AmericanCinematographer March2022

March 2022 The International Publication of the American Society of Cinematographers
Roger Deakins, ASC, BSC: Six Favorite Films

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MARCH 2022 VOL. 103 NO. 3
On Our Cover:
Roger Deakins, ASC, BSC adjusts a light fixture
while shooting the 2005 military drama Jarhead.
Contents
(Photo by François Duhamel, SMPSP, courtesy of
Universal Studios.)
Features
18 Roger Deakins, ASC, BSC:
Six Favorite Films
The award-winning cinematographer reveals some
of his cinematic influences.
34 Life Goals
Director of photography Daria D’Antonio spotlights
Naples, Italy, in The Hand of God.
34
42 Passing Time
Cinematographer Alexander Dynan and director Paul Schrader
discuss The Card Counter.
50 Key Grips on Set Safety

Top professionals emphasize the need
for best practices and protocols.
Departments
8 Letter From the President
10 Shot Craft: Mentorship
54 Filmmakers’ Forum: Chromaticity coordinates
58 The Virtual World: Techvis
64 Clubhouse News
68 New Products and Services
70 Ad Index
72 Wrap Shot
42
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EDITOR-IN-CHIEF
Stephen Pizzello
WEB DIRECTOR and ASSOCIATE PUBLISHER

David E. Williams
EDITORIAL
MANAGING EDITOR Andrew Fish
ASSOCIATE EDITOR Samantha Dillard
SHOT CRAFT and TECHNICAL EDITOR Jay Holben
CONTRIBUTING EDITOR Rachael K. Bosley
VIRTUAL PRODUCTION EDITOR Noah Kadner
WRITER/RESEARCHER Tara Jenkins
CONTRIBUTING WRITERS
Benjamin B, John Calhoun, Mark Dillon, Michael Goldman, Jim Hemphill,
David Heuring, Debra Kaufman, Michael Kogge, Iain Marcks, Matt Mulcahey,
Jean Oppenheimer, Phil Rhodes, Patricia Thomson, Peter Tonguette
PODCASTS
Michael Goldman • Jim Hemphill • Iain Marcks
BLOGS
Benjamin B • John Bailey, ASC • David Heuring
CREATIVE DIRECTION and DESIGN

Edwin Alpanian
ADVERTISING
ADVERTISING SALES DIRECTOR Angie Gollmann
323-936-3769 Fax 323-952-2140 e-mail: angiegollmann@gmail.com
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SUBSCRIPTIONS, BOOKS and PRODUCTS

CIRCULATION DIRECTOR Saul Molina
ASC CEO and PUBLISHER Terry McCarthy

ASC SPONSORSHIP and EVENTS DIRECTOR Patricia Armacost
CHIEF OPERATIONS OFFICER Alex Lopez
MEMBERSHIP ADMINISTRATOR Salvador Maldonado
DIRECTOR OF FINANCE and ACCOUNTING Thanh Lai
ACCOUNTING June Mabbun
American Cinematographer (ISSN 0002-7928), established 1920 and in its 103rd year of publication,
is published monthly in Hollywood by ASC Holding Corp., 1782 N. Orange Dr., Hollywood, CA 90028, U.S.A.,
(800) 448-0145, (323) 969-4333, Fax (323) 876-4973, direct line for subscription inquiries (323) 969-4344.
Subscriptions: U.S. $50; Canada/Mexico $70; all other foreign countries $95 a year
(remit international Money Order or other exchange payable in U.S. $).
Advertising: Rate card upon request from Hollywood office. Copyright 2022 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.
4 / MARCH 2022
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MARCH 2021 / 5

CUSTOM COLLECTION
OF STILL PHOTOGRAPHY BY American Society of Cinematographers
MEMBERS OF THE ASC The ASC is not a labor union or a guild,

but an educational, cultural and
professional organization. Membership is
by invitation to those who are actively en-
gaged as directors of photography and have
demonstrated outstanding ability. ASC
membership has become one of the highest
honors that can be bestowed upon a
professional cinematographer — a mark
of prestige and excellence.
OFFICERS 2021/2022
Stephen Lighthill
President
Amelia Vincent
Vice President
Steven Fierberg
Vice President
John Simmons
Vice President
Steven Poster
Treasurer
Gregg Heschong
Secretary
Jim Denault
Sergeant-at-Arms
MEMBERS
OF THE BOARD
Christopher Chomyn
Curtis Clark
Richard Crudo
Frederick Elmes
Steven Fierberg
Edward Lachman
Stephen Lighthill
Steven Poster
Lawrence Sher
IMAGES BY John Simmons
Rodney Taylor
ANTONIO CALVACHE • RUSSELL CARPENTER • JAMES CHRESSANTHIS John Toll
FREDERICK ELMES • STEPHEN GOLDBLATT • EDWARD LACHMAN Amelia Vincent
Mandy Walker
JACEK LASKUS • PHEDON PAPAMICHAEL • JOHN SIMMONS
Robert Yeoman
JOHN TOLL and MORE
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MARCH 2021 / 7

Letter From the President
Filmmaker Mikhail
Kaufman and his
movie camera.
PORTRAIT BY MICHAEL M. PESSAH, ASC.
IN THIS MARCH 2022 ISSUE, we note that two years have gone by the first “city” films portraying the unique lives of cities as they awaken.
since the beginning of a worldwide public health crisis. We will not char- Vertov established the notion of “this is how it’s done,” by putting him-
acterize these two years, or cry about the traumas faced. Suffice to say: self and his younger brother, camera operator Mikhail Kaufman, in the
These years have presented remarkable challenges. movie, filming the camera as it was filming — thus creating one of the
This month will also see the presentation of our 36th Annual ASC original behind-the-scenes, or BTS, moments. (Dziga and Mikhail were
Awards ceremony. We hope you find the event an inspiration as we cel- the older brothers of Society member Boris Kaufman.)
ebrate the best work in cinematography in the many genres and distri- Vertov’s motivation seems to have been to turn a camera on every-
bution pathways that are now possible. day people, and to also show the effort it took to create the film, in-
In the spirit of the season of award presentations, it is time to turn cluding the camera as it was cranked. It is a very Russian film, a literal
away from our everyday challenges and remind ourselves of core cre- montage from beginning to end, which we would now refer to as exper-
ative ambitions for cinematographers. And so, this issue is focused on imental filmmaking.
image-making aesthetics, leading off with Sir Roger Deakins, ASC, BSC’s Many in our mentorship program have the opportunity to visit the
discussion with our intrepid editor-in-chief, Stephen Pizzello, about six productions of ASC members and to experience the life of the cinema-
films that were foundational in shaping who he is as a filmmaker. tographer, as in Man With a Movie Camera. A glimpse of the just-indus-
This discussion is in the tradition of ASC members passing on our trialized Russian society is presented in MWAMC, but the film is about
experiences to a younger generation — through this magazine, of more than that; it shows the building blocks of filmmaking, in whirlwind
course, but also through our ASC mentorship program. In this month’s fashion. The heart of filmmaking and the craft of cinematography is on
Shot Craft column, Jay Holben writes about mentorship. Many of us in the screen: the dramatic moment. It is literally the beginning of mentor-
the ASC participate in mentoring through our Vision Committee. The ship — in a movie.
ASC Mentorship Program is co-chaired by Society members Patti Lee Hopefully, we can now get back to what we love to do — and talk
and Todd A. Dos Reis, under the leadership of the Vision Committee about — with our own movie cameras, and leave trauma behind.
co-chairs — members Cynthia Pusheck, John Simmons, Polly Morgan
and Fernando Argüelles. The Vision Committee began under the leader-
ship of past president Kees van Oostrum. It should be clear that it takes
many of our members to create and run the mentorship program. It is
in the best spirit of our Society that more than 80 people per year are
partnered with ASC members to informally face and shape their future Stephen Lighthill
as cinematographers. President, ASC
This spirit began with cinematography itself: In 1929, the Russian
cinematographer Dziga Vertov made Man With a Movie Camera, one of
8 / MARCH 2022
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Shot Craft By Jay Holben
ASC Members and Mentors
PHOTO BY ALEX LOPEZ, COURTESY OF THE ASC.

