of any VP asset is to make sure
that it will be performant when it
comes to production. For exam-
ple, Unreal Engine has massive
power to create intricately de-
tailed worlds and photorealistic
environments, but the ray tracing
and rendering need to happen in
real time at a target frame rate.
It’s one thing when you’re looking
at an environment on a computer
in the VAD, but it’s another thing
when you’re looking at it in a big

12 / NOVEMBER 2024

Tiffen
p. 10-15 Shot Craft V4.indd 12 10/3/24 10:01 AM
 Create Atmosphere
T I F F E N B L A C K F O G & N I G H T F O G F I LT E R S
Tiffen adds a new tool for the cinematographer’s pallet. Paired with digital cameras, Black Fog and
Night Fog Filters can provide a soft highlight glow reminiscent of the classic double fog cinematic look.

Black Fog provides an overall atmospheric softening that Night Fog yields a natural fog effect with overall atmospheric
creates a smooth wide flare from the highlights yet keeps softening and wide flare, coupled with unique contrast reduction
the blacks, black without overly muting colors or losing technology that reduces highlights without darkening shadows. In light
detail in shadows. A subtle effect, it can be used to add grades it provides a beautiful new look. In strong grades it flattens
an overall look to a project. the contrast and desaturates color so it is useful for day-for-night.

On Bridgerton Season 3, we often shot

in historical locations that had priceless
artwork. Therefore, we were not able to
use atmosphere in the air. I achieved a similar
look using Tiffen Black Fog Filters. They
made it feel like there was ambient diffusion

‘‘
in the space. Also, when I lit the filter with
a backlight, it added a creamy soft flare that
enhanced the feeling of atmosphere even
more, which I was able to utilize during
key intimate moments.

watch Alicia Robbins

www.youtube.com/watch?v=npd0gF8Wqio Director of Photography

tiffen.com

Tiffen-AC-AliciaRobin-FogIntro-8|16|24.indd 1 8/16/24 10:01

2:35 PM
p. 10-15 Shot Craft V4.indd 13 10/3/24 AM
 vv

Shot Craft

Images from the VAD creation the Unreal Engine operators on

of the Unreal Engine “Throne the set are not the artists who
Room” environment from the created the asset, so they’re left
“Cruel” music video. Created by
to scramble and try to understand
director Rich Lee and Louise Baker
Lee, this asset employed many
how it was made and how to fix
elements from Unreal’s extensive problems on the fly.
Marketplace, and then integrated “Virtual production is such
fire elements that were mimicked a revolutionary technique and
live on set with interactive technology. And when everything
practical lighting. performs, it can be absolutely
mindblowing — when you see
LED volume. It might be hitting that cinematographic sleight-of-
24 frames per second in the VAD, hand that you’re able to pull off
but when you put it on the wall, with what is effectively a big TV
suddenly it may only hit 10 fps. screen behind someone’s head.
So, I try to make sure that the That’s an oversimplification of
artists are optimizing their loads what virtual production is, but
for at least double the frame the takeaway from all of this is
rate we need. This means if we that with this technique, the cin-
are shooting 48 fps on set, then ematographer is once again truly
I need the load to be able to hit the author of the image — how
96 fps to make sure we get that bright or dark it is, how warm or
target on stage. cool, how much atmosphere is on
“Now, it’s not necessarily the the set. You see it all happening
role of a cinematographer to in camera, as opposed to being
know how to optimize VP assets surprised by the final work done
IMAGES COURTESY OF SYNAPSE VIRTUAL PRODUCTION.

in Unreal Engine, but I know that a by the VFX artists three months
wall sconce with a 25-watt bulb, down the line.”
in the real world, isn’t going to
give me any significant output 50 Meaningful and Early
feet away — while in a virtual en- It behooves the cinematogra-
vironment, Unreal Engine doesn’t pher to become familiar with the
know that. And unless you tell it tools of virtual production, and
otherwise, it will trace the rays how they can better optimize the
of light from a virtual bulb 300 image through virtual lighting and
or 1,000 feet away! The virtual textures — and anticipate poten-
artists creating the assets should tial trouble spots before produc-
know to tell the Unreal to curtail tion begins. And it follows that
the light from that fixture to stop productions incorporating ICVFX
the engine from having to overan- must ensure that the cinema-
alyze the ray tracing and help that tographer has meaningful input
environment run more efficiently, in early decisions to facilitate a
but it never hurts to know how smoother production.
the lighting you’re asking for in
the virtual space impacts the Jay Holben is AC’s technical
performance of an asset. editor and an ASC associate
“In the ideal workflow, the member. He served as technical
“In the ideal workflow, the cinematographer cinematographer will have documentarian on Season 1 of
will have collaborated with the artists in collaborated with the artists in The Mandalorian and has sub-
preproduction, added their input and taste to preproduction, added their input sequently worked in numerous
and taste to lighting the scenes, ICVFX environments, including as
lighting the scenes, and solved any potential and solved any potential pitfalls director of the ASC MITC StEM2
pitfalls then.” then. The problem is, oftentimes, short film The Mission.

14 / NOVEMBER 2024

p. 10-15 Shot Craft V4.indd 14 10/3/24 10:01 AM

 “The perfect book for all cinematographers,
aspiring and working. Filled to the brim with
detailed analysis of the craft.”
— Colin Watkinson, ASC, BSC
(The Handmaid’s Tale, Emerald City, Entourage)

“Jay Holben’s thoughtful attention to detail and

technique continues to shine in this insightful
compilation of lessons highlighting the depth
behind our craft for any level of filmmaker to
appreciate.”
— Autumn Durald Arkapaw, ASC
(Loki, Black Panther: Wakanda Forever)

Chapters include:
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 Expanding
the View
for Dune:
Part Two ALL IMAGES COURTESY OF WARNER BROS. PICTURES.

Greig Fraser, ASC, ACS and

director Denis Villeneuve
broaden their outlook and
toolkit for the second chapter
of the sci-fi epic.
By Jay Holben

R
eturning to planet Arrakis presented the Dune: Part Set shortly after the events depicted in Part One, Part Two establishes
Two filmmakers with the opportunity to envision the that the intergalactic battle for Spice continues, and war has returned to
vast, arid landscape they had created for Part One (AC Arrakis. Paul Atreides (Timothée Chalamet) and his pregnant mother,
Dec. ’21) from a more seasoned perspective — and Jessica (Rebecca Ferguson) — the lone survivors of the Harkonnens’ at-
with a wider range of tools at the ready. Nevertheless, tack on House Atreides — take refuge on the desert planet. There, Paul
Greig Fraser, ASC, ACS called the sequel “the hard- begins to understand that his destiny is to lead the indigenous Fremen
est film I’ve ever done, from a practical standpoint” in their battle against the Harkonnen for control of their planet.
thanks to “all the spinning plates and units going at the same time.”
Director Denis Villeneuve adds that for this second chapter, “the visu- Spherical Only
al vocabulary that we designed for Part Two had to have some continuity One notable variation in the visual strategy for the sequel was the deci-
with Part One, so you can watch them back-to-back and be in the same sion to shoot only spherical lenses, while Part One was shot with a mix
world — but Greig and I also wanted to challenge ourselves and make of anamorphic and spherical. “It’s strange — maybe I’ve been ‘Deaki-
sure we expanded our language and brought a feeling of novelty. nized,’” Villeneuve muses, referring to his multiple collaborations with
“Especially in the beginning, we wanted to show the technique of the spherical-format adherent Roger Deakins, ASC, BSC. “But the more I
Fremen, [who use] the light of an eclipse to battle their enemies and use anamorphic, the more I’m convinced I’m a spherical guy. I adore the
bring violence with the darkness,” the director adds. “I wanted a bit of a spherical look and found that I was trying to play with that language in
shock at the opening of the film — what [editor] Joe Walker called ‘put- the anamorphic world, and it wasn’t quite right.”
ting a cold, wet swimsuit back on’ — that kind of shock and energy.” Another significant change was that while just more than half of the

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 Part One material was composed for Imax, the filmmakers shot Part Two yet up to the demands of being a primary set for a major production. He
entirely for Imax 1.43:1 (while protecting 1.90:1 for digital Imax exhibi- contacted Alan Besedin of Vintage Lenses for Video, an IronGlass part-
tion and 2.39:1 for traditional theatrical exhibition and home release). ner. “I said, ‘I want more of these, but they need to have better mechan-
Fraser notes that this decision maintains consistency with the first film’s ics,’” Fraser says. “It turned out IronGlass was just releasing their MKII
shifting to Imax aspect ratio when Paul is on Arrakis — as the second mechanical design, and it was substantially better than the previous one,
film takes place almost entirely on that planet. so I ordered three 85mm [Jupiter-9], three 58mm [Helios 44-2] and three
Fraser decided to turn again to the Arri Rental Alexa 65 as his main 37mm [Mir-1V], which were rushed to me.”
camera, supplementing it with Arri Alexa LF and Mini LF cameras when As principal photography progressed, he continues, “We became
more — or more compact — bodies were required. During his typically bolder and more focused on choosing lenses [based on which aspect of
ambitious testing of optics, he happened on the Arri Rental Moviecam the story] we wanted to tell. The Moviecams worked really well for the
lenses, a series of rehoused Olympus OM still-photography lenses that sandworm ride, for instance; they’re generally a bit sharper than some
was introduced by Moviecam in the 1980s and was subsequently ac- other lenses we carried and were great for all that texture — with the
quired by Arri Rental. Fraser determined that the Moviecams delivered wind and sand and haze. We also used the Moviecams for the arena
the feel he was looking for — and decided to team them, when needed, fight and the infrared sequences, because their ability to resolve was
with his own set of Optica Elite primes. important.
As shooting commenced, he also began incorporating the IronGlass “For the desert and more of Paul’s story, we used more of the Iron-
Adapter rehoused Soviet-era lenses that he had used on The Batman (AC Glass and Optica Elite lenses, which are softer and have more character.
June ’22) and liked the look he was getting, but the mechanics weren’t “There is a democratization of lens-building right now. Several

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 EXPANDING THE VIEW FOR DUNE: PART TWO

companies are doing fantastic work in rehousing stills glass. In today’s

world, we’re also able to work with mounts that are not just PL or PV, but
LPL, L, E and M. That’s opening up quite an exciting world that goes far
beyond what we’ve been used to in the past. I feel these companies that
are rehousing, including Zero Optik in L.A., need to be encouraged and
supported to do more of it.”

Getting Closer
Another visual goal on Part Two was to move in just a little closer to
Chalamet. Whereas the actor was typically filmed with a 55mm or 75mm
lens on Part One, Fraser relied on 58mm, 85mm and 135mm this time
around. “We felt that would make it more intense, so I went just slightly
longer on the focal-length choices,” the cinematographer says.
Notes Villeneuve, “I learn from every movie I do, [and] when I fin-
ished Part One, I felt that we didn’t get close enough to Paul. I wanted to
be closer in on his eyes and feel the pressure that was on him. Getting
closer on this film was achieving more precision in our visual language.”
Fraser also maintained a fairly shallow depth of field, especially for
Chalamet’s scenes. “It was a balancing act, [because] I didn’t want to have
any focus buzzing, so I tried to give my focus puller, Jake Marcuson, a bit
more T-stop to allow a bit more flexibility and find that balance. Often,
though, I find stopping down too much can adversely affect the contrast,
and increase the resolution unfavorably, so balance was the key.”
The cinematographer was usually ND’ing down to stay fairly wide
open; Formatt Hitech Firecrest IRNDs were his preference, as they were
on Part One. (Firecrest is the trade name for Formatt’s proprietary coat-
ing technology.) “They’re really resilient, and we were putting them
through extreme desert conditions,” Fraser notes. “The color fidelity is
excellent, which is very important to me.”
PHOTO BY NIKO TAVERNISE.

Another filter he tapped was a variable IR filter, which allowed him to

vary the amount of blue and green hitting the sensor, to create the effect
of the eclipse on Arrakis. “The sunlight is unstable, and the Fremen use
that transition [of light] in order to ... attack at the darkest part of the
eclipse,” Villeneuve says.
Adds Fraser, “We tested creating that effect in the grade, but it just
didn’t work as well. I needed to use the filter to achieve a strong red tone
with hints of green and blue that is very different from the first film
Previous spread: Chani (Zendaya) stands strong, and disapprovingly,
among her fellow Fremen. Above: Greig Fraser, ASC, ACS operates
[and] justified by the eclipse.”
on a long shot in the sand dunes. Below: A triumphant Feyd-Rautha
Harkonnen (Austin Butler) after his birthday gladiatorial match under “Nightmarish Black-and-White”
the colorless sun of Giedi Prime. Frank Herbert’s novel Dune offers few details about the look of the Har-
konnen home planet, Giedi Prime. The filmmakers were excited to ex-
plore the possibilities. Villeneuve explains, “We know Giedi Prime is an
industrial planet with all links cut to the natural world; it is a plastic-like
planet, no longer one with any nature. We are shaped by our environ-
ments, and Greig and I talked about what would [suggest] the psyche
of the Harkonnens, how they see reality. We came up with the idea that
[their] sunlight has no color, and we both got very excited about that —
some kind of nightmarish black-and-white. Greig [suggested] shooting
in IR, and I loved it.”
This concept is highlighted in an arena battle dominated by socio-
pathic and power-hungry Feyd-Rautha (Austin Butler) — the youngest
nephew of Harkonnen leader Baron Vladimir Harkonnen (Stellan Skars-
gård) — who doesn’t hesitate to murder at the slightest whim. “We did
an initial test that Denis loved,” recalls Fraser. The idea — which incor-
porated a bit of science-fiction license regarding how people in the world
of Dune see light — “was that these very pale, white-skinned characters

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 AMERICAN CINEMATOGRAPHER THEASC.COM
PHOTOS BY NIKO TAVERNISE.

looked like that because there was no visible light from the sun on Giedi “Greig and I also wanted to challenge ourselves
Prime, only infrared. So, when characters move from indoor artificial and make sure we expanded our language and
light to outdoor natural light, they go from visible light into infrared
light and pure black-and-white.” brought a feeling of novelty.”
Fraser shot this material using the Alexa LF and Mini LF with the IR
cut filter removed from the sensor, which created a color IR image. He
then incorporated an 87C filter, which cuts all visible spectrum and al-
lows only IR to pass through. The resulting image was further desatu-
rated in post.
“It’s a very strange effect,” Villeneuve enthuses. “I had experimented a
little bit with IR in the past, but never for a full sequence, and [the image]
feels really alien. The thing about shooting this way is that you cannot go
back! There’s no bringing back a normal image once you cut the visible
light, but I love that! I love to commit as we shoot.”
Inevitably, the lack of visible light altered the appearance of many of
the costumes designed by Jacqueline West. “With fabrics in front of the
camera, the results could be very unpredictable, and she had to [change
the material of] many of the costumes specifically to work in IR, to keep
them solid black,” Fraser says.