Society members Shana Hagan (right)
and Steve Gainer with Hagan’s mentee,
Rachel Bardin, at the ASC Clubhouse for
the Documentary Master Class shoot.
One of the most time-honored Award-winning Breathing Lessons: “One of the first things I asked “Now that I am an ASC member
traditions in the motion-picture in- The Life and Work of Mark O’Brien; about was his incredible lighting. He and I have a mentee of my own
dustry is that of veteran filmmakers the Academy Award-nominat- taught me the meaning and value of [through the ASC Vision Mentorship
mentoring the next generation. The ed Walk Run Cha-Cha; and 19 justified, motivated sources. I loved Program], I try to emulate what
American Society of Cinematogra- Sundance Film Festival selections, his approach to naturalistic lighting, Allen taught me about mentoring:
phers was founded with the dual including Generation Wealth, The and I literally use his advice anytime Be accessible, be an open book,
purpose of advancing the art and Queen of Versailles, Taylor Swift: I’m lighting a scene. I ask myself, and be honest and truthful about
science of cinematography and Miss Americana and Shakespeare ‘Where is the logical light source?’ your own experiences in order to
bringing cinematographers together Behind Bars. She’s also served as Keeping the lighting grounded and help your mentee find their own
to exchange ideas and techniques. cinematographer on Somebody realistic felt right to me and aligned path. Essentially, the ‘call me any-
ASC members have a long history Somewhere for HBO, and on Fox’s with my own aesthetic. time’ approach.
of mentoring burgeoning artists and upcoming Welcome to Flatch. “Allen was so encouraging and “I met my mentee, Rachel Bardin,
students, and those relationships “I always called Allen Daviau, genuinely interested in my success last year. When I was about to do
are still thriving today. ASC my unofficial mentor because over the years. That is something the lighting and handheld cine-
To get a better understanding we were never part of any formal that will always stay with me. He ma-vérité demos [while teaching]
of these symbiotic and synergistic mentorship program. Allen loved believed in me even when I didn’t the ASC’s first-ever Documentary
pairings, this installment of Shot talking about his craft. He wanted believe in myself. He taught me that Master Class [held online due to
Craft features conversations with to help the next generation of being a good human is as important Covid restrictions], I asked if she’d
some of the ASC’s newest members filmmakers, and he was eager and as any cinematography skills you be part of that shoot. Rachel gladly
about their mentors and how they open to sharing any and all of his may learn along the way. agreed, and we worked together
pay it forward. knowledge with pretty much anyone
who asked. When I asked, he gave
Share Your Knowledge, and Keep me his phone number, told me to “Be accessible, be an open book, and be honest
Learning call him anytime, and encouraged
and truthful about your own experiences in
Shana Hagan, ASC’s documen- me to ask him anything I wanted to
tary work includes the Academy know. order to help your mentee find their own path.”
10 / MARCH 2022
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Quyen Tran, ASC with mentors
John Simmons, ASC (top) and
Roger Deakins, ASC, BSC.
the whole day on set at the ASC Unbelievable, Here and Now, that are best for my family as well
Clubhouse. She asked really great Camping, A Teacher and Maid. as my career. So, I tend to mentor
questions during that shoot — both When asked about her mentor, Tran young cinematographers who also
on camera and off — and I admired shared an article she authored for are seeking that work-life balance.
the way she absorbed all the tips Variety in which she wrote: For myself, I try to choose projects
and tricks, followed up on things “While studying film at UCLA, based on story, story, story, as
she needed more info on, and I knew I was drawn to narrative Roger always says. When my
enjoyed the process of learning. It projects. The path was incredi- mentees ask, ‘Should I shoot this?’
was also a great opportunity for me bly narrow, twisted and steep at I always respond, ‘Do you relate to
to rearticulate how and why I do times, but my focus remained clear, the story? Is it a story you want to
things. I’m always asking questions thanks to early guidance from Roger tell?’ For me, it must be a story I
and encourage anyone I meet Deakins [ASC, BSC], who taught want to tell, since I will be spending
coming up in the industry to do just for a semester as our cinematog- time telling this story as opposed to
that. Keep asking questions. Keep rapher-in-residence. Under his spending time with my family.
learning. mentorship, I learned that the story “As a mentor for the Academy,
“One thing I’ve learned over the was the driving force behind his the ASC, and Project Involve, I am
years and give as advice: When decisions. And today, the projects I assigned mentees, but I have many
you’re looking to build your network, connect with the most have strong, informal mentees as well, and I try
be open to taking jobs that aren’t clear narratives.” to keep in touch with past mentees.
‘perfect’ and try to learn at least one In her conversation with AC, she It is definitely a two-way street. I
PHOTOS COURTESY OF QUYEN TRAN, ASC.

new thing on each gig. You might adds, “I also met Johnny Simmons, find great joy in lifting up young
learn a new skill, meet someone ASC at UCLA. He was one of filmmakers, and it reminds me to
new — who may give you your next my cinematography professors, practice what I preach.”
job! — get your hands on a piece and I remember very distinctly
of gear you haven’t worked with something he said to me one day Stay Calm, and Always Knock
before, and gain confidence and set as I was shooting a film on the Hailing from Denmark, Charlotte
experience that will help you clarify sound stage. He said, ‘Quyen, Bruus Christensen, ASC studied at
your own path. there are lots of DPs who get the the European Film College before
“Allen taught me so much. My job done. It’s the how part that earning a degree in cinematography
mentees teach me to be curious matters, so let’s talk about how from the National Film and Televi-
and continue to ask questions. you’re going to shoot this.’ Since sion School (NFTS) in London. She
Sharing our knowledge with each we both hail from a background has been nominated twice for the
other is the key to preserving our in stills and painting, Johnny and I Camerimage Golden Frog, for The the industry, how to say no, the
craft.” shared so many interests, and he Banker and Submarino. Her work ‘force’ of operating the camera, and
has remained a constant inspiration also includes Far From the Madding how to control yourself and that
Let Story Drive Decisions, and Find for me throughout my career — not Crowd (2015), The Girl on the Train, young and indomitable passion. He
Work-Life Balance only with his dedication to story- Fences, A Quiet Place and Black showed how to filter away what
Quyen Tran, ASC started her telling, but in his activism in the Narcissus (2020). could appear as superfluous vigor
career as a still photographer, cinematography community. “There are a number of people and/or impatience, when too much
gaining acclaim for her images of “I am very active when it comes who have guided me, taught me excitement and passion collide with
the heartbreaking destruction of to mentoring because I know how specific techniques, and given the director’s point of view, and how
9/11. Translating this emotive work important it is to not only guide indispensable advise throughout to truly embrace the cinematog-
into cinematography, Tran was young storytellers, but to help the years. But Brian Tufano, BSC rapher’s role and give yourself and
featured as one of AC’s 2017 Rising prepare them for family and work stands out. He not only taught me your ideas to the vision of directors.
Stars of Cinematography (AC Feb. balance. As the mother of two the most essential elements of “Brian had just become cinema-
’17). She studied cinematography young children, I often felt it was being a cinematographer — lighting tography department head at NFTS
at UCLA and received the school’s impossible to have both a career and framing the story — but also when I was a student, but his advice
Distinguished Alumni Award in 2019. and a healthy family life. Although how to last, physically and mentally. and support went way beyond that.
Her work includes Palm Springs, it’s not easy, I try to make decisions He taught me how to navigate He inspired me to become the DP
MARCH 2022 / 11

Shot Craft
Charlotte Bruus Christensen, ASC

and her mentor Brian Tufano, BSC.
PHOTO COURTESY OF CHARLOTTE BRUUS CHRISTENSEN, ASC.