“Sci-Fi Sh*t”
Fraser enjoys the creative flexibility inherent in science-fiction films. “It
allows you to back up your concepts [about] ‘stuff that looks cool’ and
make them make sense!” he says with a laugh. “Denis is a master of that
Top: The crew of Dune: Part Two braving the elements. Above, from
— he’ll say, ‘Okay, this is where we do some sci-fi sh*t.’ In sci-fi, we’re
left: First AD Toby Hefferman, director Denis Villeneuve, Fraser, key
not playing by the conventional rules of lighting and hardware; we can
grip Guy Micheletti (hidden by camera), A-camera/Steadicam operator
stretch things a bit and imagine a lot more.” Jason Ewart, special-effects set supervisor Bernd Rautenberg, 1st
As an example, he points to a sequence in which Gurney Halleck (Josh AC Jake Marcuson and electrician Hosam Jalboush set up a shot with
Brolin), the former military leader of House Atreides, leads Paul and actor Timothée Chalamet.
Chani to a hidden Atreides vault filled with nuclear weapons.
“We thought, ‘How should we light this ancient vault? Flashlights?
Built-in lights?’ That all seemed boring and conventional, and for us that
would be a letdown,” Fraser says. “What is the sci-fi version of turning
on the lights that isn’t gratuitous in a location where there’s no natural
light? We had established these ‘suspensor’ lights in Part One — floating
balls of light that move of their own volition — and decided to create a
portable variation of that.”
Paul opens the vault with a lock that recognizes his royal Atreides
heritage — and as Gurney leads them inside, he tosses a ball into the

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 EXPANDING THE VIEW FOR DUNE: PART TWO

Unreal for the Camera Team By Jay Holben

Epic Games’ Unreal Engine has become a key component of virtual we needed to shoot a particular shot between 9:03 and 9:43 a.m., for
production, previs and visual effects, but Fraser took the novel step example, to get the shadows right. Regular sun-tracking apps and a
of integrating the software into his department for planning on Part compass can give you a lot of information, but they’re really blunt tools
Two — and hiring a cinematography assistant, Tamás Papp, who was for fine precision. Unreal was an invaluable tool that allowed us to be as
skilled in the technology. efficient as possible.”
Papp — whose work “ended up being far more advanced than that Papp also built grip hardware in Unreal that helped Fraser deter-
of a cinematographer’s assistant,” Fraser says, and who is credit- mine well in advance exactly what gear he would need to create the
ed as virtual-cinematography technician on the film — used drone shadows and then share that information with the producers. “It’s one
scout footage and photographs of the locations to create precise 3D thing to ask for a condor or two for a sequence, but when you’re asking
environments in Unreal Engine. These renderings, combined with the for four construction cranes and more than 20 telehandlers, it becomes
game engine’s built-in sun-tracking feature, enabled Fraser to predict an eyebrow-raising discussion!” Fraser says. But with the Unreal simu-
not only exact sun positions months in advance of shooting, but also lation, the cinematographer could demonstrate that with 40'x40' solids
exact shadow positions. on each of four 150-ton construction cranes, and 20'x20' solids on 24
One notable use of Unreal is the sequence depicting the harvester individual telehandlers, he could create the exact shadows required to
attack: Paul, Chani (Zendaya) and the Fremen try to take out a group represent the enormous machine above them. “There wasn’t a question
of Harkonnen forces by attacking a massive spice-harvesting ma- of what we needed — one less crane, and we wouldn’t have been able
chine. The fight takes the actors from the blazing Arrakis sun into the to do what was planned,” he says. “It was really critical to justify the
shadows cast by the machine’s massive legs and out again. The har- massive expense and logistics required to get cranes out there.”
vester was a CG element — but on location, Fraser needed to create Further, the Unreal planning showed the exact configuration of each
its large-scale shadows, which the actors would run in and out of. crane and telehandler for every portion of the sequence, so the crew
“We scouted the desert in March, but we weren’t shooting until was well prepared to quickly reposition them as required. As a result,
October,” he explains. “The shadows are critical in the sequence, and the filmmakers were able to shoot the entire sequence in the natural
we had to schedule precisely. With Unreal, we could determine that light of the Jordanian and Abu Dhabi deserts.

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 AMERICAN CINEMATOGRAPHER THEASC.COM

“Typically, this kind of tool is within the purview of the visual-ef- Opposite: A screen capture from visualization material generated by
fects, previs or techvis departments, and we’re reliant on them to cre- Tamás Papp via Unreal Engine. The insets represent individual camera
ate the Unreal assets and to visualize the sequence — often without coverage, with sunlight angle and shadows appearing precisely for that
significant input from the cinematographer,” Fraser continues. “That exact date, time and geographic location. This page: A screen capture
takes the control out of our hands. By having a person using Unreal in from an Unreal previsualization showing the position of three large
my department, standing on set with me and the director and the AD, construction cranes with “fly swatter” solids at the ends, to measure
we were able to communicate more precisely, to plan more carefully, shadow position at a specific time of day.
and to optimize time and resources. If the director asked, ‘Are 100
extras enough for this scene?’ Tamás could quickly replicate 100 dig-
ital humans in the digital set he’d created and give us the answer in a
minute or two. That’s a really powerful tool!
“Producers need to understand how effective Unreal is and the
value of hiring a cinematography assistant who knows the technolo-
gy,” Fraser continues. “The more other departments are in sole control
of this tech, the more its use becomes skewed toward their needs,
and less toward ours. The beauty of Unreal is that we could — and
should — have Unreal experts in almost every department, each rep- “By having a person using Unreal in my
resenting their own department’s expertise. Unreal can be used effec-
tively by most departments from art through construction, including department, standing on set with me and
stunts and camera/lighting. One sole platform can share assets and the director and the AD, we were able to
help each department become more efficient.
“I personally recommend every young person starting out in the
communicate more precisely, to plan more
film biz learn Unreal — whether they’re interested in VFX or not.” carefully, and to optimize time and resources.”

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 EXPANDING THE VIEW FOR DUNE: PART TWO

Above: Shooting from a cramped position on set are (from left, by vault, where it floats in midair, projecting concentric ribbons of light
face) Marcuson, Micheletti, Fraser, 2nd AC Viktor Székely, Villeneuve, that illuminate their way.
script supervisor Sheila Waldron and key first assistant sound Tom Fraser recalls, “First, [production designer] Patrice [Vermette] created
Harrison. Below: Angling in on a Fremen ceremony. some conceptual art based on Denis’ and my ideas. I took his drawings
to Jamie Mills, my gaffer, and Guy Micheletti, my key grip, and said, ‘How
do we do this?’ After some trial and error [experimenting with] sources
that would create a super-sharp, 360-degree strip of light, Jamie found
old tungsten fog lamps for automobiles that worked beautifully. They’re
very focused.”
Mills and Micheletti rigged a piece of square steel with four rows of
lamps, one on each side of the steel, with five fog lamps on each side.
This created five very sharp strips of light that wrapped 360 degrees
around the tubular vault walls. This light rig was then attached to a
stripped-down Libra head on the end of a telescoping crane arm that
was later painted out in post. The combination allowed the light rig to
“float” down the vault hallway on the crane arm and then rotate on the
Libra head as the light enters the vault, revealing the atomic arsenal. (See
photo, opposite page.)

Signature Moments
One of the Fremen’s best defenses is that they live underground, which
keeps them safe from the oppressive sun and attacking forces. In one
sequence, Fremen leader Stilgard (Javier Bardem) brings Paul to the un-
derground Sietch to meet the Fremen elders.
“The Sietch lighting was a bit of a head-scratcher,” Fraser notes. “In
the book, the Sietch is lit by suspensor lights, but Denis and I agreed that
those could feel too pretty and not dangerous enough. The Sietch needed

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 PHOTOS BY NIKO TAVERNISE.

to feel hidden and dangerous, particularly when we first get in there. So,
we came up with the idea that we’re effectively lighting through slits in
the rock that allow sunlight in.”
An example of this can be seen in the Sietch Tabr Communal Dome
Room, a set built on Origo Stage 5 in Budapest, Hungary. Paul and his
mother eat a meal under the suspicious, judgmental eyes of many Fre-
men around them. The wall behind Paul is a checkerboard of square
openings of light. Each opening represents a long, diagonal shaft that
leads to the surface to allow light in.
“[Vermette’s] artwork was such that the light coming through those
shafts was quite sharp and edgy, and we just couldn’t, for the life of us,
get a sharp-enough light from our existing arsenal,” Fraser says. “I was
really staying with LED and away from tungsten, but the LEDs and even
Dinos weren’t getting us the light we needed. I called up Aputure and
said, ‘Whattaya got?’ — and they sent us more than 50 1200d Pro fix-
tures that did the job beautifully.”
Gaffer Mills created long, square shafts of white beadboard for each
of the checkerboard squares with one Aputure 1200d Pro fixture per
square. The result was 55 fixtures and tubes rigged up on box truss and
Top: Fraser captures Fremen reactions to the first moments of Paul’s
integrated with the set walls.
arrival in the Sietch (i.e., the Fremen’s living and ceremonial quarters).
On the three dimmer sides of the dome, which were not receiving di-
Above: A look at the custom lighting rig — mounted to a stripped-down
rect sunlight, Mills created vertically curved coves (like a candy cane) of Libra head and telescoping crane arm — that was used to achieve
10 12'x20' Ultra Bounce frames surrounding each of these three sides of the “floating” light source that throws concentric strips of light on the
the set. He then bounced two ArriMax 18Ks and 50 Creamsource Vortex8 curved walls of the nuclear-arsenal vault.
panels into each cove to create the necessary soft ambience.
For the main area inside the dome, the team rigged a 52' circular
soft box overhead, covering it with Magic Cloth. Inside the box were 32

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 EXPANDING THE VIEW FOR DUNE: PART TWO

PHOTO BY TAMÁS PAPP.

A Deeper Look at Dune: Part Two A look at the overhead soft-light rig of concentric circles used in
the Communal Dome Room of the Sietch. Many more images are
This spread represents an excerpt from “Afterfilming,” a record created available in the larger document available on our website.
by virtual-cinematography technician Tamás Papp for Greig Fraser,
ASC, ACS during production. A much-extended version of the docu-
ment is available at theasc.com/american-cinematographer.
These materials appear here and online with the permission of alone committed to film — and when I asked Tamás to photograph
the filmmakers and Warner Bros. The cinematographer offers this each setup, I also asked him to give love to the sets themselves in his
overview: photos. Sets often play second fiddle to the actors and cinematogra-
phy, but this document gives me a chance to experience them, explore
This document started as a collection of lighting plans, but also them and enjoy them in a different way. I’m very happy that now oth-
a formal record of all the sets from Dune: Part Two. You never really ers can admire them, too.
know when you’re going to have to go back and reshoot a set or do I do this kind of record-keeping as often as I can, and I know
pickups, even with a really disciplined director like Denis Villeneuve. many other cinematographers do, but it is seldom shared beyond the
There’s also the possibility you’ll need to shoot another movie on the production, and that’s a shame. It does take another person to create
same set — or on an identical rebuild — for a sequel or spinoff. So, such a document, but it is not just helpful for all the obvious practical
recording and photographing these sets from a technical standpoint reasons; it can also be enlightening and even inspiring. I’m excited to
was important. share this with American Cinematographer and give you all a deeper
One of the things I really love about this document is that it look at how we made these beautiful sets come to life.
spotlights Patrice Vermette’s sets. Patrice made some of the most
delicate and beautiful pieces of art that I’ve ever laid eyes on — let — Greig Fraser, ASC, ACS

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 AMERICAN CINEMATOGRAPHER THEASC.COM
LEFT PHOTO BY TAMÁS PAPP.

Left: A view behind the Dome wall. Multiple Aputure 1200d Pro
fixtures were aimed into beadboard channels to produce shafts of
light to shine through the checkerboard openings in the wall, as
seen on the opposite page. Right: Schematics of this lighting rig.
“This document gives me a chance to
View the extended “Afterfilming” experience [the sets], explore them and enjoy
document here: them in a different way. I’m very happy that now
others can admire them, too.”

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 EXPANDING THE VIEW FOR DUNE: PART TWO

TOP PHOTO BY NIKO TAVERNISE.

Vortex4s. Concentric rings of black teasers, each about 8' in height, were “I felt deep in my bones that the end of the film
spaced about every 6' along the diameter, getting progressively small-
needed to have that sunrise quality, that the
er in circumference toward the center. The result is a bulls-eye-shaped
overhead soft source. (See pages 24-25.) audience needed to connect with Chani in the
Fraser used these concentric rings to control the light in specific areas same light that she connected to Paul.”
by turning fixtures on or off, depending on the location and focal length
of the shot. earlier in the film, when Chani and Paul connect romantically.
The climactic duel between Paul and Feyd-Rautha takes place in “I felt deep in my bones that the end of the film needed to have that
the Arrakeen Residency War Room, which was constructed on Stage 6 sunrise quality, that the audience needed to connect with Chani in the
at Origo. One wall of the room is a huge, open window to the Arrakis same light that she connected to Paul,” Fraser says. “That romantic scene
sky, and the sun is rising as the battle ensues. This sunrise mirrors one at sunrise really helps evoke the beautiful feelings between them — and
this final battle needed to be a mirror of that. As Paul turns his back on
Chani to follow his destiny, it would come full circle that the fiery look
of heartbreak in her eyes was in the same light and feeling as when she
fell for him.”
To create this second significant sunrise, Mills and his team built a
massive truss structure behind a stretch of bleached muslin 60' tall by
170' wide. Behind the muslin was a grid of 152 EclPanel TWC Prolight
Eclipse fixtures and a rig of 64 Vortex8s attached to form a single source
(dubbed the “Vortex512”); these were then pixel-mapped to create a
playback of a slowly rising ball of sun in the War Room window. (See
photos, opposite page.)
Throughout the production of the film, Fraser says, “We would often
have multiple units running simultaneously, but all being piped back
into the tent for Denis and me to oversee. The intricacy of Paul’s [sand-
Top: The climactic fight between Paul and Feyd-Rautha in the War
worm] riding work, all the way to the sequences with [Paul’s unborn sis-
Room on Arrakis. Bottom: Paul and Chani find a deep connection
ter] Alia in utero, meant we needed lots of time to get these shots exactly
during an Arrakis sunrise.
right.”

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 AMERICAN CINEMATOGRAPHER THEASC.COM

Tech Specs: 1.43:1, 1.90:1, 2.39:1

Cameras | Arri Rental Alexa 65; Arri Alexa LF, Alexa Mini LF
Lenses | Arri Rental Moviecam (Olympus OM), Prime DNA; IronGlass (Helios,
Jupiter, Mir); Optica Elite; Zero Optik Rokkor
TOP PHOTOS BY TAMÁS PAPP. BOTTOM PHOTO BY NIKO TAVERNISE.

A Powerful Relationship
Reflecting on his epic collaboration with Fraser, Villeneuve says, “When I
decided to make Dune, the only cinematographer I thought of was Greig.
It’s about choosing the right person for the right project, and his use of
natural light is so very beautiful. I wanted the movie to [avoid] more tra-
ditional sci-fi tropes and get as close to nature as possible. I also wanted
someone very agile with the camera, who was willing to be close to the
body of the camera, and I’m very in love with the work Greig has done.
“The cinematographer-director relationship is a very powerful and
intimate one,” he adds. “The cinematographer becomes your brother-in-
arms, the one in the trenches with you. You evolve with them; they be-
come very close friends. Greig is a friend and a ‘psychiatrist’ and a close
ally. He is also a master at multi-tasking — he can be conversing with
another unit’s DP, with production, taking pictures on set, and discuss-
Top: A view of the lighting for the Arrakis War Room (left), featuring a
ing with me all at the same time, and suddenly, we go for a take, and he
sunrise created by a collection of 64 Creamsource Vortex8 fixtures —
calms in the zone and is so focused! I learned so much from him. I’m so
all linked together, pixel mapped and dubbed the “Vortex512” (right).
glad we did these movies together.” Both photos appear in the Dune: Part Two “Afterfilming” document. (See
pages 24-25.) Bottom: Fraser on location.

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 Live Crisis: September 5
Cinematographer Markus Förderer, ASC, BVK and
director Tim Fehlbaum re-examine an infamous day
in history with urgency and period authenticity.
By Phil Rhodes

S
et mainly in the pressure-cooker confines of an ABC was a hybrid of film and analog video. “We couldn’t always get the
TV broadcast facility covering one chaotic day of theoriginal footage or the rights to use it,” recalls Förderer. “We re-created
1972 Munich Olympics, the historical drama Septem- around two-thirds. For some, we didn’t have the right angles, or not all
ber 5 called for an approach that would impress an of the material existed from the live-broadcast camera angle.” Helpfully,
ever-tightening sense of space and time firmly upon significant parts of the Olympic Village in Munich have been preserved
the viewer. As cinematographer Markus Förderer, as a protected historic site. “We shot in the actual Olympic pool for half
ASC, BVK recalls, director Tim Fehlbaum “wanted the a day, and we had one day on Connollystraße, which is where the Israeli
monitors in the control room acting as a window to the world.” athletes were housed — as well as several days in and around the Olym-
The broadcast at the film’s center begins as a normal assignment butpic Village.”
is transformed by a terrorist attack on Israel’s Olympic team. As these The production’s sets, built onstage at Bavaria Studios, created chal-
tragic events unfold, the ABC Sports team finds itself conducting mara- lenges of their own. “The media compound was right next to the Olym-
thon news coverage. Fehlbaum did not immediately decide on the film- pic Village — they could open the door and see it — but that doesn’t exist
makers’ taut treatment of this material, however. “I was attached to theanymore,” says Förderer. “We knew we wanted to shoot long takes, con-
project for a long time,” says Förderer, “and there were versions which necting the geography between the control room and the outside world.
showed more of the outside world. But this story has been told many We had to plan for seamless location splits whenever we see the outside
times. Tim’s angle was to show the role of the media — what they knew, world. We also designed the hallways and the control room so we would
what they didn’t know, and their responsibility. My biggest challenge not need to pull studio walls for camera or lighting, but rather stay inside
and embrace the claustrophobic nature of the environment.”
was to visually keep [the setting] fresh, to keep that sense of tension that
goes up and up.” The sets facilitated some conveniences, too. “The hallway of our set
was a bit wider than the hallway of the actual broadcast center, and we
Sights, and Sites, Revisited knew we had so many scenes to do. Walk-and-talks, in particular, would
September 5 would necessarily depict period-accurate environments and be very difficult. We’d have to pull walls, and we wanted to treat it as a
re-create footage from a period when television coverage of live events real location.”

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 Following the Story Formats and Lenses
The filmmakers’ inclination toward a vérité style arose in part from Fehl- Targeting a historical look meant considering other classic techniques,
baum’s documentary background. “Tim used to film his own documen- too. “It was a consideration whether we should shoot the whole thing
taries and short films,” notes Förderer. “We wanted to create the feeling on film,” Förderer says. “We shot some moments on film, but the main
that the camera operators don’t know any more than the characters, and consideration in going digital was not just flexibility and speed, but the
we follow the story wherever it takes us. It needed this feeling of sponta- ability to capture low-light scenes lit predominantly by the TV monitors.”
neity. We always did one pass [where] we would cover the entire scene in The filmmakers captured in 16mm to match period news footage,
a oner, [and] the actors would just do what they wanted to do. With two shooting with an Arriflex 416 using Kodak’s Vision3 250D 7207, while
cameras — myself operating A cam and Stefan Sosna as B-cam/Stea- an Arricam LT and 500T 5219 were used for look development based
dicam operator — we were a great tag team. We always planned to cut on 35mm material. The bulk of the story, however, was shot on a Red
into the oner, but capturing scenes in that way, the shots created a high V-Raptor 8K VV camera with Xelmus Apollo anamorphics and vintage
energy, allowing us to tag important moments in a certain nonchalant Voigtländer Zoomar and Kilfitt Makro-Kilar lenses for the 16mm footage.
way instead of using traditional coverage and breaking up the scene into “We used the Kilfitt and Zoomar mainly when you see hands doing
individual ‘composed’ shots.” stuff with machines — very specific inserts on microphones, CRT mon-
With all that in mind, Förderer assembled a varied equipment pack- itors and switches inside the control room,” Förderer says. The Kilfitt
age. “A huge influence for me was the American Cinematographer special Makro-Kilar, he adds, “is such a beautiful lens, and you can focus su-
edition that covered the filming of those Olympics [AC Nov. ’72],” he says. per-close without details showing overly sharp, high-contrast edges.”
“Technologically, that event was such a milestone. It was the first time The Apollo anamorphics, a recent design from Ukraine, created a look
there had ever been such a live broadcast, and they invited film crews Förderer thinks of as “timeless. We tested real vintage zooms, and they
from all over the world to shoot documentaries about the Olympics in tend to be heavy, with stiff mechanics. The real world came into play:
artistic ways. AC described in detail what lenses and gear they used, and We had 28 days, and I wanted to give the actors and director as much
we tested lenses from the period and found some that are really unique. time as we could.” To that end, he also used DZO Pictor spherical zooms,
One was built in Munich by a company that doesn’t exist anymore: the “fairly modern, clean zoom lenses [that were] ‘detuned’ to match the
36-82mm Voigtländer Zoomar, made in the 1960s. We used the original anamorphics and vintage lenses used to capture the original ’72 Olym-
— not the rehoused version, which proved to be too heavy for our hand- pics. The detuning consisted of shifting elements inside the zoom and
held style — but with PL conversion. I used it for several key moments. adding deliberately fine dust particles in between lens elements, and in
“In my research with that ’72 AC issue, I came across several versions some cases where this was not enough, I put my fingerprints on part of
of long-lens Zoomar lenses,” he continues. “The 36-82mm was initial- the edges of the lenses — a low-tech tactic that helps to soften the image
ly designed for stills photography, but offered a great match with our and create stronger internal lens flaring. I’m very hands-on in this pro-
large-sensor V-Raptor cameras. In our film’s opening sequence, during cess, with great support from Arri Rental in Munich.”
the swimming race, we used this lens to soften the texture of the analog
CRT monitors. Many of the inserts in the film lab were also shot on this Playing It Cool
lens, to give that period texture when showing equipment used from In crafting September 5’s color palette, Förderer and Fehlbaum were keen
that time. to avoid the warm, brown tone prevalent in much of 1970s cinema. “We
MARKUS FÖRDERER, ASC, BVK. ALL IMAGES COURTESY OF PARAMOUNT PICTURES.
UNIT STILLS BY KENNETH MACDONALD, JÜRGEN OLCZYK AND

Opposite: The 1972 Olympics broadcast team monitors

the Games. This page: Bystanders in Munich attempt to
get a glimpse of the Israeli hostages as they’re flown out
of the Olympic Village by their captors.

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 watched many films from the ’70s with this brown,” the cinematogra- Cinematographer Markus Förderer, ASC, BVK; key grip Jürgen Zarda
pher says. “I didn’t want to go for this warm, monochromatic look. We (left); and the crew set up a shot with a DJI Ronin 4D, which enabled
didn’t want this to feel like a film from the ’70s — it should feel immedi- high-angle coverage in the confined space of the control-room set.
ate. It’s kind of a dark story, and that’s why the palette is sometimes very
cool. I wanted to feel like viewers would buy into the period by following have individual pixels, we could make the ends flicker. In a walk-and-
the characters.” The film’s palette was crafted “mainly through lighting talk through hallways, there’s some life going on: For example, when
— using different color temperatures motivated by the fluorescent tubes Peter Sarsgaard’s character is running urgently through the corridor
used in the corridors and office rooms,” Förderer notes. “We also built with bad news to share, fluorescent tubes in the hallway flicker and run
our show to closely match analog film, but with a hybrid approach. I a subtle chase to give the shots a more dynamic feel and urgency.
was really fascinated by the look of footage from a time in which most “If you look closely in the control room, when something intense
material was shot on film and then transferred to analog videotape via happens, the flickering changes frequency,” he continues. “It does
telecine.” something to your heart rate, makes you feel unease or creates a sense
of nervousness. On set, sometimes people outside of our camera and
Flickering Intensity lighting crew who were watching the lighting with fresh eyes were a bit
Förderer took care to bring visual variety to the story’s limited loca- surprised — ‘Why is the light flickering?’ — and I explained that it was
tions. “There are different corridors and different rooms, and because a storytelling tool.
everything takes place in this compound, I tried to give them different “I had a fantastic lighting crew,” he adds. “My wife, Julie, is a board
looks. The main corridor is cooler, and the transmission room, where operator, and we worked in preproduction to program different flicker
the German translator is working, is a technical room where no visitor frequencies and pulsating light effects. I could say, ‘This is a quiet scene,’
would go, so we pretended they’d have these cheaper, greenish tubes and use this certain amplitude. I think audiences notice it on a subcon-
[in there]. So, as characters walk from one room to another, you feel the scious level.”
light changing — just subconsciously.” For one scene, in which the tension in the control room is especially
This required careful simulation of period fluorescent tubes with high as a masked hostage-taker is spotted by the news team for the first
modern alternatives. “I went with Astera tubes, which we fit into period time, “the ambience light in the room is flickering at a higher frequency,”
housings so I could control the color and flicker,” Förderer says. “Real says Förderer. “Watching it really gets your heart rate up — similar to
fluorescent tubes, after they’ve been used for a couple of years, start what music does with high-frequency beats. In the control room, the
flickering at the ends. It was fun to re-create; because the Astera tubes flicker is motivated by the flicker of the analog CRT monitors. We built a
row of SkyPanels off frame right above the TV wall to project light into
the room at these different frequencies. We found that 25hz and 50hz
“We designed the hallways and the control worked great; anything slower becomes distracting and anything flick-
room so we would not need to pull studio walls ering faster becomes invisible to the eye.”
for camera or lighting, but rather stay inside Another feature of the 1970s also served the story: “We studied a lot
of the old photos, and people were smoking like crazy in the control
and embrace the claustrophobic nature of the room back then! That was our creative justification to use atmosphere,
environment.” and we hazed the entire set in the morning to a very slight level. A clean

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 room just didn’t feel right — too crisp, too sharp.” A Model Shoot
Monitoring for September 5 was modeled after a show LUT Förderer With the events of the film set more than 50 years ago, some special
created with colorist and frequent collaborator Florian Martin. The cin- effects and visual effects were inevitable. Again, Förderer prioritized a
ematographer’s approach was “based on film emulation,” he says. “We classic approach. A pivotal scene toward the end of the film, in which
did several tests shooting 35mm and Red side by side and built an em- two helicopters arrive at the Olympic Village to fly the Israeli hostag-
ulation. Every time I start any project, we create a specific show LUT. es out to an airfield, incorporated one shot of a CG helicopter, but was
When you shoot film and you’re shooting CRT monitors and fluorescent otherwise composed of shots of a miniature that was flown around the
tubes, how the film reacts is sometimes crazy — maybe not good — but
once in a while something magical happens, and we tried to re-create
that in the show LUT.”
Förderer notes that the show LUT was “inspired by a film look and
references of old telecine — film to analog tape. We created a LUT that
I could eventually load into our Red cameras to light and expose appro-
priately. The final look of the film is very close to what we shot on the
day. During principal photography, I also shot 16mm for each scene at
each location, which served as a reference as well. With the simulated
fluorescent light and CRT monitors, some characteristics on film looked
great, and we took inspiration from that. Other scenes could simply not
hold up in the low-light conditions; this was the benefit of shooting
mainly on the V-Raptor while emulating the color response.” He adds
that to emulate a 1970s fluorescent-tube look in the Asteras, the crew
“pushed green into some [fixtures], but for different rooms, we used dif-
ferent color temperatures — like cool or warm fluorescent, and some-
times briefly flickering a bit of green into [a room] to give life to what Top: Overhead lighting fixtures are deployed for a studio-interior
could otherwise become a sterile, studio-lit environment. shoot. Above: Förderer on location.

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 Olympic Village location. “I’m obsessed with filming miniatures when-
ever we can, especially given the amount of money you’d have to spend
on a CG helicopter to make it look good,” says Förderer. “We found this
plane enthusiast who built a miniature based on the German border-po-
lice helicopter, and we had him come out for a couple of days. He flew it,
and I filmed it with my handheld camera in a dynamic way with zooms
and whip pans that usually are not possible with CG shots. If you find
the right lenses, focal lengths, angles and frame rates, it feels bigger —
especially in slight slow motion based on the scale of the model. For mo-
ments in which the helicopter’s arrival at the Village appears on the TV
in the control-room, I shot spherical, to mimic the live camera, using a
Soligor 37-105mm f/3.5 zoom lens. And I shot the miniature at 48 and 60
frames per second, to make it appear larger and move like it had mass.”