“When someone that I am today. When someone whining and get out of here. Make Society of Cinematographers, was
believes in you, even just a brief it happen.’ He turned back to his my teacher and the dean of the
believes in you, even comment can hit you like a tsunami work, and said, ‘Please make sure to Beijing Film Academy cinematog-
just a brief comment because it’s said in the right mo- knock next time.’ raphy department. I remember
ment and the right tone. Sometimes “I left that room feeling so two stories from when I worked as
can hit you like a those comments are critical and embarrassed, and I have never put camera operator with him, just after
tsunami because can hurt in that particular moment, myself in that complaining, whining I graduated.
but you know that it is said to make position ever again. When I feel that “One day, while we were
it’s said in the right you better. Brian became the per- way now, I have a solution before I shooting on location, a shot was to
moment and the right son I could always call for advice. go to anyone’s office. And I always follow two actors while they walked
Sometimes, I would make that call; knock!” shoulder-to-shoulder and talked.
tone.” other times, just knowing that I had The lens was 85mm, and I just
someone to call made me trust my Think Ahead, and Leave the Set tried to keep both of them in the
intuition. Last frame. Everything was rehearsed
“Once, in the midst of shooting Luo Pan, ASC, CNSC, a native of beforehand, and I didn’t think there
my final project at school, I burst Hubei province in central China, would be any problem. Suddenly,
into Brian’s office, full of myself studied cinematography at the Bei- one actor left and walked toward
with all my concerns, anxieties and jing Film Academy. He then taught another direction. I lost him and
problems, and I furiously cried out cinematography at the Communi- quickly panned the camera trying
that I couldn’t get the equipment I cation University of China before to follow him, and then panned
wanted, the gaffer couldn’t do [the working as a still photographer for back to the other actor, who I then
setup I wanted], and I was super Tibet Culture Magazine. His films realized was still speaking dialogue.
stressed! Brian turned around include Mr. Six, Youth, I Am Not The director angrily shouted, ‘Cut!’
in his squeaky old office chair, Madame Bovary and The Battle at Mr. Mu, as the DP of this film, came
looked at me and just said, ‘You’re Lake Changjin. up to me and said, ‘Remember that
not stressed. Stress is when the “My mentor, Mr. Mu Deyuan, you must always be ready for any
phone doesn’t ring. Please stop who is the president of the Chinese possibilities. You have to think of
12 / MARCH 2022

STOP CHASING LIGHT.
START CREATING IT.
VIRTUAL PRODUCTION
EDWARD HANRAHAN | ehanrahan@whites.com
Director, Virtual Production © 2022 Pixomondo LLC © 2022 William F. White International Inc.
MARCH 2022 / 13

Shot Craft
Luo Pan, ASC, CNSC and crew.
PHOTO COURTESY OF LUO PAN, ASC, CNSC.

”Remember that you much more than anyone on the set, finishes packing. This is a gesture to advance, to be bold — he was a
even director and actors, otherwise of solidarity and respect to my crew. generous, amazing guiding light in
must always be ready you will be fired.’ It’s important.” my life.
for any possibilities.” “I never made the same mistake “Very early in my career, I was a
again in the next 20 years of my Follow Your Heart, and Ask for Help PA for a commercial in Mexico City,
career — not just in my work as a Mexican-born Gonzalo Amat, ASC shot by Rodrigo Prieto [ASC, AMC].
camera operator, but also as a DP. studied fine art photography at the Years later, as I was embarking on
“Another time, on an extreme- Centro Cultural Arte Contemporá- my career, I reached out to him and
ly cold winter night, we had just neo in Mexico City, attended the he was generous to take my call
finished a night sequence, and it London Film School, and received and continue to take my calls. He
was getting close to 5 a.m. We were a Master of Fine Arts in cinema- and I have now been friends for
packaging everything into the truck tography from the American Film more than 25 years. He invited me
and wanting to go back to the hotel Institute. For his work on the series to shoot some 2nd unit for him, and
as quickly as possible because ev- The Man in the High Castle, Amat he has provided invaluable advice
eryone was exhausted. The director has received two ASC Award nom- over the years.
and actors had already gone, but inations and an Emmy nomination. “One of the more significant
I found Mr. Mu still sitting on the His other credits include Paranormal pieces of advice I got from Rodrigo
set. I asked why he stayed, since I Activity: The Marked Ones, Person was when I went to him for counsel
thought he, as the DP, should have of Interest and Outer Banks. on trying to choose between two
gone back to the hotel. Mr. Mu said, “One of the first significant projects. One I felt would be a
‘As the boss of the camera team, mentors I had was actually a gaffer, better career move, and the other
you need to be the last one [to not a cinematographer, Jon Tower. offered substantially more money.
leave]. We are on a team, and this is He was the first person who really He said, ‘Which one do you feel
leadership. One day, when you are pushed me. He introduced me to happier about being involved with?
in my position, don’t forget it.’ [ASC members] Ueli Steiger and Which director is more interesting?
“Now, at the end of most of my Mauro Fiore, which opened the Which project seems more exciting
shooting days, I do not go back door for me to shoot 2nd unit with or challenging? Pick that one. For-
to my car until the camera team Mauro. Jon was always pushing me get about your career or the money
14 / MARCH 2022

WINNER WINNER WINNER WINNER WINNER WINNER WINNER
BEST CINEMATOGRAPHY BEST CINEMATOGRAPHY BEST CINEMATOGRAPHY BEST CINEMATOGRAPHY BEST CINEMATOGRAPHY BEST CINEMATOGRAPHY BEST CINEMATOGRAPHY
CRITICS ASSOCIATION PHOENIX FILM PORTLAND CRITICS SAN DIEGO FILM SOUTHEASTERN FILM SUNSET FILM WASHINGTON AREA FILM
OF CENTRAL FLORIDA CRITICS SOCIETY ASSOCIATION CRITICS SOCIETY CRITICS ASSOCIATION CRITICS CIRCLE CRITICS ASSOCIATION
10
PGA AWARD CRITICS CHOICE NOMINATIONS ASC AWARD
NOMINEE INCLUDING
NOMINEE
BEST PICTURE
DARRYL F. ZANUCK AWARD
BEST PICTURE BEST CINEMATOGRAPHY
GREIG FRASER, ASC, ACS
BEST CINEMATOGRAPHY
GREIG FRASER, ASC, ACS
“AS A VISUAL AND VISCERAL EXPERIENCE,

‘DUNE’ IS UNDENIABLY TRANSPORTING.”
JUSTIN CHANG,
F O R Y O U R C O N S I D E R AT I O N I N A L L C AT E G O R I E S I N C L U D I N G
BEST PICTURE
B E ST C I N E M ATO G R A P H Y G R E I G F R A S E R , A S C , AC S
W W W. W B AWA R D S . C OM
MARCH 2022 / 15

Shot Craft
Gonzalo Amat, ASC on the set of The Man in the High Castle.
PHOTO COURTESY OF GONZALO AMAT, ASC.

“The mentorship — your career is not determined like but that relationship started after I another country. Often, I admire
that. Follow your heart and you can’t became a member of the ASC. Even the work of my mentees, so I get to
relationship isn’t just go wrong.’ That is [counsel] that I after that [milestone], I still seek learn from them, too! I’m currently
for the start of your still follow to this day when faced advice. One of the amazing things mentoring a cinematographer from
with that dilemma. about being in the ASC is that you Mexico, Melissa Nocetti, whom I
career — it never ends.” “As I started to turn toward suddenly have access to all of the first met through the ASC Vision
directing, a former operator and members, and they are happy to Mentorship Program. She’s got a
DP-turned-director, Rodrigo García, talk, share and help. Rachel Mor- spectacular eye, and while she’s
has been incredibly helpful to me. rison, ASC has also been helpful seeking my advice, I’m often asking
His no-nonsense approach is a to me on the directing side of my her, ‘How did you do this? You have
great influence on me. He’s said, career with how to best work with a no resources!’ But she’s really smart
‘[Directing] is not rocket science! cinematographer when I’m directing. about how she approaches things,
It’s about listening to everyone’s I’ve also sought advice on logistical and I learn from her. It’s a two-way
ideas. Everyone around you on aspects of the business, like agents street.
the set knows what they’re doing, and managers. We all have different “My recommendation for seeking
and when they come to you with experiences and different knowl- a mentor is to just reach out to the
questions, they normally also have edge, and we share with each other. individual directly. If you have talent
the answer that is often best for the The mentorship relationship isn’t and passion and are respectful,
story. Listen to them.’ I think about just for the start of your career — it professional and specific with your
that every day when I’m directing. never ends.” questions, you’ll often have great
I make sure to ask the crew what As a mentor himself, Amat offers: results.”
they think. If I don’t know how to “I think I can be of more help to
block a scene, I’ll ask the actors or international cinematographers
the DP — they’re the experts and coming from Europe, South America
they will help you. and Mexico, especially, as I have
“Johnny Simmons, ASC is an- personal experience navigating
other amazing inspiration in my life, the transition into Hollywood from
16 / MARCH 2022
p. 10-17 Shot Craft_v5.indd 16 2/3/22 9:26 PM AC