Period Detail
Filling the working environment of the ABC facility with period-cor-
rect TV-production equipment required something of a scavenger hunt.
“Museums from all over Europe provided the tape machines, mixers and
Top: ABC broadcasters Roone Arledge (Peter Sarsgaard, left),
monitors, and we consulted with experts from those museums,” Förder-
Marvin Bader (Ben Chaplin, center) and Geoffrey Mason (John
er says. “We sometimes worked with hand doubles on these machines,
Magaro) navigate the intensifying hostage situation. Above:
Camera operator Stefan Sosna sets up a shot. having former TV engineers operate for inserts of the tape machine and
Steenbeck, so the operation would look as authentic as possible.”
Helping viewers understand plot-relevant aspects of film-handling
“I didn’t want to go for this warm, also required attention. “[The ABC crew] sends out a team to film at the
monochromatic look. We didn’t want this to airport, and then it takes time to develop [the footage]. They had an in-
house lab — I think it was shared between TV stations at the Olympic
feel like a film from the ’70s — it should feel Village — and then they could put the footage in the telecine and broad-
immediate. It’s kind of a dark story, and that’s cast it. We tried to re-create that ‘Steenbeck’ look, [derived from the
why the palette is sometimes very cool. I Steenbeck film-editing console, which has an analog viewing screen],
with a different type of flicker so the audience would understand that it’s
wanted to feel like viewers would buy into the not a TV, which is important.”
period by following the characters.” Inserts of film-processing equipment were shot at FotoKem, which

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 AMERICAN CINEMATOGRAPHER THEASC.COM

Tech Specs: 2.39:1

Cameras | Red V-Raptor 8K VV, Arriflex 416
Lenses | Xelmus Apollo anamorphic, Voigtländer Zoomar, DZO Pictor, Kilfitt Makro-Kilar
Film Stocks | Kodak Vision3 250D 7207

granted the production special permission to shoot in film-handling German interpreter Marianne Gebhardt (Leonie Benesch) provides
areas. “I filmed in the darkroom with a hand double as well — it had live updates on the developing crisis.
to be a lab specialist who you feel does this kind of work every day. The
challenge was to film in a darkroom that is technically pitch black! They
use this dark-yellow lamp in some areas. It’s very dim, so I emulated that I think that’s the beauty of grain and film, that it is constantly changing,
color with a [Rosco] DMG Dash, a small, portable LED light that we could depending on how you expose. I’m a big fan of what Kathryn Bigelow
attach with magnets. It was a very tight space.” and Barry Ackroyd [BSC] did in 16mm on The Hurt Locker [AC July ’09]. It
feels very rough and real — one shot might be grainy, one a bit darker.”
Grading and Grain
In the final grade, Förderer embraced inconsistencies that might have Broadcasting a Long Shadow
been considered faults on a different production. “The direction I gave Reflecting on the contemporary resonance of the film’s period story,
to the colorist was that we didn’t have DI [in the ’70s], and you’d see a Förderer stresses how the nascent form of broadcast journalism depict-
reel change from one to the next. I kept saying to the colorist, ‘Every shot ed in September 5 is now globally influential in a way that many take for
sometimes has its own beauty, and if you match two shots color- and granted. “At the end of the film, there’s a title card about what a massive
contrast-wise too much, it loses its magic.’ If it made sense in the story, impact [the ABC Olympics broadcast] had on millions of people — more
we kept certain inconsistencies.” than that of the first moon landing. For the first time, we were dealing
Similarly, grain was applied to the digital footage with a sensitivity to with that kind of ‘real-time’ coverage — which, today, anyone can do
the needs of each scene. “It did react differently depending how much with Instagram Live. It’s important to learn from that earlier time, to
atmosphere there was,” Förderer points out. “We deliberately didn’t mi- better understand what seems so natural today.”
cromanage the grain. We found one setting that matched film, and there
were two moments where we went a bit heavier, to help with a VFX shot.

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 The Intricate Dance of
Emilia Pérez
Cinematographer Paul Guilhaume, AFC helps director
Jacques Audiard bring a musical crime epic to life.

T
By Tara Jenkins

he tale of a criminal assuming a new identity to elude Guilhaume says. “Once you understand that, you can understand most
capture and create a fresh life has been told in countless of his work.”
ways, but never with the spin that Paul Guilhaume, AFC As the story begins, hardened drug cartel leader Juan “Manitas” Del
and director Jacques Audiard bring to Emilia Pérez. The Monte (Karla Sofía Gascón), kidnaps disillusioned Mexico City lawyer
filmmakers designed the story as a sweeping musical Rita Moro Castro (Zoe Saldaña) and asks for her assistance in finding
production — with complex choreography performed gender-affirmative surgery. At first assuming it’s a ploy to escape the
by the actors, the camera and lighting crew, and even justice system, Rita slowly begins to realize that the cartel leader not
the sets themselves. only wants a new life separate from a bloody past, but he’s sincere in
“One thing I learned from Jacques from our previous collaborations his desire to become “Emilia.” Encouraged by the vast sums of money
was that, for him, mise en scène and aesthetics are about movement,” offered to her, Rita helps the crime boss transition and flee her life in

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 UNIT PHOTOGRAPHY BY SHANNA BESSON. ALL IMAGES COURTESY OF NETFLIX,
PAGE 114, WHY NOT PRODUCTIONS, PATHÉ FILMS AND FRANCE 2 CINÉMA.

Mexico, leaving behind a wife, Jessi (Selena Gomez), and two children for Guilhaume had previously worked with Audiard on the TV series The
new circumstances that include a female lover, Epifanía (Adriana Paz). Bureau and the feature Paris, 13th District. He connected with American
The film follows Emilia, Rita and Jessi as their lives remain inexorably Cinematographer to discuss the meticulous preproduction planning and
intertwined, and the narrative shifts in tone — from humorous to melo- intricate lighting and camerawork involved in creating the lion’s share
dramatic, brutal to sentimental — as its characters embark on a Shake- of the Mexico of Emilia Pérez in the French capital.
spearean journey of mistaken identities and revenge.
Set primarily in Mexico, Emilia Pérez was shot mostly on stage in American Cinematographer: What did you discuss during your initial
Paris, employing bluescreens to create the stylized world. The picture conversations with Jacques Audiard about this film?
won the Jury Prize at this year’s Cannes Film Festival, and its female Paul Guilhaume, AFC: When we met for the first time to talk about
ensemble earned the Best Actress award. Emilia Pérez, Jacques was not sure if it was going to be an opera shot on

Opposite: Karla Sofia Gascón

plays a dual role as drug-cartel
kingpin Juan “Manitas” Del
Monte, who transitions to a life as
Emilia Pérez. This page, above:
After assuming this new identity,
the crime lord leaves wife Jessi
(Selena Gomez) and two sons
behind. Right: Helping to facilitate
Del Monte’s life change is lawyer
Rita Moro Castro (Zoe Saldaña),
shown here performing a fantasy
dance sequence during a
fundraising gala.

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 THE INTRICATE DANCE OF EMILIA PÉREZ

a stage, or a film without any music shot on location in Mexico in a very

rough way. We were talking about Amores perros as inspiration, and the
project was still building itself. That was four years ago. There was a long
process of working together to find the direction of the film. Then, one
day, the two projects melded into one concept.
We did several location scouts in Mexico, where we were looking at
how to do the opera style on location. The last scout we had there was
in June 2022, and then, at the end of the summer, Jacques sent his closer
collaborators an email explaining that he feared we might lose all the
operatic form and touch. He didn’t want the movie — with few excep-
tions, including one part at the very end — to feel too ‘real’ or like a
documentary. So, we needed to do the film primarily in a studio. Parts
would still be shot in Mexico, but much more — probably 75 percent
— would be shot on stage. There was always an extensive set built for
the foreground, and it would be filled out via visual effects to create the
entire setting.
Once you settled on the form the story would take, how did you hone
the aesthetic of the musical sequences?
During prep, we aimed to have one strong lighting idea per musical
scene. Those would be the moments where we could distance ourselves
from realism.
Working in the studio allowed us to sometimes ‘switch off the world’
and keep the lights on the characters, or to have moving cameras work-
ing in sync with the lighting, which allowed us to maintain the right
direction with the light. The studio removed all the physical barriers
we would have had if we’d been shooting those sequences on location.
It could be a lighting situation that evolves, like the sun rising in Epi-
fanía’s kitchen — for which we used a 10K tungsten Fresnel on a dim-
mer, placed on a crane outside the window — or a sudden change, as in
the London restaurant when Rita suddenly realizes who the woman is
that she’s talking with. Her fear kicks in, all of the restaurant’s lights fade
out, and the background sounds become muted. Here, again, the practi-
cals were controlled remotely. On a certain line, gaffer Thomas Garreau
would switch them all off and switch on a single Dedolight DLED that
would bounce off the white tablecloth and isolate them in their bubble.
For Selena’s musical set piece ‘Bienvenida,’ we created two spaces side
by side: One is her room, realistically lit — with a ‘sky’ made with a soft
box of SkyPanels, and a ‘sun’ made with two Dinos — and the other is a
black studio with toplight from a single S60 with a chimera. In between
the two spaces, there is a strong laser that creates a ‘wall.’ As she runs
from one space to the other, the ‘daylight setup’ goes on and off and the
texture of the sound changes in sync.
Did you shoot with multiple cameras to help create this sense of
movement?
The maximum number of cameras we had working on set, at any time,
was two. Camera duties were shared with Steadicam operator Sacha Na-
ceri. We always had that second camera ready on set, which created a
In one of the film’s major set pieces, Rita dances her way real element of freedom, because when something wasn’t working out,
through a Mexican market. Shown below the photo is a page we could find a way to change the setup — with an improvised Steadi-
from cinematographer Paul Guilhaume, AFC’s production cam movement, for example. But in the end, the two cameras were used
journal, outlining his approach to the sequence. simultaneously almost exclusively for shot/reverse situations, and even
then, we were shooting from the same angle with two different lenses to
maintain some control over the light’s structure.
In most situations, we stuck to using one camera at a time. For exam-
ple, the first big musical number takes place at night in a Mexican mar-
ket that we had re-created in the studio. The pavement was built, some
trees were imported, and some shops were built in the foreground. We

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 AMERICAN CINEMATOGRAPHER THEASC.COM

knew we wanted to be in that world, so we needed to walk through the

market with the character, which reduced the possibilities for a second
camera.
The market sequence opens the film and introduces Zoe Saldaña’s
character with a musical number. Can you explain your camera and
lighting choices for that part of the shoot?
That sequence involves a dance sequence where the show’s Stea-
dicam operator, Sacha, was constantly moving with Zoe through the
market. The sequence builds around her, but it’s intercut with some
handheld shots that have a much more documentary vibe as she’s wri-
ting her boss’ plea while seated at a market stall. This second setup nee-
ded to feel absolutely real, like it was stolen from reality.
For the dance, the lights were constantly changing as the camera and
elements of the set around Zoe were moving and turning in 360 degrees.
All of the market stalls were built on wheels to be movable, and gaffer
Thomas Garreau equipped every single shop or cart with practical light-
bulbs or Astera tubes rigged by the art department, as well as onboard
batteries and DMX receivers — all controlled from a GrandMa lighting Guilhaume (left) with gaffer Thomas Garreau.
desk. Those practicals were switched on and off as the camera turned so
they would not affect the shape of the light. The idea was to avoid bring-
ing any overhead cinema lights into the equation. This system allowed
us to make the lights all around the market strobe during the chorus,
and we could completely switch them off at the end of the song, when
Zoe sits down.
As the cinematographer, I found it very scary to know that I was in
a huge studio, with 150 extras or more, and that I only could play with
what we’d integrated into the set. There were not many options to make
things brighter. A small LED light in a boomed [paper lantern] wrapped
in black silk gave us a little something on Zoe’s face when needed. We
wanted to make it feel as if the camera was thrown inside the market, so
we couldn’t play it too safe.
What went into choreographing a sequence like that during prep?
We worked on that for more than a year in total, and Zoe started
learning the choreography way before we shot, working with the cho-
reographer, Damien Jalet. For each actress, Damien helped to determine
what types of movements everyone was comfortable with. Zoe is an in-
credible performer and dancer, so a lot was possible in her scenes. The
choreography kept evolving, and we were receiving videos from Jalet up-
dating us on the choreography.
Then, before we shot, we had a full week of rehearsals with 50 danc-
ers on the stage. We used iPhones on DJI stabilizers to find the Steadi-
cam movements, and those shots were sent to editor Juliette Welfling,
who sent back edit tests. Each day, we were reworking the blocking. On
the day of the shoot, the new element was the background actors; the
number of people suddenly went from 50 to 250!
What camera and lenses were you shooting on?
The very first camera tests we did were with anamorphic lenses. At
that time, we still thought the whole film would be shot against black
backgrounds, since we were imagining an opera-style abstraction. The
idea was that the world would ‘fade to black,’ but that in the immediate
environment of the actors, all the elements had to be almost overly rea-
listic. So, we brought a couple of actors onto a black stage with only the
pavement of the street built, cars with lights on, a self-lit phone booth
and a market stall with fluorescent fixtures, and we blocked the kidnap-
ping scene that happens at the beginning of the film. Anamorphic was
meant to bring texture to the only backgrounds you would then have:
lights and flares.

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 Guilhaume (pictured here) says that
for director Jacques Audiard (below,
in baseball cap), “mise en scène and
aesthetics are about movement.”

The tests were looking good, but the absence of backgrounds, in ana- Jacques also wanted a simpler image.
morphic, was overshadowing the story itself. Ultimately, we decided to In combining this desire of simplification with the necessity of a
reduce the level of abstraction in most of the scenes to keep these ‘dark high-ISO sensor, we opted to use a Tribe7 Blackwing T-tuned lens paired
world’ moments as something that would suddenly happen during the with the Sony Venice. Jacques liked the look of the second round of tests
story — which, given the contrast with the more realistic moments, a lot. Those lenses bring something poetic to the image without the ef-
would have much more impact on the drama. Therefore, we planned fect being overly visible. They also create an unconventional blue/yellow
to shoot some scenes in Mexico, add a ton of bluescreens for the studio fringing on the practical lights, which we loved.
segments, work with VFX extensions on exterior locations, and so forth. Given our lens choice, the sensitivity of the Venice was welcome for

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 budgetary reasons: Our lighting was really extensive, especially for day
scenes where we had to create the whole sky in the studio. One of the
scenes takes place amid a daytime snowstorm in Switzerland, shot on a
white set with cellulose snow and a ‘sky’ created with 70 SkyPanel S60s
plus a bunch of S360s all lighting the set through an 80'x40' Full Grid
Cloth. On our schedule, we often had to have three sets equipped at the
same time, so the costs would have reached crazy levels with a less sen-
sitive setup. In terms of image texture, micro-contrasts, and subtle work
on the halation, I had seen what the colorist Arthur Paux was able to do
with Venice footage from our work together on previous projects, so I
knew we could aim for a look that was not overly sharp.
You used bluescreen throughout the production to create the back-
grounds of the spaces the characters inhabit. Was this the case even for
exterior sets, like the house in the desert where the climactic sequence
takes place?
We shot the climactic scenes at a quarry, which we then turned into
a desert that resembled a place we actually had scouted the year before
in Mexico. All of those backgrounds were added in post and generated
in 3D by MPC’s VFX team, led by visual-effects supervisor Cédric Fayolle.
To light the foreground and create the ‘moon,’ we had to bring in a mas-
sive 230' crane, because we realized that the wind at the location meant
balloons were not an option. The crane carried a square truss structure
equipped with 16 Vortex8s, and on each of its four corners the crew
mounted a single Ayrton Domino, which is a moving LED head with
blades and focus that allowed us to precisely light distant backgrounds
from the truss position.
The car scene at the end of the film was shot against bluescreen with
the same technique, but a few other bluescreen sequences in the film,
such as those in Epifanía’s home, were replaced by plates we shot on
location. I think the results really speak to the work of the effects team,
which did an excellent job. The idea was always to determine how much
we didn’t have to build, and how we could play with what we had.
What was it like shooting a musical for the first time? Was it a radical
departure from your previous work?
I started my career with fiction and documentary work, and later dis-
covered the music-video world, where I had worked on projects with our
Steadicam operator, Sacha. Emilia Pérez was actually only his second
feature. I knew that bringing in Sacha — who really came from that mu-
sic-video world, and who had great experience shooting dance sequenc-
es — would be an asset. I think he did an amazing job on Zoe’s other big
musical set piece: the fundraising gala.
The fundraising sequence is another big musical number with nu-
merous extras where you see the studio in 360 degrees. How did you
use Steadicam and lighting to achieve that?
We cut the dance sequence into eight consecutive takes and then
added takes to be able to lend rhythm to the edit. The choreography was
previously rehearsed, but the découpage was still partial at the begin- Gomez, as Jessi, performs the dance number “Bienvenida,”
ning of the two days it took us to shoot the gala. Sacha is able to do these which moves between her bedroom and a dark, toplit studio
crazy movements with his Steadicam moving fast with a short lens — a space. Guilhaume’s corresponding journal page details the look
20.7 Blackwing — around the actor with brutal stops [in the action]. It of the two areas and the lighting tools he employed.
almost looks like motion control. He was able to stop just a couple of
inches from Zoe’s head and then turn the other way, look to the ceiling
and do a 360 before coming back to her. Obviously, there were so many
possibilities that it was almost too much. We had to stay true to the story,
but the approach gave us many options.
We also worked with a desk-operator team — Alien le Studio — that
came from the event-lighting world to assist on all of the big musical se-
quences: the market scene, both of Selena’s big songs, and a set piece at a

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 THE INTRICATE DANCE OF EMILIA PÉREZ

Bangkok clinic. For the fundraising gala, we used the RoboSpot system, big sets before we built them. They imported the art department’s Sket-
a live-show technology from Robe. Our setup comprised a night-vision chUp 3D models in [Syncronorm’s] Depence 2 software. It doesn’t offer
camera shooting the space from the ceiling, and that was connected to ray-tracing capabilities, but you can do pretty much everything else with
four Robe Forte moving heads mounted in each corner of the ceiling. A it. For some sequences, such as the courtroom scene, we knew we didn’t
lighting operator stood by the desk operator with a targeting system and have the budget to build the ceiling. Instead, we developed the idea that
monitor that kept Zoe in the crosshairs of the four heads at all times. the ceiling would only exist as light. Using Depence, we created several
The desk operator could then control each light, including its intensity, different options of shapes created with the lighting fixtures and saw
focus, zoom and color. how those would react on the wide shots. We could see it all ahead of
Alien le Studio also created previsualizations for the lighting of the time and show the director what we would get, which is a huge gain.