AMERICAN
CINEMATOGRAPHER
MANUAL
NEW EDITION!
The revised 11th edition of this essential technical
reference is now exclusively available for pre-order
from the American Society of Cinematographers.
Containing entirely new chapters and substantial

rewrites of entries from the previous edition, this
hardback book designed for on-set use is a must-have
for cinematographers and other motion-imaging
professionals.
Edited by M. David Mullen, ASC and ASC associate

member Rob Hummel, contributors to this edition include
Society members Bill Bennett, Christopher Chomyn,
Richard Crudo, Richard Edlund, John C. Hora, Levie
Isaacks, Dennis Muren, James Neihouse, Sam Nicholson,
Steven Poster, Christopher Probst, Pete Romano,
Roberto Schaefer and David Stump.
Topics covered in this new edition of our

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• Evaluating digital cameras

• Take ownership of your sensor
• Measuring light
• The color science behind modern lighting instruments
• Virtual production/emissive screens
• Digital versions of day-for-night and infrared
cinematography RESERVE YOUR
• Imax/large-format cinematography
• Specialty lenses COPY NOW!
• Variable frame rates
• ASC Color-Decision List (ASC CDL)
• Academy Color Encoding System (ACES)
The new AC Manual will be shipped in late March.

Pre-order now for yourself or as a gift at
store.ascmag.com
p. AC
10-17 Shot House
Manual Craft_v5.indd
Ad.indd 17
72 2/3/22 9:26
1/31/22 PMAM
11:21
Roger Deakins, ASC, BSC:
Six Favorite Films
The renowned cinematographer selects
and discusses some masterful features
that have left a lasting impression —
and influenced his own work.
By Stephen Pizzello
R
oger Deakins, ASC, BSC has reached a rare altitude for
practitioners of his craft. His mantlepiece is crowded
with cinematography honors; his name is familiar even
to non-industry movie lovers; he’s been knighted by
Queen Elizabeth II. But despite all the acclaim, Deakins
remains, at heart, a passionate connoisseur of cinema
who revels in the art form’s ability to transport viewers
to higher planes of emotional, spiritual and intellectual engagement.
Put more plainly, he’s a huge fan of movies, just like the rest of us.
As one might expect, Deakins is a discerning buff whose knowledge
encompasses films from every era and all regions of the world. When AC
asked him to select and assess six films that have inspired him as both a
film buff and a cinematographer, he quickly agreed and sent the magazine
a list of six titles.
18 / MARCH 2022
p. 18-33 Deakins_v3.indd 18 2/3/22 9:27 PM

MARCH 2022 / 19

ROGER DEAKINS, ASC, BSC: SIX FAVORITE FILMS
Previous spread and this page: Portraits of Roger Deakins, ASC, BSC
taken by unit photographer François Duhamel, SMPSP on the sets
of Skyfall (2012) and Revolutionary Road (2008). Opposite: Gabriele
Ferzetti and Monica Vitti in Michelangelo Antonioni’s L’Avventura (1960),
shot by Aldo Scavarda.
PHOTOS FROM SKYFALL AND REVOLUTIONARY ROAD BY FRANÇOIS DUHAMEL, SMPSP, COURTESY OF
SONY PICTURES AND DREAMWORKS PICTURES.
“I enjoy the kinds of films that have Pondering the list reveals some common threads. European perspec-
enough subtext to make you think and tives abound, as three of the directors are Russian, two are Italian and
one is French. Faces and environments, rather than overt action, are key
inspire you to watch them again.” to the storytelling. Each film subscribes to the cinematic philosophy of
“show, don’t tell,” with meditative atmospheres that encourage audi-
ences to truly ponder the imagery. Active viewership is required to fully
grasp the stories being told, and their underlying themes. Finally, the
specter of death, and a sense of foreboding, looms in each narrative.
Collectively, the films in this mini “Deakins Festival” comprise a rigor-
ous but rewarding journey. Five of the six are commonly acknowledged
by film scholars as timeless masterpieces; the most recent, released in
2011, may be less familiar, but enjoyed a wave of critical acclaim.
Acknowledging the heavy themes that prevail in his selections,
Deakins says, “I go to the cinema like everybody else, to escape, and I
enjoy some fluffy movies. But if you ask which of my favorites have re-
ally meant something to me over the years, then these are the kind of
films that resonate with me.” With a rueful chuckle, he adds, “Sadly, I
20 / MARCH 2022

AMERICAN CINEMATOGRAPHER ASCMAG.COM
have a very jaundiced view of mankind, and frankly, the filmmakers I’ve cinematographer Scavarda’s striking black-and-white cinematography.
worked best with tend to have a similar perspective. I gravitate toward The film’s plot superficially concerns a woman’s mysterious dis-
movies that challenge the viewer’s beliefs or question the nature of reali- appearance during a Mediterranean boating trip, and the subsequent
ty. The films that really stick with me are the kind that make me consider relationship that develops between her lover and her best friend. But
my opinions.” Italian neorealism was giving way to movies that addressed the inner
Here are Deakins’ selections, in chronological order and accompanied psychologies of characters, and the settings and imagery in L’Avventura
by his observations. are used to subtly telegraph the internal turmoil of its key protagonists
as they become distracted from the supposedly urgent mission to find
L’Avventura (1960) their missing intimate.
Director: Michelangelo Antonioni “I probably saw L’Avventura for the first time when I was in my teens,”
Cinematographer: Aldo Scavarda Deakins recalls. “At that point in my life, I was watching it through dif-
ferent eyes, so I didn’t really relate so much to the story — I think I was
When it premiered at Cannes, Antonioni’s early masterwork was scorned just taken by the imagery and the construction of the shots. I was always
by audiences frustrated by its languid pacing and abandonment of tradi- interested in the cultural differences between films from different coun-
tional storytelling, but its audacity was still rewarded with the festival’s tries, and how approaches to international films developed and varied
Jury Prize. Many of the director’s narrative strategies and techniques rep- — so I was aware of Italian neorealism, and I found it interesting to see
resent a radical, sophisticated advance in cinematic language, aided by how Antonioni approached the characters and settings [in a new way].”
MARCH 2022 / 21

Top: The physical settings in L’Avventura reflect the interior worlds of the
film’s characters. Bottom: The film’s plot is set in motion by the mysterious
disappearance of Anna (Lea Massari, center) during a Mediterranean
boating trip. Opposite: Deakins surveys a landscape while shooting the
2019 World War I drama 1917.
“The more you plan, the more you can

improvise. If everything is pre-planned,
I find it a bit stultifying.”
Around the same time, Deakins was absorbing other films that sprang
from experimental, avant-garde sensibilities, including Alphaville and
Last Year at Marienbad. “I didn’t always understand them completely, but
I really admired those kinds of movies as film art — the images, sound
and camera movement were so compelling that you couldn’t avoid being
drawn in.”
In L’Avventura, he points out, “there are so many things in the film that
are not driving a [traditional] narrative, and that’s what I like about it —
the approach seems more true to life. Maybe that approach makes the
film more challenging for an audience, but I like being taken through the
story in a different way.” Citing an example, he notes, “There’s a scene in
the film where the couple stop at this little village, and it’s empty. They’re
22 / MARCH 2022