Above: During a
dinner at an upscale
London restaurant,
Rita suddenly realizes
that the woman she’s
speaking with is her
former client. Pictured
here: Emilia shares a
passionate moment
with her lover, Epifanía
(Adriana Paz), in the
latter’s home.

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 AMERICAN CINEMATOGRAPHER THEASC.COM

Tech Specs: 2.39:1

Cameras | Sony Venice, Venice 2; Arri Alexa Mini; Red Komodo
Lenses | Tribe7 Blackwing7; Arri Signature Prime; Angénieux Ultra, EZ

Using the GrandMa, we could make the lights strobe at particular mo-
ments of the song, and also shape the light very quickly as we changed
camera positions.
Did you have to light specifically for the facial prosthetics that Emilia
wears at the beginning of the film, pre-transition?
Something that was very exciting for me as a cinematographer was
that the first act of the movie happens at night. We had full permission
from Jacques to just keep the world in darkness as much as we wanted,
knowing that the light would only arrive at the end of the chapter set
in the clinic, after the operation that transitions Emilia. That is when
daylight arrives in the film. While shooting Emilia before the operation,
we used a lot of prosthetics to give the character a face that appeared
male. When we were discussing our approach to those scenes, Jacques
referred to the kind of light [Vittorio Storaro, ASC, AIC] used on Marlon
Brando toward the end of Apocalypse Now. That reference was all I need-
ed to know. It was a huge help to be able to play with darkness like that.
The art department integrated all the lights we needed — DMX-
controlled LED ribbons and practicals — for the sequence in the trailer
where Rita first meets Manitas after she’s kidnapped. For the last scene
in the trailer, Jacques wanted the world to disappear as Karla was singing
her final song as Manitas. The art department reproduced a second ver-
sion of this set, but without walls, so only the practical lights remained,
along with some decorative elements floating into darkness. We didn’t
add any bounce or fill light, so the contrast increased even more.
How do you make sure there is a throughline in the aesthetics of a
film like this, which is so vast in scale?
Given how many different situations and locations we had, creating
a single fill with all of those elements was the biggest challenge. I think
what differed the most in all the different worlds we showed was the art
direction, the rhythm and the music changes, not the cinematography
itself. The way we shot remained consistent: handheld and Steadicam
mainly, and a constant quest for movement. The types of shots we did —
in terms of how close we were to the characters, the lighting, the grading
— all had to stay more or less on the same plane in order to hold every-
thing together: the different styles of art direction, the various types of
songs, and how the story evolves dramatically between the chapters of
the film.
During the grading sessions, colorist Arthur Paux helped create
a consistent look in terms of color, but also regarding the textures.
Between the studio, the exteriors, and the almost documentary scene
shot in Mexico City that closes the movie, we had to find a unified image.
That last scene was shot with an Alexa Mini, and some car rigs were shot
on location with a Red Komodo. One of the most important challenges
was finding the right texture. We used halation on specific zones of the
signal to create an image that would be organically less sharp, but not
blurred. Arthur also found ways to work on micro-contrasts and grain.
Guilhaume estimates that approximately 75 percent of the film was
That last part of the process was among the most important of all.
shot on stage, where the production took advantage of an overhead
lighting grid (top). Among the various sequences shot onstage were
a snowy interlude set in Lausanne, Switzerland (middle), and the
movie’s climactic car scenes (bottom).

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 Robert Richardson, ASC:
On Color
The cinematographer shares the insights he’s gleaned over
years while working alongside many leading colorists.
By Iain Marcks

T
he bold approach to lighting and operating that Robert
Richardson, ASC has brought to his work is matched
by his courage in the grading suite, where the look,
feel and texture of a picture comes together. Whether
the cinematographer is shooting film or digital, it’s a
process that begins long before his camera rolls, and
it involves close work with the project’s final colorist.
Throughout Richardson’s career, his collaborators have included Élodie
Ichter, Yvan Lucas, Stephen Nakamura and Stefan Sonnenfeld.

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 Richardson will help honor colorists’ creativity this month when he knowledge and how to communicate with a grader. After years of doing
serves on the jury for the FilmLight Colour Awards at EnergaCamerim- this, I’m more willing to take risks and make errors of judgment, which
age 2024 in Poland. He and fellow judges Mandy Walker, ASC, ACS (the leads to a greater level of personal satisfaction with my work. When
jury president); Catherine Goldschmidt, BSC; Erik Messerschmidt, ASC; you’re shooting and timing film, there’s always a question mark. Did you
writer-director George Miller; and Ichter, among other expert artisans, get it right? Did the lab get it right? There are so many issues you have to
will consider colorists’ work in six categories: theatrical feature, televi- contend with that are solved by the digital process. The difference with
sion series/episodic, commercial, music video, spotlight (for lower-bud- the digital process is that the mystery is reduced by having a high-qual-
get features or TV movies) and emerging talent. ity monitor on set. Most directors have video villages, so I’ll try to get a
“The FilmLight Colour Awards represent long overdue praise and re- 65-inch or something large for the director and for crewmembers, and I
spect for colorists,” Richardson says. “To take part as a jurist is an honor. want it tuned by the post house so that the image I have, especially when
Colorists are vital collaborators — you can’t make a film without one.” I’m operating a remote system, is exactly what I want, and the director
AC recently connected with the cinematographer to discuss his phi- and the producers see the same thing.
losophy about the past, present and future of color grading.

American Cinematographer: What was your first experience with the

color-correction process?
Robert Richardson, ASC: It would have been Salvador [1986], which Opposite: Robert Richardson, ASC on the set of Django Unchained.
I shot with Oliver [Stone]. We were shooting in Mexico, and our lab was This page: Richardson recounts his experience on the 2000 legal drama
not of the highest quality, so dailies generally looked rather miserable. Snow Falling on Cedars as “probably the happiest I’ve ever been in terms
I’d say for my first four or five films, I was mediocre at best in terms of of working with the director and colorist closely to get ‘the look’ on film.”
PHOTO ON THIS PAGE BY DAVID JAMES, SMPSP, COURTESY OF ALAMY / THE CINEMATIC COLLECTION.
PHOTO ON PREVIOUS PAGE BY ANDREW COOPER, SMPSP, COURTESY OF TWC / THE ASC ARCHIVE.

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 ROBERT RICHARDSON, ASC: ON COLOR

For director Martin Scorsese’s 2004 biographical epic The Aviator,

Richardson collaborated with the team at Technicolor Digital Intermediates
(TDI) to emulate the look of the two-color Technicolor process featured in
the film’s first act (pictured here), as well as the hyper-saturated look of
three-strip Technicolor featured in the film’s second act (below).

“After years of doing this, I’m more willing to You see this as one of the advantages of shooting digitally?
take risks and make errors of judgment, which It is to the benefit of the production, because we’re providing an
image that is a lot cleaner and easier to show to networks or studios. We
leads to a greater level of personal satisfaction didn’t have that capability with film. You’d shoot the film, it’d be cut on a
with my work.” Steenbeck or whatever it was back then, and then you’d go to a screening
— Robert Richardson, ASC room and see all of these flaws because the film was not always prop-
erly preserved. I saw a cut of Platoon [AC April ’87] six months after we
shot it, and it was yellow. I said, ‘Oliver, are you happy with this?’ He’d

PHOTO ON OPPOSITE PAGE BY GARY FARR, COURTESY OF UNITED ARCHIVES GMBH / ALAMY.
IMAGES ON THIS PAGE COURTESY OF TCD / PROD.DB / WARNER BROS. PICTURES / ALAMY.

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 AMERICAN CINEMATOGRAPHER THEASC.COM

been watching the same footage for months in the editing room, so he
thought that was what the movie was supposed to look like. That also
happened with a number of other films. It’s very hard to keep someone
from falling in love with what they’re watching, so I want to give the
director something that’s closest to our vision from the very beginning.
How do you do that?
For years now, for nearly every digital film I’ve done, I always try to
get a colorist on the set or in a room close to the set. That way, I can go
through the dailies every day either at lunch or during a break. This is
one of the shifts you’re going to see in filmmaking: More color will be
done on set.
What kind of grading are you doing on set?
Anything I would do in a color suite. It won’t be the same quality be-
cause you’re dealing with so much more material, but with a good col-
orist, the time spent in the final grade is reduced because you’ve already
come much closer to the final look during the shooting process. The
control factor of a [modern digital color session] is so immense it would
be insane not to take full advantage of it.
In the past, shooting multiple film stocks and using special lab pro-
cessing enabled you to create different looks. How did you creatively Richardson’s first experience with color correction was on
director Oliver Stone’s 1986 war drama Salvador.
exploit that approach?
Super 8mm and 16mm film stocks come with a look you cannot
always predict. For Snow Falling on Cedars [AC June ’00], I was able to
work with [dailies colorist Thor Roos] to get a bleach-bypass [process]
on all the dailies, and it’s probably the happiest I’ve ever been in terms
of working with the director and colorist closely to get ‘the look’ on film.

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 Colorists on Richardson By Iain Marcks

Élodie Ichter (Venom: Let There Yvan Lucas (Shutter Island, Stephen Nakamura (Kill Bill 1 and Stefan Sonnenfeld (Emancipa-
Be Carnage, Air) Inglorious Basterds, Django 2, The Aviator, The Good Shep- tion, The Equalizer 3)
Bob knows exactly what he Unchained, Once Upon a Time... herd, Shine a Light) As a colorist, it’s my job to help
wants, and is also open to in Hollywood) I started working with Bob around the creative team come up with
suggestions. We start with a I first met Bob to prep a movie 2002, when Technicolor opened the look, feel and emotional tone
conversation about the general which ultimately did not happen, their digital color-correction wing, they want to evoke from the
look of the show, which gets but my color test convinced him Technique. On The Aviator, he imagery — and [determine] how
more specific scene by scene. to work with me in the future, aggressively used power windows best to do that. There are many
Doing dailies for Bob on multiple starting with The Four Feathers and massive vignettes to reshape ways to achieve these goals with
projects has allowed us to de- [AC Oct. ’02]. After I joined EFilm the lighting. Everything he tried the technical tools we have today,
velop the look while shooting. By in L.A., Bob wanted to send me was, of course, in service of the but it’s important to keep in mind
the time we start the final color a color-negative test for Shutter storytelling, and that’s also my that it’s a collaborative process
process, we know what’s needed Island. The film needed two looks: focus as a colorist. I look at the — a team sport, more than ever,
and fine-tune the image together. a Kodachrome look and an emu- lighting, the actors’ performanc- from the colorists working with
Over the years, we’ve developed lation of the ENR silver-retention es, costume design, production Bob on set to the person making
a relationship that facilitates our process. I created the LUTs and design, editing — everything the deliverables. It’s a well-cho-
work together. It’s almost a game sent a filmout positive to Boston; — and think about the emotions reographed dance between many
during the DI to see who will be Bob said that Marty [Scorsese] the director is trying to convey departments. Some cinematog-
first to express the same idea — shouted for joy when he saw the in the scene. I take cues from raphers have said it’s one of the
adding a window here or remov- test. The movie came to EFilm, the dailies, which reflect how the most enjoyable parts of their job:
ing a point of red there. where I supervised dailies and did cinematographer envisioned the sitting in a dark room, calming
The first step is understanding the DI. We’ve since done many scene, and then I’m given free rein down and creating. It can get
to do what I think is best. hectic with long days and nights,

PHOTOS OF NAKAMURA, LUCAS AND SONNENFELD COURTESY OF COMPANY 3.

the image — the lighting, color, films together, including Inglorious
direction of the light, density and Basterds and others for Quentin The colorist’s role on big stu- but by and large, it’s a beautifully
what’s in the frame. As a colorist, Tarantino. dio projects isn’t just about color; symbiotic process.
you have the power to modify the Even if shot on film, a movie it’s also about navigating the Bob is so unique and creative,
image drastically. Our technology can look unlike film if you do post politics of the finishing process. and he constantly pushes ev-
is creatively freeing, but it can be digitally and aren’t careful to There’s a whole finishing machine eryone involved to a place they
damaging if you’re not in control. preserve that film look. On Once that comes into play where many might not otherwise go. He knows
It’s like having a superpower Upon a Time... in Hollywood, people get involved in creative you have to push the boundaries
machine, but only for delicate en- digital and film-print versions had decisions. Everyone from the to get to a place that’s best for
hancements of what’s been shot. to be identical. Bob is probably director to the studio knows you the project. If we just did a nice,

PHOTO OF ICHTER COURTESY OF LIGHT IRON.