1917 PHOTO BY FRANÇOIS DUHAMEL, SMPSP, COURTESY OF UNIVERSAL PICTURES.
surrounded by Fascist architecture, and there’s by academics, or that film scholars may em-
a church in the middle of town. They just stop brace or find intriguing. L’Avventura is often
there and walk around — you don’t know what hailed for breaking cinematic rules to illustrate
they’re doing, or why they’re there. And then the characters’ alienation from each other —
they leave. But there’s something about the as in cuts where protagonists who are speak-
scene that’s really engaging. You may not grasp ing to each other are shown facing in opposite
the full meaning on your first viewing, but directions, abandoning the traditional rules of
personally, I enjoy the kinds of films that have screen grammar. “It’s interesting to me that
enough subtext to make you think and inspire people do that all the time now, but I don’t sub-
you to watch them again.” scribe to it,” Deakins asserts. “You’ll see a film
Occasionally, the lessons Deakins gleans where characters on the left of frame are look-
from a film are at odds with elements praised ing left, and it’s cut against a shot of somebody
MARCH 2022 / 23

on the other side of the frame looking the other way. Personally, I find
that very disorienting, and it’s so overdone now that it’s become an af-
fectation. But I think the way Antonioni uses those techniques helps you
feel the disconnect between the characters on a subconscious level.”
Once Upon a Time in the West (1968)

Director: Sergio Leone
Cinematographer: Tonino Delli Colli, AIC
Leone’s ambitious, atmospheric Western is memorably presented in

glorious, widescreen Techniscope. Introduced by Technicolor Italia in
1960, the format utilized a two-perforation negative pulldown per frame
instead of the standard four-perf frame common to 35mm photography.
Its 2.32:1 aspect ratio could easily be cropped to the 2.35:1 widescreen
ratio because it used half the amount of 35mm film stock and standard
spherical lenses. Distribution prints for theatrical venues were made by
enlarging the frame from a two-perf flat ratio to a four-perf anamor-
phic ratio. According to cinematographer Delli Colli, this choice suited
Leone’s style and saved the production a lot of raw film stock, despite
the director’s penchant for shooting plenty of takes.
Top: A mysterious stranger (Charles Bronson) arrives at a
The movie’s central theme is the fading of the Old West amid relent-
desolate train station in Sergio Leone’s Once Upon a Time
less modernization and greed, but the narrative can also be viewed as an
in the West (1968), shot by Tonino Delli Colli, AIC. Bottom:
The pitiless execution of a French Resistance traitor is a elegy for the Western genre itself. Each of the characters symbolizes an
somber set piece in Army of Shadows (1969), directed by aspect of the main theme, and while the picture is a veritable mixtape of
Jean-Pierre Melville and shot by Pierre Lhomme, AFC and homages to other famous Westerns, the classic tropes are often revised
Walter Wottitz. and reconfigured in new and unexpected ways — like casting Henry
Fonda, known for his famous roles as Western heroes, as the baddest
of black-hat bad guys. “Thematically, it’s similar to The Assassination of
24 / MARCH 2022

“It’s magical what film can do sometimes, and no other medium can do that, really.”
Jesse James [by the Coward Robert Ford], or The Wild Bunch,” Deakins says. production’s financiers mandated color. The director and his primary
“All are about characters whose time is passing on. They can’t keep up, cinematographer, Lhomme, subsequently strove for images that were as
and they feel disconnected with the way the world has gone.” desaturated as possible, leaning toward blue tones. According to Lhom-
Deakins notes that the elements of Leone’s signature style, further me, Melville hated warm colors, so the filmmakers tried to avoid them at
magnified by composer Ennio Morricone’s immortal score, transform all costs, as well as bright colors in general. A thin orange-yellow wash
the story into grand opera: iconic set pieces rendered in spectacular wi- of paint was sometimes added to set walls and later timed out by adding
descreen compositions; extremely dynamic close-ups, many featuring blue, allowing the filmmakers to achieve paler skin tones for the actors
solidly center-framed faces or an intense focus on eyes; meticulous stag- while keeping the walls gray.
ing and blocking; masterful use of depth of field to marry foregrounds When the film was restored, there was no absolute reference for the
and backgrounds; and compelling use of zoom lenses to reframe scenes original 1969 print, because early prints had faded. But in a July 2007 AC
on the fly. Above all, the narrative is presented visually, with a bounty of interview, Lhomme noted that the digital-intermediate process allowed
small details and some sequences that play out with minimal dialogue. him to create a restored negative that may have been more faithful to
“It’s a film — it’s not a novel, and it’s not a radio play,” Deakins observes. Melville’s vision than the original print, because he was able to further
“A film works best when it’s images and sound — it doesn’t have to be desaturate the images and decrease the blue tonalities.
done with dialogue, or linear narrative storytelling. When I’m working
on a film, I’m always looking for ways to remove dialogue — if it’s not
needed — and do a scene visually. I love that.”
Citing one of his favorite moments in the film, Deakins says, “I’ve al-
Large Format Directors Viewfinder
ways enjoyed the initial reveal of Henry Fonda as the bad guy. I read
somewhere that Fonda never understood why Leone chose him for the Full Format
role until the camera came around in that shot to reveal his face. He had
played the hero in Young Mr. Lincoln and many other films, yet now he’s
in all its Glory
this villain telling one of his henchmen to kill a young kid!
“I also love the sequence where Claudia Cardinale arrives at the rail-
way station and gets into a wagon, and then the camera cranes up ma-
jestically. I don’t usually like those kinds of grand, elaborate shots, but
Leone is really creating an opera, so that kind of larger-than-life camera
movement works. Throughout the movie, he shoots Monument Valley in
such a huge way that it’s nowhere near realism — it’s almost over-the-
top. When you combine that kind of style with the magnificent score, it
goes beyond simple narrative storytelling and becomes a kind of poetry.
It’s magical what film can do sometimes, and no other medium can do
that, really.”
“While recently shooting
The Pursuit of Love on the Alexa
Army of Shadows (1969) LF with Signature Primes, I was
Director: Jean-Pierre Melville able to view the full scope of this
Cinematographers: Pierre Lhomme, AFC and Walter Wottitz beautiful format in all its glory.
Light and easy to handle, the
This World War II drama about an elite group of French Resistance op-
Lindsey Optics Large Format
eratives languished in obscurity for many years until it was restored and
Directors Finder was a great tool
re-released, to wide acclaim, in 2006. The film’s somber, serious tone
reflects the high stakes of the story, which concerns nothing less than
on set when it came to
the fate of France and of Western civilization in general — as reflected in discussing framing options
the startling opening shot of Nazi soldiers marching in front of the Arc
de Triomphe and moving straight toward the camera. (Obtaining per-
with the director.
”
Zac Nicholson, BSC
mission to shoot this sequence was in itself a triumph, and the sequence
required the filmmakers to choreograph a group of dancers who had
spent many hours practicing military marches.)
Melville initially wanted to shoot the film in black-and-white, but the
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MARCH 2022 / 25

Top: Psychologist Kris Kelvin

(Donatas Banionis) is sent to a
space station orbiting a distant
planet so he can assess the mental
states of its crewmembers in Solaris
(1972), directed by Andrei Tarkovsky
and shot by Vadim Yusov. Bottom:
After boarding the spacecraft, Kelvin
is haunted by a simulacrum of his
dead wife, Hari (Natalya Bondarchuk).
“There are certain films that do history justice more than others, and
I feel this is one of them,” Deakins says. “Melville himself had been in the
Resistance, and so had Joseph Kessel, who wrote the novel the movie is
based on. Together I think they constructed something that is absolutely
true to the period and to the feeling of being in France during the war.
I think Army of Shadows is closer to what I imagine the reality was than
any other film I’ve seen. From the beginning of the story, you feel that
these characters are doomed — that whatever they do, somebody more
clever is going to betray them.”
While Deakins admires the actors’ remarkable performances, he
finds the staging of various sequences just as compelling. “The long
sequence where the Resistance team takes an informer to a secluded
house, ties him up to a chair and then discusses how they’re going to kill
26 / MARCH 2022

him — right in front of the guy — is incredibly bleak. The movie has a Solaris (1972)
number of incredible set pieces that are so well crafted. Sometimes the Director: Andrei Tarkovsky
camera doesn’t move at all, and sometimes it moves in a very elaborate Cinematographer: Vadim Yusov
way. It’s just breathtaking the way it’s all done — it looks effortless, but
to get that sense of reality, and the kind of pacing the film has, must have Although Tarkovsky’s metaphysical science-fiction epic became known
been extraordinarily difficult.” as “the Russian 2001,” its director famously criticized Stanley Kubrick’s
While the film has its share of dodgy-looking effects shots — a plane 2001: A Space Odyssey as cold and clinical, noting that Solaris is more
flying across the English Channel at night, a submarine surfacing in a focused on human memories, emotions, moral conscience and destiny.
bay — Deakins surmises that these were cost-saving measures. “I recall While cinematographer Yusov echoed Tarkovsky’s issues with the un-
Melville being quoted as saying, ‘I’m not going to spend the money on derlying concepts in 2001, he conceded that they both admired Kubrick’s
the effects shots. I’m telling a story, and what’s important is the char- impressive technical and visual achievements.
acters. Those shots are just there to tell the viewer what’s happening.’” Philosophical differences aside, the two landmark productions share
many similarities: In both pictures, an aura of interstellar mystery
MARCH 2022 / 27