We do have influence over the DoP most demanding about can make a global adjustment to standard grade and moved on, we
the image, and a collaboration his dailies. They were printed at the entire movie in less than 10 wouldn’t reach the potential the
between colorist and cinematog- FotoKem, where I’d watch them seconds, so cinematographers project deserves. When genuine
rapher makes a huge difference, every day; then I’d work on 4K like Bob — the A-list cinematog- filmmakers of Bob’s caliber bring
but everything starts with the scans to match the digital and raphers who are always working out the best in you, you produce
cinematographer: They give us print dailies exactly, which can be and sometimes don’t have the better work for everyone. The
the material to work with. It’s a more complicated than it sounds. time to be a part of the finishing directors and DPs who allow col-
privilege to work with Bob be- People commented on the movie’s process — have to trust that laboration across all departments
cause the process is fun and the ‘vintage’ look, but that was, in we’re going to push their vision — whether it’s production design,
material is already beautiful. I’m great part, the result of primarily through, find solutions when there casting, sets, stunts, whatever
not trying to fix anything; it’s all using the digital work to match a are disagreements, and try to get — are the ones who get the best
about enhancing and creating. real photochemical process. everyone on the same page. product.

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 AMERICAN CINEMATOGRAPHER THEASC.COM
IMAGE COURTESY OF TCD / PROD.DB / SONY PICTURES / ALAMY.

When Yvan and I were doing Once Upon a Time… in Hollywood [AC Discussing Once Upon a Time… in Hollywood with AC at the
Aug. ’19], some of our film fell to the bottom of the developing tank. They time of its release, colorist Yvan Lucas attributed much of the
recovered just a small section of it, and it came out looking so beautiful, film’s “naturally luminous and contrasty” look to Richardson’s
“old-school” lighting techniques in a variety of daytime
like a Stan Brakhage film.
situations. “Many films today are desaturated,” he said. “I
For The Aviator [AC Jan. ’05], Marty [Scorsese] wanted the look of the hope this film will show people that — damn! — we’ve almost
film to match the time periods depicted in the scenes, chronologically forgotten what real colors are!”
building from hand-tinting to two-color [Technicolor], to three-color

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 ROBERT RICHARDSON, ASC: ON COLOR

[Technicolor], to panchromatic. The first time I saw the digital three-

strip reproduction on film, I started to cry because it was so bad. It had
too much grain. It was too soft. It looked fantastic in the DI, but some-
thing didn’t translate to the film print. We eventually worked it out, but
you cannot reproduce that film look perfectly. You can come close, but
then you have to ask, ‘Why am I doing this? Do I need to do this? Is there
another way to achieve a grain structure or the contrast I want?’
How do you view the colorist’s contribution to your work?
They’re key to me — as much as a gaffer, a key grip, a 1st camera
assistant or a 1st AD. They bring something to the process that you can’t
bring yourself: a new perspective.
What qualities do you look for in a colorist?
You want to know things like: What is their taste in color? What are
the films they watched growing up? What are they like as human be-
ings? When you work for high-caliber directors like Scorsese, Stone,
John Sayles, Rob Reiner and Quentin [Tarantino], it raises the caliber of
“Bob is so unique and creative, and he the people who want to work with you. They’re enthusiastic about the
constantly pushes everyone involved to a place project, which makes a difference in the work itself.
they might not otherwise go. He knows you have In the film days, there was the saying, ‘The projectionist gets final
cut.’ Once a picture is out of your hands, do you think about how view-
to push the boundaries to get to a place that’s ers will ultimately experience your work?
best for the project.” The only thing I cared about [in the film days] was the director’s print.
— Stefan Sonnenfeld It is first-generation, meaning it comes directly from the negative after
grading. There might be a number of these prints — it used to be as high
as 50, but most of the time it was in the 10-to-20 range — and they were
the best quality. From these, you made the interpositives and interneg-
atives for larger releases.
Now, I grade to the highest level of quality that I can on a large, cal-
ibrated screen. I can be happy with it and assume that’s what’s going
to movie theaters everywhere. But still, there are so many different ele-
ments to create: separate DCPs for different types of digital projection;
BOTTOM IMAGE COURTESY OF AMAZON STUDIOS.

HDR; movies for airlines, which are different because you’re cropping,
TOP IMAGE COURTESY OF APPLE TV PLUS.

panning and scanning; and the streamers want their films delivered in
different ways.
Have you considered retooling the look of any of your older films
now that there are so many new ways people can watch them?
I would love the opportunity to do a ‘cinematographer’s version’ of an
older film for these director-approved releases, but most directors won’t
involve a cinematographer in the grade years after a film is done — and
sometimes not even when the film is just finished because we’re on an-
other job. I don’t want to fault the director or the colorist; the circum-
stances work out in such a way that you’re not always able to be there.
The DP is usually given somewhere between two and four and a half
Richardson collaborated with colorists Stefan Sonnenfeld and Élodie
weeks of your normal pay to be involved in the final grade. It could be
Ichter on the features Emancipation (top) and Air (bottom), respectively. three or four weeks, depending on the length of the film. Some DPs go
above and beyond, like Emmanuel Lubezki [ASC, AMC], who rotoscopes
a lot. Vittorio Storaro [ASC, AIC] is rumored to have basically had his own
“We do have influence over the image, chemist at Technicolor, to ensure he was always getting the best chemi-
and a collaboration between colorist and cals at the right temperature for his material. That’s where I’m trying to
cinematographer makes a huge difference, but push it — to always have a colorist on set.
Classic Technicolor films often had dedicated color consultants.
everything starts with the cinematographer: Today, you might need a color scientist like [ASC associate member]
They give us the material to work with. It’s a Josh Pines or another cinematographer like Rob Legato [ASC] to help
privilege to work with Bob because the process you out.
Color scientists like Josh Pines are integral to knowing the unknown
is fun and the material is already beautiful.” and solving the technical issues with what is known, so the scientist
— Élodie Ichter needs to also be an artist. Rob is also a 2nd-unit director, so he knows

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 AMERICAN CINEMATOGRAPHER THEASC.COM

what looks good and what doesn’t. I had to leave after shooting The
Equalizer 3, and I asked him to look at the grade for me. I knew that
with Rob, Stefan and [director] Antoine Fuqua, I had [collaborators] who

PHOTO BY ANDREW COOPER, SMPSP, COURTESY OF TWC.

would make it the best it could be with the same taste as mine, or as
close to it as possible.
When you received the ASC Lifetime Achievement Award [AC Feb.
’19], you said you believe in ‘blending the best of the past, present and
future,’ and that you saw no end to what you’d be willing to explore.
What are some of the newer technologies that interest you?
I think AI is certainly going to influence some productions more than
others, and as it becomes more advanced, you’ll see it start to infiltrate
at even higher levels of the creative process. Being able to ask AI to come
up with a look — something you wouldn’t have thought of on your own,
especially on a budget where you don’t have access to people like Yvan,
Stefan, Stephen or Élodie — could be revolutionary. You could say, ‘Give
me the ballet scene from The Red Shoes,’ and AI would deliver that. Or you
might ask for Black Narcissus and Apocalypse Now and combine those
looks. It would be a missed opportunity if this technology didn’t evolve
in that direction, but ultimately it has to be you, the artist, saying, ‘I want Above: Richardson on the set of Quentin Tarentino’s 2015 Western
this.’ The final creative vision should always rest with the artists. The Hateful Eight. Below, left: The cinematographer shares a moment
with Scorsese and Mick Jagger during the making of the 2008 music
documentary Shine a Light.

“Everyone from the director to the studio

knows you can make a global adjustment
to the entire movie in less than 10 seconds,
so cinematographers like Bob — the A-list
cinematographers who are always working
and sometimes don’t have the time to be a part
of the finishing process — have to trust that
we’re going to push their vision through, find
solutions when there are disagreements, and
try to get everyone on the same page.”
— Stephen Nakamura
PHOTO BY JACOB COHL, COURTESY OF PARAMOUNT CLASSICS.

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 The BSC at 75
AC and the ASC toast the British Society of Cinematographers
and its members’ visual achievements.

O
Introduction by BSC President Christopher Ross

ne of the most interesting things about cinematog- supporting current filmmakers and encouraging subsequent genera-
raphy is that while each practitioner is an alche- tions. The Society’s committees play an active role in the community of
mist of sorts, mixing together secret ingredients to film and are dedicated to every facet of cinematography’s impact.
produce something unique, the community freely For example, our Sustainability Committee, led by Mattias Nyberg,
shares that knowledge and information. It’s an in- BSC, is dedicated to keeping the membership informed on best practices
credibly supportive world, and I think that’s why and any technological advancements that act to mitigate environmen-
organizations like the British Society of Cinematog- tal impact. Similarly community-spirited, the Education Committee, led
raphers have stood the test of time. by Oliver Stapleton, BSC, organizes two levels of education support for
The BSC was founded in 1949 based on an idea proposed by Bert cinematographers that are on their journey to membership. The Master-
Easey, head of the camera department at Denham and Pinewood Stu- class series, hosted in collaboration with the National Film and Televi-
dios. Bert’s vision was for the creation of a non-political guild, made sion School, is designed for cinematographers looking to expand their
up of feature cinematographers, to promote and encourage the highest knowledge of the craft, and our Workshops, delivered in partnership
standards in motion-picture photography — similar to the American So- with the London Screen Academy, enable career starters and industry
ciety of Cinematographers, which had been formed in 1919. The BSC was developers to hone their skills.
brought to life by its 55 founding members, and 75 years later Bert’s leg- In this regard, the Society strives to make outreach a priority all year
acy is honored in the Society’s annual Award for Technical Achievement. ’round. The BSC Club — started by ex-President John de Borman, BSC,
The first president of the Society was the inimitable Freddie Young, AFC — is for experienced camera-department professionals and cinema-
BSC, who would go on to win Academy Awards for his trio of classic films tographers who aren’t BSC members yet, enabling them to network with
with David Lean: Lawrence of Arabia, Doctor Zhivago and Ryan’s Daugh- members on an ongoing basis. Club members are invited to our Q&As
ter. From the outset, the Society’s membership has encompassed such and screenings so they can enjoy the same level of education as our So-
talents as Geoffrey Unsworth, BSC (2001: A Space Odyssey), Jack Cardiff, ciety members. Before I was invited to full membership of the BSC, I was
BSC (Black Narcissus, The Red Shoes) and Derek Vanlint, BSC, CSC (Alien, a club member, and I relished the interaction and knowledge-sharing.
Dragonslayer). As a Society, we will always celebrate our origins, especially during
The current roster includes Roger Deakins, ASC, BSC, who really this 75th-anniversary year. But in my role as president, I would like to
needs no introduction; recent Academy Award winner James Friend ASC, see the BSC positioned as the most contemporary of organizations,
BSC; and Nina Kellgren, BSC, whose work on Solomon & Gaenor led her working in the modern world. We want to support cinematographers of
to become the first female British cinematographer to photograph an every generation by increasing accessibility and knowledge. This is a key
Academy Award-nominated film. challenge not only for the BSC, but for the ASC and other cinematogra-
The future is an undiscovered country, and moving forward, the BSC phy Societies around the world. As longstanding elders of the industry,
— and cinematography in the U.K. — will only retain its high status by we must be retrospective and proactive in equal measure.

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 2
A sampling of iconic British productions. Opposite page: Lawrence
of Arabia (1962, shot by Freddie Young, BSC). This page: 1. The Red
Shoes (1948; Jack Cardiff, BSC). 2. Goldfinger (1964; Ted Moore, BSC).
3. Chariots of Fire (1981; David Watkin, BSC). 4. The Servant (1963;
Douglas Slocombe, BSC). 5. A Clockwork Orange (1971; John Alcott,
IMAGES COURTESY OF THE ASC AND BSC ARCHIVES. PHOTOS 2, 3, 4, 5, 6 AND 8 ON THIS PAGE COURTESY OF ALAMY.

BSC). 6. The Crown (2016-’23; shot by BSC members Adriano Goldman,

1 Stuart Howell, Ole Bratt Birkeland, Fabian Wagner and Ben Wilson, along
with Frank Lamm, Rasmus Videbæk and Sophia Olsson). 7. All Quiet on
the Western Front (2022; James Friend, ASC, BSC). 8. Trainspotting
(1996; Brian Tufano, BSC).

5 6

7 8

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 THE BSC AT 75

3 4

5 6

Top left: A March 1949 news

item in AC announces the
formation of the BSC. Members
on this page include: 1. Billy
Williams. 2. Nina Kellgren.
3. Anthony Dod Mantle (lying on
floor) with Danny Boyle.
4. Phil Méheux. 5. Oswald Morris
(operating camera) with Guy
Green and David Lean (far right)
on Oliver Twist (1948). 6. Remi
Adefarasin. 7. Jack Cardiff (left)
with camera operator and future
BSC great Geoffrey Unsworth
shooting A Matter of Life and 8
Death (1946). 8. Sue Gibson.

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 AMERICAN CINEMATOGRAPHER THEASC.COM

1 2

BSC members 1. Oswald Morris (white jacket)

with John Huston, shooting Moby Dick (1956).
2. Sam McCurdy. 3. Roger Deakins, filming Daniel 7
Craig for Skyfall (2012). 4. Douglas Slocombe,
taking a meter reading on the set of The
Lavender Hill Mob (1951) with Audrey Hepburn
and director Charles Crichton. 5. Catherine
Goldschmidt. 6. Colin Watkinson, capturing a
close-up of Elizabeth Moss for The Handmaid’s
Tale (2017-’25). 7. Freddie Young (right) with
David Lean shooting Lawrence of Arabia (1962).

p. 50-55 BSC Photo Tribute V4.indd 53 10/3/24 10:55 AM

 THE BSC AT 75

1 2

3 4

BSC members 1. Gilbert Taylor

with Mark Hamill (in distance) and
George Lucas on the set of Star Wars:
Episode IV — A New Hope (1977). 2.
Dan Mindel, metering Daisy Ridley for
Star Wars: Episode VII — The Force
Awakens (2015). 3. David Watkin
with director Richard Lester and the
Beatles, shooting Help (1965). 4. John
Mathieson metering Emmy Rossum
on Phantom of the Opera (2004) with
gaffer Alan Martin. 5. Barry Ackroyd.
6. Dick Pope (left) with director Mike
7 8 Leigh. 7. Kate Reid. 8. Ben Seresin.

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 AMERICAN CINEMATOGRAPHER THEASC.COM

1 2

3
4
5

6 7

BSC members 1. Polly Morgan. 2. James Friend, with his Oscar

for All Quiet on the Western Front (2022). 3. Freddie Francis
8 (seated) with Martin Scorsese on the set of Cape Fear (1991).
4. Rob Hardy and A-camera 1st assistant Jennie Paddon on
location for Mission: Impossible — Fallout (2018). 5. Jess Hall. 6.
Fabian Wagner. 7. Haris Zambarloukos. 8. Seamus McGarvey with
director Sam Taylor-Johnson.

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 The Virtual World By Noah Kadner

Real-Time Ray Tracing for Virtual Production

ALL IMAGES COURTESY OF CHAOS.

Above: The sun, as displayed on an LED wall, shines brightly in this sequence on a train featuring visual-
effects supervisor Christopher Nichols, who also served as an actor and producer on the film.
Below: Cinematographer Richard Crudo, ASC eyes a frame on the train set.