Below: An image Deakins captured in 2014 at the San Jose

Cemetery in Albuquerque, N.M. Opposite: Roger and James
Deakins at the November 2021 launch of his photographic
memoir, Byways.
More Deakins, Online and in Print

In addition to shooting films, the ever-industrious Deakins has kept 1971, during an October 2021 launch event held at the United Talent
busy with several side projects. In April of 2020, he and his wife and Agency in Beverly Hills, where he signed copies and mingled with
professional partner, James, began producing their popular Team guests. The cinematographer started out as a photographer for an art
Deakins podcast, an ongoing conversation in which the couple dis- center in North Devon, England, and some of those photos are in the
cusses cinematography, the film business and a wide range of other book alongside others he took locally in his hometown of Torquay or
topics. The duo has also interviewed an impressive roster of filmmaker while “wandering about” during his career travels. He’s described the
guests, including directors, producers, cinematographers, actors, pro- book as an “unpretentious sketchbook” that sprang to life after his
duction designers, editors and many other professionals who work on initial application to England’s National Film and Television School was
set, as well as influential figures from leading industry companies and rejected. (He was later accepted to the school in 1972.) Through these
organizations. The podcast is currently on hiatus, but all past episodes photographs, “I think I started to develop my own personality in terms
can be accessed via their website, rogerdeakins.com, and the record- of images,” he says in Episode 163 of the Team Deakins podcast. “I like
ings include interviews with several of the filmmakers mentioned in observing things, and I like exploring new places. I can spend days or
this piece, including a two-parter with the director/cinematographer weeks wandering around a new city and just exploring.
team of Andrey Zvyagintsev and Mikhail Krichman (Episodes 65 and “These are just some of the images that grabbed my attention,”
66) and one with cinematographer Aleksei Rodionov (Episode 100). he says. “Some of the photographs are 50 years old. I’ve always liked
More recently, Deakins unveiled Byways, a book of previously them, and maybe I feel nostalgic for them, and I wanted to include
unpublished black-and-white still photographs he has taken since them so they don’t just get lost.”

BOOK-LAUNCH PHOTOS BY ALEX BERLINER, COURTESY OF ABIMAGES AND UNITED TALENT AGENCY.
28 / MARCH 2022

prevails as brilliant camera moves maneuver the viewer through sets rife Deakins points out that while Tarkovsky took some liberties with
with inspired production design, and both are extremely meticulous in Stanisław Lem’s source novel, the director “worked with the bits that
terms of their execution. “One thing all of the films I chose have in com- inspired him” and didn’t feel inhibited in presenting his own interpre-
mon is that they’re very precise,” Deakins observes. “They’re very thought tation of the text. This strategy was in keeping with Tarkovsky’s general
out, you know? While watching them I never think, ‘Oh, well, the camera philosophy on adapting source material: unless you invest something
could have been somewhere else.’ It’s there in a specific spot because the of yourself in the film version, the onscreen result might not transcend
director has clearly and purposefully chosen that point of view to show mere replication to achieve the staying power of a true art. “Tarkovsky
the audience certain things. The directors I work with tend to think and fell out with Lem because he introduced other elements into the story —
work that way.” like the house on the real Earth where the father lives,” Deakins says. “He
However, he adds, “I do think that the more you plan, the more you made the story into his own meditation on our belief in reality, our belief
can improvise. If you’ve planned a scene and you know its essence — the in our senses and what we see. I found that approach really interesting.
shots you really need to cover the basic story points — it can leave you A book and a film can be different, and you can’t always say one’s better
feeling open for other ideas and different opportunities on the set. Those than the other. Tarkovsky took the essential idea and created something
ideas could come from an actor, or from anybody who’s working on the brilliant of his own.”
film. If everything is pre-planned, I find it a bit stultifying.”
The point of difference
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Top: Dynamic camera movement makes Come and See (1985), shot by
Aleksy Rodionov for director Elem Klimov, an intense viewing experience.
Bottom: After eagerly joining a group of Belarusian partisans battling Nazi
forces, Flyora (Aleksei Kravchencko), finds himself trapped in a nightmare.
Come and See (1985) the story’s young protagonist, a boy named Flyora (played with remark-
Director: Elem Klimov able emotional range and intensity by 13-year-old first-time actor Alexei
Cinematographer: Aleksei Rodionov Kravchenko), is confronted by a village elder who’s nearly been burned
alive by the Nazis.
This brutal, unrelentingly grim masterpiece brings viewers face to face Early scenes of Flyora and his friends playing make-believe war
with one of the most horrific incidents of World War II: the massacre games in battle-ravaged Belarus — and subsequent scenes of the boy
of an entire Belarusian village by a merciless Nazi Einsatzkomman- relishing his first taste of pre-combat camaraderie after joining a group
do unit. Director Klimov and his cinematographer, Rodionov, opted to of partisan fighters — soon give way to a nightmarish descent into hell.
shoot in the 1:37:1 aspect ratio, exploiting the boxy frame to maximum Klimov never shies away from the brutality on display, transcending safe
effect — even in shots that depict wider vistas. Their manipulation of or stagy representations of wartime atrocities — he does not trivialize,
screen space is masterful; lateral camera movement is not as critical as sentimentalize or soften the real horrors of war. Characters often gaze
forward or backward moves, creating a spatial sense of three dimen- straight into the camera, breaking the fourth wall and confronting the
sions. Steadicam is utilized brilliantly throughout, especially during a viewer head-on, with out-of-focus backgrounds enhancing the effect.
tour-de-force POV shot that wends through a group of villagers before The result is a harrowing and haunting work of visual grandeur that
30 / MARCH 2022