One of the most important as- perform at 24 fps or faster. It also software developers to create a uses Chaos Vantage for render-
pects of in-camera visual effects needs to respond to tracking data short film called Ray Tracing FTW ing, which is a real-time version
(ICVFX) is the real-time rendering about the camera’s position to as a demonstration of Project of V-Ray, a ray-tracing renderer
engine. This piece of software generate realistic parallax. Arena, a new real-time renderer that is widely used in postproduc-
renders virtual environments on Richard Crudo, ASC recently from 3D-visualization company tion animation and visual effects.
the fly so they can be captured in collaborated with a cross-sec- Chaos. (“FTW” is internet slang While ray tracing is a decades-old
camera, and it must realistically tion of visual-effects artists and for “for the win.”) Project Arena standard for CG rendering, it’s
only recently that technology has
advanced to the point that it can
operate in real time on a “monitor”
as large as an LED wall.
The focus of Ray Tracing FTW
was to shoot an ICVFX produc-
tion exclusively using ray-tracing
technology without the need to
decrease frame rate or otherwise
down-rez the image on the wall to
avoid overloading the processors.
The short is a sendup of
classic Westerns. A Who’s Who
of visual-effects experts portray
movie archetypes, making me-
ta-commentary about the history
of their craft. Some of these VFX
heads served other key positions

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 Top: The Ray Tracing FTW ICVFX stage at Orbital Studios in Los
Angeles. Middle: Scott Ross, co-founder of Digital Domain, makes a
cameo in the LED-wall volume. Bottom, clockwise from top left: Along
with Nichols, fellow VFX professionals Erick Schiele (a co-writer on
the film) and Daniel Thron (the film’s director) also served as actors.

on the project as well, including lighting. Although rasterization

director Daniel Thron; executive excels at real-time performance,
producer Vladimir Koylazov; pro- it can’t achieve the same level of
ducer and VFX supervisor Chris- realism as ray tracing, especially
topher Nichols; and writers Thron, with complex lighting and reflec-
Nichols and Erick Schiele. tions. It’s therefore not surprising
“Prior to this,” Crudo says, “my that real-time ray tracing for
experience in virtual production ICVFX has come to the fore — an-
was limited to LED walls for video other case in point being Unreal’s
plates and driving shots. That was development of Lumen.
an improvement over greenscreen The challenge in achieving
because it allowed you to balance high-resolution ray tracing in real
color and exposure without time has been that a single fixture
having to rely on visual effects can have millions of rays of light
that were completed later. Project that are traced with reflections
Arena was an opportunity to take and refractions on multiple sur-
things to the next level inside the faces — equaling hundreds of
volume. I learned a lot in the pro- millions of calculations per light. to how light behaves in the Project Arena leverages this
cess and felt like I was at the very Therefore, ray tracing an environ- real world than most renderers new real-time ray-tracing capabil-
tip of this technology.” ment with hundreds of sources produce — that’s what Chaos’ ity “using a machine-learned algo-
— and thus billions of reflections V-Ray renderer does — but it’s rithm and Nvidia’s Deep Learning
Transfer of Power and rays — causes processors so computationally expensive Super Sampling (DLSS) algorithm
Ray tracing mimics how light to overload unless frame rate is that it’s complicated to achieve in version 3.5,” notes James Blevins,
interacts with surfaces, producing brought down and/or the image is real time. Then, in 2023, Nvidia who served as a virtual-produc-
ultra-realistic effects like reflec- down-rezzed in some way. came up with a new type of AI tion producer (and actor) on the
tions, refractions and shadows. Nichols — the director of spe- de-noising for ray tracing, which film. With this system in place,
This contrasts with a technique cial projects at Chaos Labs, who suddenly enabled the speed of high-resolution, ray-traced virtual
called rasterization, which was has spearheaded Project Arena what we were doing to go to a environments within an LED vol-
long the primary foundation of — explains, “I’ve always been completely new level. That led us ume can be displayed at 24 fps
rendering engines, and which pri- fascinated by ray tracing, which to explore real-time ray tracing on and above, while reacting dynam-
oritizes speed by approximating is a much closer approximation an LED wall.” ically without performance issues

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 The Virtual World

within the frustum is always at a

perfect resolution, regardless of
its size, without stretching pixels.
It’s a fully ray-traced image across
the entire scene, which sets us
apart from how others typically
approach this.”

Thinking Like an Artist

Crudo and the team had three
days to capture a 10-minute
period Western full of characters
and action sequences, including
a train chase. “My big trepidation
was how efficiently the volume
was going to operate,” he recalls.
“I knew our foreground elements
were easily controllable, but could
The setup (above) and a final frame (below) for a scene featuring characters played by game
the volume deliver? In the end,
designer/VFX artist Sean Hyde-Moyer and Chaos events manager Kristin Guinn.
there wasn’t one glitch. It was
quite something.”
stemming from large numbers of call for a lighting change in the column, which matched the rest Thron also came away enthu-
light sources “or the complexity of background and it would happen of the shot. That was quite an siastic about the process and its
the 3D scene,” Nichols confirms. instantaneously.” eye-opener.” potential to offer a better pipeline
“There was a moment during Crudo adds, “As a bonus, you Nichols notes another Project for directors than traditional
testing with Richard when we can now isolate things in the Arena element that veers from the postproduction VFX. “When you
were moving lights around within volume. One of our shots featured norm: “While we still use frustum defer creative decisions to post, it
the virtual environment very an architectural column within rendering to produce camera par- obstructs production because you
quickly,” Thron recalls. “Until the image on the LED wall. It allax for the in-frame material, we don’t know what you’re ultimately
this version of the technology, was highly overexposed relative render the entire image at once, getting,” he says. “Instead of
that’s something you couldn’t do to everything else, which was rather than compositing the back- thinking like an artist, you start to
without going back and re-baking relatively mid-range or lower key. ground and the frustum separate- think like someone just gathering
your environment, which causes When I pointed it out to [Chaos ly, such that the material outside data for a pipeline. With virtual
a big delay. Even in the real co-founder and executive pro- the frustum appears in the same production, Richard can line up a
world, a lighting change on set ducer on the film] Vlado Koylazov, high resolution as the imagery shot, and I can look through the
can take up to 30 minutes. But he instantly dialed it down. The within it. Rendering in a single lens and see something I didn’t
with this solution, Richard could details then came back in the pass ensures that the imagery even realize we could grab. You
get the images you dream of
getting instead of waiting to see
what happens in post.”

Reusable Assets
Another notable element of
Project Arena is that it features a
simple process for using assets
created with traditional 3D appli-
cations. This means that imagery
crafted with an application such
as Maya or 3ds Max “can be
sent to Project Arena for virtual
production and continue to be
used in that initial application for
postproduction,” Nichols says.

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 OCTOBER 2024 / 59

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 The Virtual World

“You would use the same asset and the post house. All that re-
for both. quires much attention, testing and
“In post, we were looking at a weeding out during prep.
whole sequence that takes place “Once you wrangle all of those
onboard a train, and the environ- elements and teams onto the
ment that was displayed on the same page, you’re pretty much
LED wall for the scene was the free to do almost anything you
same asset as the one we were want. When everything is set
using for additional postpro- up well, it’s an absolute dream
duction visual effects,” Nichols and easy to work with. Virtual
continues. “That means the artist production is not something that
creating the new shots in post any cinematographer should be
has the same lighting and assets intimidated by.”
as the original production. There’s Nichols adds, “The concept of
no question about how things the ‘digital twin’ has been used
should look, because the models a lot in the CG and tech world,
are identical and we know things and in this case, we’re creating
will match. It simplifies the entire a digital twin of a motion-picture
process, and it looks great.” camera. Ray tracing sees light the
same way a camera does. Project
Parting Shots Arena could be anything that has
With the release of Ray Tracing a digital twin; it’s not just limited
FTW — which can be viewed to LED volumes. If you’re making
on YouTube — Crudo had an an all-CG movie, you could also
opportunity to reflect on the cin- get a virtual camera that behaves
ematographer’s role in virtual pro- exactly like a real camera.”
Top: Schiele and VFX artist/extended-reality designer Sally Slade
duction. “The essence of what the
perform in a scene on the train. Middle: Camera operator Gerry
cinematographer has to do hasn’t
O’Malley (left) and key grip Kyle Davis at work on the train-car set.
Bottom: Crudo at the monitor, assisted by 1st AC Esther Woodworth. changed at all — you still have to
light convincingly and according
to the mood you’re trying to cre-
ate. The primary concern is color
management between the wall,
the camera sensor, the monitor

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 OCTOBER 2024 / 61

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 Clubhouse News
Latest Bulletins From the Society

HOLDEN/INVISION. FOR THE TELEVISION ACADEMY/AP CONTENT SERVICES.

BAUM AND MCCURDY PHOTOS BY PHIL MCCARTEN/INVISION. ELSWIT PHOTO BY MARK VON
as Ambassadors included ASC
President Shelly Johnson, ASC
Vice President Charlie Lieberman,
Andrzej Bartkowiak, Adam Brick-
er, Alice Brooks, Patrick Cady,
Richard Crudo, Michael Goi, Mark
Irwin, Craig Kief and Peter Moss.
On the East Coast, instructors
Martin Ahlgren and Declan Quinn
led a special one-day ASC Master
Robert Elswit, ASC Class sponsored by Sony in New
York City on Sept. 28. The session
was held at Bronx Community
College, where both cinematogra-
phers staged lighting demos in the
ornate Gould Memorial Library.
Ambassadors on hand included
Johnson, Manuel Billeter, Jim
Denault, Fred Elmes, Dejan Geor-
gevich, John Inwood, Tim Ives,
Charles Libin, Julio Macat, Fred
Murphy, Frank Prinzi, Mauricio
Rubinstein and Buddy Squires.
Gary Baum, ASC Sam McCurdy, ASC, BSC Also attending was ASC associ-
ate member Tanya Lyon of Sony.

Baum, Elswit, McCurdy Win Emmys nomination.

ASC members Gary Baum, Robert Other ASC members honored
Elswit and Sam McCurdy won 2024 with Emmy nominations this year
Primetime Emmy Awards on Sept. were Martin Ahlgren, Todd Ban-
7-8 in Los Angeles. hazl, Adam Bricker, Vanja Černjul,
Baum won Outstanding Cinema- Adriano Goldman, Dana Gonzales,
tography for a Multi-Camera Series Wayne Kennan, Jimmy Lindsey,
(Half-Hour) for the How I Met Your Patti Lee, Donald A. Morgan, Rich-
Father episode “Okay Fine, It’s a ard Rutkowski, Armando Salas and
Hurricane.” It was his fourth Emmy Tobias A. Schliessler.
win and 15th nomination since 2010. For more, visit theasc.com/
He was also nominated in the same news/2024-emmy-winners.
category this year for the Frasier
episode “Reindeer Games.” ASC Convenes Master Classes on
Elswit won Outstanding Cinema- Both Coasts
tography for a Limited or Anthology An ASC Master Class featuring
Series or Movie for Ripley, “V Lucio” instructors Ernest R. Dickerson,
— his first Emmy nomination. Steve Gainer, Michael Pessah,
McCurdy won Outstanding Cine- Tobias A. Schliessler and Salvatore
matography for a Series (One Hour) Totino, as well as associate member Instructor Ernest R. Dickerson, ASC (center) at
for the Shõgun episode “Crimson Jay Holben, was held Sept. 16-20 the Sept. Master Class in Los Angeles.
Sky.” It was also his first Emmy in Los Angeles. Members on hand

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 L.A. MASTER CLASS PHOTOS BY DANYAEL M. ALCARAZ.
NYC MASTER CLASS PHOTOS BY PRAVEEN ELANKUMARAN AND DAVID E. WILLIAMS.

Instructor Salvatore Totino, ASC, AIC sets a shot.

The Gould Memorial Library in the Bronx

Instructor Tobias A. Schliessler, ASC provided unique lighting opportunities
(center) directs the lighting of his scene. for the ASC Master Class in NYC.

At the NYC class, instructor Declan

The L.A. class attendees assembled. Quinn, ASC directs his lighting demo

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 Clubhouse News

In New York City, Martin Ahlgren, ASC instructs the Master Class. At the Metrograph (from left) are ASC members Bradford Young, Dejan
Georgevich and Fred Elmes with cinematographer Mark Lee Ping-bing.

Ron Engvaldsen of Birns & Sawyer speaks at the Clubhouse. Students from Hollywood CPR with ASC members at the Clubhouse.

Birns & Sawyer Offers Filtration John Newby, Steve Mason, Suki For more info about Hollywood Among the attendees were ASC
Close-Up Medenčević, George Mooradian, CPR, visit hollywoodcpr.org. members Fred Elmes, Dejan Geor-
Ron Engvaldsen, director of tech- Steven Poster, Steve Shaw and gevich, Ed Lachman and Declan
nology and marketing for Birns & Roy H. Wagner. AC editor-in-chief Young, Lee in Conversation at Quinn.
Sawyer, discussed “Custom Movie Stephen Pizzello was also on hand. Millennium Mambo
Filters and Diffusion-Filter Theory” Bradford Young, ASC moderated a Wagner Intros The Innocents
in a presentation at the Clubhouse Society Welcomes Hollywood CPR Q&A with Taiwanese cinematogra- Roy H. Wagner, ASC presented
on Sept. 23. Engvaldsen explained Members of Hollywood CPR, a vo- pher Mark Lee Ping-bing following a the classic widescreen chiller The
how filters were designed and cre- cational-training program that helps full-house screening of Hou Hsiao- Innocents (1961), directed by Jack
atively applied on motion pictures West Los Angeles College students hsien’s Millennium Mambo (2001) at Clayton and shot by Freddie Francis,
such as Ad Astra, The Lighthouse, find entry-level IA jobs after gradu- New York’s Metrograph theater on BSC, as part of the John Bailey
The Northman, Nope, Dune: Part ating, met with ASC members for a Sept. 7. Heritage Screening series at the
Two and the upcoming Nosferatu. lively Education & Outreach Q&A at Hou and Lee are frequent col- Clubhouse on Sept. 24.
ASC members in attendance at the Clubhouse on Sept. 28. laborators, and their work together, Francis, an ASC International
the dinner meeting included Andrzej Co-moderators and committee as well as Lee’s cinematography in Award honoree in 1998, considered
Bartkowiak, Christopher Chomyn, co-chairs George Mooradian and films by Wong Kar-wai, Trần Anh the film one of his favorites, as did
Richard Crudo, Xavier Grobet, Shana Hagan joined Ava Berkofsky, Hùng and Ann Hui, has inspired a Bailey. The Criterion Collection in-
Gregg Heschong, Mark Irwin, Pan Antonio Calvache and Cybel Martin rising generation of cinematogra- terviewed Bailey about Francis’ work
Luo, Cybel Martin, Peter Moss, for the discussion. phers, including Young. on the film for its 2014 Blu-ray.

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 Students from SDSU and UCLA pack the Clubhouse.

p. 62-65 Clubhouse News V4.indd 65 10/3/24 11:44 AM

 New Products and Services
The latest tools and technology for motion-imaging professionals.