devastated audiences and earned the Golden Prize at the 1985 Moscow [see sidebar, page 28], and he told us he’d operated all of the Steadicam
International Film Festival. footage himself — even though he’d never used a Steadicam before, and
Deakins notes that director Klimov drew on some of his childhood had had just a few days of training for these huge, challenging sequenc-
recollections of World War II’s Battle of Stalingrad, which he survived es,” he marvels. “There are several Steadicam shots in the film that are
when he, his mother and his infant brother were safely evacuated across quite long and quite brilliant.
the Volga River on a large raft. Indeed, the filmmaker has said that what “He also told us that they shot everything in sequence, with non-pro-
he filmed, as gut-wrenching as it may seem to viewers, was “a light- fessional actors playing primary characters — and that the film was very
ened-up version of the truth. Had I included everything I knew and much improvised as they went along, although they had a year to prep
shown the whole truth, even I could not have watched it.” for a nine-month shoot,” Deakins reveals. “So, they kept revisiting the
Assessing his reaction to Come and See, Deakins says, “It’s a child’s same locations, many of which were the real places where the atrocities
perspective of a devastating event, and to think that it’s based on things had actually occurred. Aleksei told me this gave everyone a real sense of
that actually happened is really horrific. But I’m always drawn to films place, and that working in story order was very helpful for the non-pro-
that provide authentic, fairly accurate depictions of historical events. fessional actors.”
Like some of the other films on this list, Come and See is not really a
traditional narrative movie — it’s more experiential, and it puts you in Elena (2011)
the shoes of this boy who’s enduring a nightmare. There are some very Director: Andrey Zvyagintsev
memorable passages — like the sequence when the boy and a girl are Cinematographer: Mikhail Krichman
together in a forest, enjoying a few idyllic moments together before a
bombardment. It’s very poetic. Then, when the bombing comes, the boy A meditation on social classes and the cultural divides they create,
loses his hearing, which is conveyed through some wonderful uses of Elena encapsulates these themes within a Russian family’s corroding
sound and other techniques. dynamic, centering on the relationship between an elderly couple and
Deakins has always been impressed with the variety of strategies the their respective offspring. Elena (Nadezhda Markina) is a former nurse
filmmakers applied to create an unforgettably immersive viewing expe- from a working-class background who’s married one of her patients,
rience: handheld work, dolly shots, zooms, split diopters, and especially the wealthy businessman Vladimir (Andrey Smirnov). When a familial
the incredible Steadicam work. “My wife and I did a podcast with Aleksei conflict arises, Vladimir threatens to amend his will and leave the bulk
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of his estate to his daughter from a former marriage, prompting Elena Most of the film’s action takes place in the characters’ living spac-
to take drastic action with a dark scheme that draws upon her medical es, which clearly illustrate the stark contrast between Vladimir’s life of
knowledge. luxury and the bleak circumstances of his in-laws. During a podcast
Shot in just 42 days, Zvyagintsev’s film is a masterclass in creating interview with Deakins, Zvyagintsev and Krichman revealed that the
tone and ambience, with a brooding quality that produces a slowly rising wholly persuasive naturalism of these seemingly “real” interiors was in
tension. Architecture and other compositional elements are used to sub- fact painstakingly crafted on sets that are married seamlessly to exteri-
tly direct the viewer’s eye, and the story is told primarily through small or views created with photographic backings. The impressively organ-
gestures and facial expressions. ic-looking light was sculpted from fixtures positioned outside the sets’
This page: A battle of wills

provokes a former nurse
(Nadezhda Markina) to
plot against her husband
(Andrey Smirnov) in
Elena (2011), directed by
Andrey Zvyagintsev and
shot by Mikhail Krichman.
Opposite: Deakins consults
his light meter on the set
of the 2005 military drama
Jarhead.
32 / MARCH 2022

JARHEAD PHOTO BY FRANÇOIS DUHAMEL,
SMPSP, COURTESY OF UNIVERSAL STUDIOS.
windows, keeping the interiors clear so the actors could move about shots were so specifically designed that I thought, ‘How could you find
freely. a location that would allow you to do all of those things?’ Once Mikhail
Deakins was duly impressed by Krichman’s cinematography, espe- confirmed that, yes, they’d shot on sets, I felt it was amazing how they’d
cially since he knows firsthand that work that can appear effortless on- managed to connect those sets to the exterior locations. Finding those
screen usually involves a great deal of meticulous planning. “After I shot joins while maintaining the mood and the feel of the story was a really
The Shawshank Redemption, I was at the ASC Clubhouse and a very fa- brilliant achievement.”
mous cinematographer was saying, ‘Yeah, it’s really well shot, but there’s In a prime example of how a singular film’s influence can transcend
no lighting in it.’ Well, the interiors in that film are totally lit, and a lot generations and international borders, Zvyagintsev told Deakins that he
of the movie was shot on sets. So, in a way, what he said was actually a shares the latter’s high regard for L’Avventura, which the director credits
really nice compliment, because it meant I’d done my job well! as a key inspiration for his own career path. “After I saw it,” he said, “I
“Until I spoke with Mikhail about Elena, for the life of me I couldn’t started dreaming about film.” Like Antonioni, Zvyagintsev earned a Jury
really tell whether it was shot in real apartments or on sets. I guessed Prize at Cannes, bringing the inspiration full circle.
that it was probably done on sets because it all seemed so controlled; the
MARCH 2022 / 33

34 / MARCH 2022
p. 34-41 Hand of God_v3.indd 34 2/3/22 9:29 PM

Life Goals
The Hand of God, shot by
cinematographer
Daria D’Antonio, follows
a restless Italian youth
through soccer-mad Naples.
P
By Patricia Thomson
aolo Sorrentino’s semi-autobiographical

coming-of-age film The Hand of God opens
with an aerial shot over Italy’s Gulf of Naples.
To the sound of a helicopter, we chase four
speedboats that are presumably smuggling
cigarettes into lawless 1980s Naples. After
closing in on a Rolls-Royce cruising down the
seaside boulevard, we bank left to look across the gulf to the
island of Capri. The shot is as elaborately choreographed as
any of the swirling pageantry in Sorrentino’s Oscar-winning
feature The Great Beauty, the HBO series The Young Pope (AC
April ’17), or the dozens of other projects that have made him
one of Italy’s leading directors and foremost stylists.
But the rest of the film takes a different tack, switching to
MARCH 2022 / 35

LIFE GOALS
Previous spread: Naples native Fabietto Schisa (Filippo Scotti)

ponders his future. This page: Fabietto’s eccentric family gathers
for a feast where the clan’s ill-tempered matriarch, Signora Gentile
(Dora Romano, bottom photo), hurls insults.
THE HAND OF GOD PHOTOS BY GIANNI FIORITO, COURTESY OF NETFLIX.

“The scene reminds me of those Sunday lunches a natural, stripped-down style that’s more in tune with the writer-direc-
we had in my family, something I experienced tor’s deeply personal script. As director of photography Daria D’Antonio
— speaking to AC through a translator — says about that opening shot,
very frequently growing up.” “This first part was almost a different film, with respect to the material
that came after. It’s almost like [Sorrentino] was saying goodbye to the
poetic and complex style he’d adopted on previous films.”
The Hand of God is a departure for the director in many ways. Among
them was having D’Antonio take over as director of photography; over
the past two decades, Sorrentino had worked almost exclusively with
cinematographer Luca Bigazzi.
D’Antonio’s history with Sorrentino also goes back more than 20
years. Early in her career, the self-taught cinematographer found a men-
tor in none other than Bigazzi, for whom she operated camera on nu-
merous Sorrentino films, as well as features directed by Silvio Soldini,
Gianni Amelio and Francesca Comencini. “I was flattered by the idea that
Paolo thought of me [as cinematographer] for this one,” she says, “even
more so because this is a very personal and intimate film for him.”
36 / MARCH 2022

Top: Director Paolo Sorrentino (at camera) checks

a setup with cinematographer Daria D’Antonio
(in light shirt) and members of the crew. Bottom:
D’Antonio at the Venice Film Festival.
DARIA D’ANTONIO PORTRAIT BY FRANCO ORIGLIA, COURTESY OF GETTY IMAGES AND NETFLIX.
The project was so personal to the director that many locations came
directly from Sorrentino’s youth: The family apartment is in the same
building where his family used to live; the bank is the very one where
his father once worked; the fringe theater is the one both Sorrentino and
D’Antonio used to frequent.
Like Sorrentino, D’Antonio grew up in Naples. “We share similar
backgrounds and come from similar families,” she says. “So, working
with me on this project was a way to have someone beside him with
whom the understanding was immediate and needed no words.”
In the film, Sorrentino’s proxy is Fabietto Schisa (Filippo Scotti), the
younger son in a loving family. Narratively, the first half is loosely struc-
tured around the career high points of Argentinian soccer star Diego
Maradona (seen in archival footage), who unexpectedly joined Naples’
team — much to Neapolitans’ ecstatic delight. The viewer sees through
Fabietto’s eyes as he waits with bated breath for the beloved player to
officially sign on — and then watches as Maradona scores his greatest
goals on the television sets that the Schisa family, and all of Naples, have
MARCH 2022 / 37