Canon | EOS C80 Blackmagic Design | 2 Solutions,

Canon U.S.A. Inc. has introduced the EOS C80 cinema camera,
which features a 6K full-frame, back-illuminated CMOS sensor with
Plus Update
Blackmagic Design has announced the Ursa Cine 17K 65 camera,
triple-base ISO of 800, 3,200 and 12,800.
the Pixys Monitor and Blackmagic Camera for Android 1.3.
It also features Dual Pixel CMOS Autofocus, Dual Pixel AF II and
The Ursa Cine 17K 65 has a 65mm-format RGBW 17,520x8,040
12G-SDI output, which enables uncompressed transfer of video
sensor; interchangeable PL, LPL and Hasselblad lens mounts;
signal with a secure cable connection. Other interfaces include
and industry-standard Lemo and Fischer connections. The
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camera comes with 8TB of built-in storage and includes high-
and Ethernet. Internet connectivity enables the camera to be
speed networking for media upload and syncing to Blackmagic
controlled remotely via Canon’s IP-based XC Protocol using the
Cloud.
Remote Camera Control Application or the Multi-Camera Control
The 5" HDR touchscreen Pyxis Monitor offers full camera
App for iPhone.
control for the Pyxis.
The C80 can record up to 6K 30P in Cinema Raw Light. Other
Blackmagic Camera for Android 1.3 adds support for recording
recording options include Canon’s standard XF-AVC codec, XF-AVC
timecode with clips, as well as anamorphic lens de-squeeze
S and XF-HEVC S.
functionality and lens-correction settings and support for off-
For more information, visit usa.canon.com.
speed and time-lapse recording.
For more information, visit blackmagicdesign.com.

Wooden Camera | Canon C80 Solutions

Wooden Camera has announced an Elite Accessory System for the Canon EOS C80.
It features new designs of the Top Plate, Riser Plate and NATO Side Rail, and a new
accessory — the Canon ¼"-20 Ridge Plate, which is designed for users who want to
combine the C80 carry handle with Wooden Camera accessories. The ridge plate can be
mounted in any direction.
For more information, visit woodencamera.com.

66 / NOVEMBER 2024

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 Arri | SkyPanel S60 Pro
Arri has unveiled the SkyPanel S60 Pro.
The luminaire combines features of the SkyPanel S60-C
(which is now discontinued) with several updates. Creamsource | Vortex Softs,
The S60 Pro is set up with four LED zones for better pixel
control, color accuracy and light distribution. Improved low-
CreamOS v3
Creamsource has announced Vortex Softs and CreamOS v3.
dimming performance enables users to achieve smooth, flicker-
The Vortex8 Soft and Vortex4 Soft deliver full-spectrum light
free dimming at lower levels.
and extensive customization options. They feature a tilt indicator,
Arri has responded to user feedback by making improvements
which ensures precision and uniformity across setups; a front-
to the fixture’s handles, control-panel position, and connectivity
loading system, enabling users to swap lenses and modifiers
and control options.
quickly; and an XWide Lens (formerly known as the Med
For more information, visit arri.com.
diffuser), which maintains a 110-degree beam spread.
Features in CreamOS v3 include a multilingual web interface
with which users can manage connected Vortex fixtures from
any web browser.
Astera | LunaBulb Accessory Kit For more information, visit creamsource.com.
Astera has released the LunaBulb Accessory Kit, which
incorporates a range of blockers, diffusers, reflectors and lenses
in a lightweight, portable case.
The kit includes four LunaShades, four LunaReflectors, four Profoto | 2 Solutions
LunaDiffusers, four LunaLenses and four White Snoots. Profoto has released the 4' Octa Silver and the 3'x4' Rectangular
For more information, visit astera-led.com. Silver soft boxes.
Both solutions feature an integrated speed ring to facilitate
quick setup. They also fold flat for easy storage and portability.
For more information, visit profoto.com.

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 NEW PRODUCTS AND SERVICES

The perfect balance between vintage and modern anamorphic

Cooke Optics | 18mm SP3

[email protected] Instagram - @ancientoptics Cooke Optics has introduced the SP3 18mm prime, completing the
T2.4 SP3 series.
The close focus from the lens front is 123mm. The maximum
diagonal angle of view for Full Frame as well as Super 35 are 99
degrees and 82 degrees, respectively. The lens weighs 24 ounces
and has a maximum front diameter of 82mm and a filter-thread
size of 77mm.
All SP3 lenses come with a native E-mount. Users can choose a
second mount (free of charge within 90 days of purchase): RF, E, L
or M. These mounts can also be purchased as accessories and can
be changed by the user.
For more information, visit cookeoptics.com.

Leitz Cine | Hugo II

Leitz Cine has announced three additions to the Hugo prime-lens
series: 66mm T2.1, 75mm T2.1 and 90mm T2.1.
The trio is dubbed “Hugo II” for their slower aperture
compared to the 10 existing Hugo focal lengths, which are T1.5.
The 66mm is based on the fabled “spy lens” created by Walter
Mandler for the U.S. Navy during the Cold War. The 75mm and
90mm lenses come from the Leica Summicron-M series.
For more information, visit leitz-cine.com.

DJI | Neo
DJI has introduced the Neo, its lightest and most compact drone
to date.
The 4¾-ounce drone is fully controllable without a remote
control and can be launched and landed on the palm. It features
AI subject tracking and QuickShots, and offers 4K ultra-stabilized
video with a flight time of up to 18 minutes.
For more information, visit dji.com.

68 / NOVEMBER 2024

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 EXCEPTIONAL GIFT OPTIONS
FOR YOUR CINEMATOGRAPHER

OUR FIRST 100 YEARS

This album-size 204-
page hardback book
chronicles the history
of the American Society
THE CINE LENS MANUAL
of Cinematographers
Detailing 300 lens DIGITAL CONVERSATIONS WITH
in celebration of the
families, this uniquely CINEMATOGRAPHY: SELECTED TABLES, DARIUS KHONDJI
organization’s centennial
comprehensive hardback FUNDAMENTALS, TOOLS, CHARTS AND FORMULAS This is one of the only
(1919-2019), with profiles
reference was written TECHNIQUES, AND FOR THE STUDENT books of its kind to be fully
on its 15 founders and
by Jay Holben and WORKFLOWS CINEMATOGRAPHER devoted to the life and
many outstanding
Christopher Probst, Today’s successful This 154-page excerpt work of a cinematographer,
members who have
ASC for all individuals cinematographer from the American offering a journey through
photographed classic
with an interest in must be equal parts Cinematographer Manual the past 50 years of
feature films, television
motion-picture optics artist, technician, and was designed for student cinema with one of the
shows and other
— cinematographers, businessperson. This book filmmakers and updated greatest directors of
motion-picture projects.
directors, visual-effects empowers the reader to include key aspects of photography who helped
Illustrated with hundreds
artists, camera assistants, to correctly choose the digital cinematography. revolutionize the art form
of behind-the-scenes
animators, technical appropriate camera and Edited by Academy through his work on both
images — restored by
journalists, historians, workflow for their project Award-nominated Hollywood films and art-
Charlie Lieberman, ASC
students, instructors, from today’s incredibly cinematographer Stephen house movies in Europe
and printed in duotone
rental-house technicians. varied options, as well as H. Burum, ASC, it covers and Asia. Darius Khondji,
for exceptional image
Its 836 pages cover 140 understand the ins and basic cinematographic ASC, AFC has shot films
quality — Our First 100
years of cinema lens outs of implementing those principles and includes for many of the greatest
Years details the artistic
history, filled with 1,500 options. Veteran ASC the actual tables, directors in contemporary
influences, creative
full-color illustrations cinematographer David charts and formulas cinema, including David
collaborations and
including photographs, Stump, ASC has updated used by professional Fincher (Seven), Bernardo
technologies that helped
diagrams, and graphics. this second edition with cinematographers. Other Bertolucci (Stealing
shape the past century of
the latest technology chapters from the AC Beauty), Jean-Pierre
motion-picture history.
for cameras, lenses, and Manual that are most Jeunet & Marc Caro
recorders, as well as relevant to student (Delicatessen, The City
included a new section on filmmakers are also of Lost Children), Bong
future cinematographic included. Joon-ho (Okja) and Nicolas
trends. Winding Refn (Too Old to
Die Young).

You’ll find all these choices and more in the ASC Store
store.ascmag.com/collections/books-videos

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 NEW PRODUCTS AND SERVICES

DZOFilm | Arles B
DZOFilm has introduced the Arles B lens set to
augment its Arles Series.
The five lenses in the set — 14mm T1.9,
21mm T1.4, 40mm T1.4, 135mm T1.8 and
180mm T2.4 — feature two aspherical
elements, including a large 50mm-diameter
element. A floating lens group structure
further minimizes aberrations during focus
transitions from infinity to close-up. A custom
low-saturation blue coating minimizes
reflections and suppresses stray light.
Featuring a front diameter of 95mm, the
lenses cover VistaVision sensors with a
maximum image circle of 46.5mm.
For more information, visit dzofilm.com.

Sony | VP Tool Set Update

Sony will update its Virtual Production Tool Set this winter.
The Tool Set is a pair of software applications, the Camera and Display Plugin and the
Color Calibrator, that improve the virtual-production workflow for broadcast and cinema.
Both applications are free to download, but some features will be available under a paid
license.
V2.0 of the Camera and Display Plugin will expand the list of supported broadcast and
cinema cameras to include Burano, FR7, HDC-3500, HDC-5500 and HDC-F5500, adding to
the Venice series.
V2.0 of the Color Calibrator will support color calibration via the newly added camera
models and add a user-guide function that makes it easier to perform adjustments.
For more information, visit pro.sony.

Tiffen | Steadicam Axis

The Tiffen Co. has released the Steadicam
Axis, a body-worn stabilizer with integral
three-axis Volt stabilization.
With a payload capacity of up to 20
pounds, it features a stage-mounted control
box that powers the electronically assisted
three-axis Volt gimbal, facilitating greater and
subtler control of framing while still providing
the operator with hands-on control of the
sled. Three knobs at the top adjust roll, tilt
and pan. A fourth knob alongside them sets
dampening.
For more information, visit tiffen.com.
Hollyland Technology |
2 Solutions
Hollyland Technology has released the
Solidcom SE wireless-intercom system and
the Solidcom C1 Pro Roaming Hub.
The Solidcom SE supports up to eight
headsets and enables communication at
ranges up to 1,100'. The full-duplex system
features advanced Environmental Noise Cancellation technology and water and wind-
noise resistance. Detachable batteries ensure minimal downtime; the headsets also
support USB-C charging.
The Solidcom C1 Pro can connect up to 20 full-duplex headsets with a single hub. Its
effective range is 1,600', and it supports up to six communication groups. It is compatible
with Solidcom C1 and C1 Pro headsets.
For more information, visit hollyland.com.

70 / NOVEMBER 2024

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 Teradek | Ctrl.5 Blackcam Robotics |
Teradek has announced Ctrl.5, a
customizable lens-control handset with its
2 Solutions
Blackcam Robotics has released the RP1
own operating system, Ctrl.OS.
Robotic Pedestal and the Arro2 Modular
The solution is a graphic-rich lens-
Robotic Arm.
mapping tool that allows users to create,
With a payload capacity of 132 pounds
browse and select lenses mapped to
and multi-directional wheels, RP1 can glide
pre-printed focus rings. Users can
through studios at up to 10" per second
access saved configurations faster
while carrying a range of equipment. Its
via the 5" touchscreen or one of 11
features include a 7" touchscreen display, Your Super 8 and 16mm
programmable user buttons. Hardware
features include an adjustable friction
digital lens control for Fujinon and Canon Film Lab for 50 years
systems, and an integrated 48-volt
knob; interchangeable, custom grips; and
power supply for cameras, prompters and
FHSS 2.4GHz wireless, WiFi and Bluetooth
converters.
connectivity. A five-pin USB enables
The Arro2 weighs 176 pounds and
SmallHD overlays.
Users can customize such functions
can maneuver through a 12'-diameter 3D CAMERAS.
space and rotate 360 degrees with near-
as digital marks, automatic calculations,
focus scaling, pointer-color customization,
silent precision. It has a payload capacity
of 37 pounds at 6' length and scales
FILM.
axis lock/unlock, Metric/Imperial unit
accordingly with adjustments.
selection (via pre-marked rings) and third-
For more information, visit PROCESSING.
party rangefinder support.
blackcamrobotics.com.
For more information, visit teradek.com.
SCANNING.

818.848.5522 • pro8mm.com

Ad Index
Absen 47 InfiLED 49
AC Manual 4 J.L. Fisher Inc. 45
AC Shot Craft Book 15 Leitz Cine GmbH 5
AC Subscription 6 Metropolis Post 70
Ancient Optics 68 Netflix C2
Aoto Electronics LLC 37 Old Fast Glass 68
Arri Inc. 7 Pro8mm 71
ASC Clubhouse Conversations 65 Rip-Tie Inc. 71
ASC Photo Gallery 1 ROE Visual Co. Ltd. 59
ASC Store 69 The Studio - B&H 9
Blackmagic Design Inc. 3 Tiffen 13
Camerimage 61
Fujifilm North America Corporation C4
Godox Photo Equipment Co. Ltd. C3

NOVEMBER 2024 / 71

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 Wrap Shot
Dune (1984)

After spending more than a decade in development limbo,

the first cinematic vision of Dune was at last realized in

FRAME CAPTURE FROM DUNE (UNIVERSAL PICTURES).

BOTTOM PHOTO COURTESY OF THE ASC ARCHIVE.
1983, when cinematographer Freddie Francis, BSC over-
saw principal photography for the film in Mexico under
the direction of David Lynch. Francis and Lynch had first
collaborated on The Elephant Man four years prior, and
the cinematographer carried over some key aspects of his
approach from that landmark biographical drama — name-
ly, his use of a camera-mounted Lightflex device (as seen
at right) to control color and contrast — while capturing
Dune’s expansive array of sets and locations.
“Normally, when I’m shooting a picture, I start out by
determining a scheme for achieving that realistic look,
and Dune was no exception,” Francis told AC in 1984.
“We have, for instance, the business of the Dune planet
Arrakis. One has to bear in mind that the sky, which [was]
later put in optically, is always brown. I had to make sure
that all reflected light looked as though it were coming
from the brown sky.”
By employing the Lightflex system, Francis could use
significantly less fill light; shoot on a four-stop exposure
range; and introduce color tints by inserting gels into the
device’s filter slot, all of which helped to steep pivotal des-
ert-bound battle scenes in the monochromatic sand-beige
palette that defines Arrakis’ landscape.
— Max Weinstein

72 / NOVEMBER 2024

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Cover 3_IBC.indd 3 10/3/24 12:06 PM
 Watch a blind test comparing
FUJINON Premista Zooms and
High-End Large Format Primes

LIVING LARGE
ZO O M S YO U C A N L I V E O N

19-45MM T2.9 | 28-100MM T2.9 | 80-250MM T2.9-3.5

FUJIFILM, FUJINON and PREMISTA are trademarks of FUJIFILM Corporation and its affiliates.
© 2024 FUJIFILM North American Corporation and its affiliates. All rights reserved.

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