LIFE GOALS
This page: During a boating excursion, the family is distracted by

Fabietto’s uninhibited Aunt Patrizia (Luisa Ranieri, bottom photo).
Opposite: Fabietto receives some invaluable life advice from
a film director (Ciro Capano) whose work he admires.
set out on their balconies in a group viewing experience. (The film’s

title was inspired by Maradona’s famous quip describing a hand goal he
scored during the 1986 FIFA World Cup.)
D’Antonio remembers Maradona’s advent as a collective explosion of
joy shared by the entire city. She says, “This soccer player — who came
from a poor Argentinian background, a poor family himself, and was a
god with the ball — immediately turned himself into a legend. Naples
had recently lived through cholera and an earthquake, so he became a
symbol of hope and redemption for the whole city. I remember going to
the [soccer] stadium with my father, together with so many Neapolitans.
[Maradona] was able to make us forget everything that was sad.”
A joyful tone permeates the first half of the feature, most hilarious-
ly during an al fresco lunch sequence with the extended Schisa family
— one of D’Antonio’s favorite scenes. “I loved the actors and the whole
structure of the scene,” she says. “I believe it expresses the joy of living.
It reminds me of those Sunday lunches we had in my family, something
I experienced very frequently growing up.”
To capture the banter between the boisterous relatives and Fabietto’s
father (Toni Servillo, a Sorrentino regular since the director’s 2001 fea-
ture debut, One Man Up), D’Antonio filmed the sequence with multiple
cameras. “We shot this almost like an action movie, with four cameras,
and gave a lot of freedom to the actors in movement and timing,” she
says. “Four cameras meant we could follow a very complex scene, and
the actors could deliver their lines in rapid fire.” Sorrentino is known as
a director who gives little direction to actors; this time, he gave the cast
38 / MARCH 2022

complete free rein, counting on their talent for comic timing.

Sorrentino behaves much the same way with his crew — which was
not an issue for D’Antonio, because all the direction she needed was in
the script. “You read the screenplay and you visualize what he wants,”
she says. “Paolo writes in a very clear way. The screenplay contains ev-
erything. All of those elements, descriptions and dialogs are sources of
inspiration for each one of us in our various roles.”
D’Antonio used Red DSMC2 cameras with a Monstro 8K VV sensor.
She sums up her lighting approach on this film as “very little intrusive
lighting, a lot of natural light, and a commitment to exploit to the maxi-
mum the situations that presented themselves.”
Lenses were Arri Signature primes, which D’Antonio describes as
“beautiful.” She adds, “They’re precise, but also soft. They’re versatile be-
cause they’re light. In many of the situations we shot in, it was important
that the lenses be comfortable to use — that they could adapt very well
to a wide range of situations.”
For this lunch scene, D’Antonio stayed wide, mostly on an 18mm or
20mm lens. “The use of the wide angle helps enhance the comic tone,”
HMI LED
JOKER ALPHA SLICE
MARCH 2022 / 39
HorizHalf 2021.indd 1 1/6/21 9:25 PM

LIFE GOALS
Tech Specs: 2.39:1

Cameras: Red DSMC2 Monstro
Lenses: Arri Signature Prime
This page: D’Antonio frames a shot of Patrizia as she’s led toward a

mysterious encounter. Opposite: The filmmakers work on a sequence
in which a local actor (Sofya Gershevich) performs in a play.
she says. “All of the actors have incredible faces and a special physiog- It was critical to make the long dialog with Capuano resonate. The
nomy — the aunties, the mother, the great aunt. It’s a type of beauty that night-to-dawn scene represents Fabietto’s reawakening to life and the
demands a different approach.” opening up of his future, with shots once again including the gulf’s hori-
The widescreen 2.39:1 aspect ratio was chosen in part to frame the 16 zon. The meat of the dialog happens around a seaside grotto. Capuano
relatives lunching on the veranda, as well as the following scene where challenges the discontented teen to stay in Naples and draw inspiration
they all pile into a boat. “But we also chose widescreen to stress their from it — and most of all, as a director, to have something to say.
loneliness when they are alone.” The location for the grotto scene was one of the private moors carved
That loneliness is amplified later in the film, after Fabietto’s parents out of volcanic rock on Posillipo hill, just outside Naples’ center. It had
die in a freak accident in their countryside home. Fabietto was supposed taken the filmmakers a long time to find just the right spot. “Paolo went
to be there with them, but goes to a Maradona soccer game instead, crazy for this place, but for me, it posed complicated logistical problems,”
avoiding death and giving the film’s title its double meaning. After- D’Antonio says. “The location was quite difficult to reach with the equip-
wards, Fabietto flounders in an empty house that was once so full of life. ment, and there was only a narrow space to work around the source of
An earlier chance encounter with a film shoot, and his brother’s au- light — but it was right for the story.”
dition for a Federico Fellini film, give Fabietto the idea that he wants They allocated one day to shoot dialog inside the grotto. That meant
to become a film director. In a key scene — another favorite of D’Anto- D’Antonio had to control the sunlight that streamed in all day through
nio’s — the teen is experiencing a low point and asks Neapolitan direc- an overhead “oculus” — a circular opening at the top of a dome. She
tor Antonio Capuano (Ciro Capano) for some life counsel. It’s a moment blocked that out and substituted a 4K bounced off white cloth.
that echoes Sorrentino’s own past, as he made his screenwriting debut The dialog continues outside, as Capuano gets ready for a swim
co-writing The Dust of Naples for Capuano, who became his mentor. at daybreak. To prep, the cinematographer rose early the preceding
40 / MARCH 2022

morning and measured the dawn light, calculating how much time she’d
have and what filters she’d need for this scene, which also required mul-
tiple cameras. “Having to coordinate four cameras, I had to set up each
one of them and have a very rapid scheme of setting changes — using
both ISO and neutral-density filters, so they would all share the same
depth of field for the entire scene and so I could keep the same stop.
“I knew I needed to give Paolo the light he wanted and the actors the
time they needed,” she continues. “But apart from that, it was all them.
This was a scene that was well-written and well-acted, and filmed in a
very beautiful place. It needed little from me.”
Despite Capuano’s lecture about staying in Naples, Fabietto leaves
for Rome, just as Sorrentino and D’Antonio did. “Ten years ago, I had to
escape from Naples,” she says. “I couldn’t live there anymore, though I
desperately loved the city. This opportunity to go back allowed me to see
it through different eyes — the eyes of Fabietto, and thus of Paolo when
he was young. Somehow, that made me make peace with the city.”
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42 / MARCH 2022
p. 42-49 The Card Counter_v3.indd 42 2/3/22 9:32 PM

Passing Time
W
Cinematographer hen we first meet William Tell
(Oscar Isaac), he’s in a dull, gray cell
Alexander Dynan and at the United States Disciplinary
Barracks at Fort Leavenworth, an
director Paul Schrader Army installation in northeast
Kansas. “I like the routine, the reg-
reteam to further explore imen,” he says of his predicament.
The camera lingers on him reclining in his bunk, reading
the transcendental style Marcus Aurelius’ Meditations. Equal attention is then paid to
the basin of his stainless-steel toilet and sink, his toothbrush
with The Card Counter. and tube of toothpaste, a roll of toilet paper, a folded dull-gray
uniform, and slippers. We don’t yet know why he’s there, but
By Iain Marcks what he’s been doing is passing time — and learning how to
count cards.
Photographed by Alexander Dynan and directed by Paul
Schrader in their third collaboration, The Card Counter rep-
resents a further exploration of the transcendental style that
began with the duo’s 2017 feature First Reformed.
“By delaying edits, not moving the camera, forswearing
music cues, not employing coverage, and heightening the
mundane, transcendental style creates a sense of unease the
viewer must resolve,” Schrader writes in the introduction to
his 2018 book Transcendental Style in Film: Ozu, Bresson, Drey-
er — an expansion of his 1972 thesis on slow cinema. “The
filmmaker assists the viewer’s impulse for resolution by the
use of a Decisive Moment, an unexpected image or act, which
then results in a status, an acceptance of parallel reality
— transcendence.”
“So much of what Paul does is influenced by [Robert] Bres-
son,” Dynan says. “When we were making First Reformed, we
talked about the limited camera movement in Bresson’s films.
With The Card Counter, we wanted to move the camera more,
but still be true to the Bressonian ethos.”
MARCH 2022 / 43

PASSING TIME
Previous spread: Oscar Isaac stars as William Tell, a poker player

with a disturbing past. This page: Tell forms a relationship with
poker-player “stable” manager La Linda (Tiffany Haddish).
PHOTOS COURTESY OF FOCUS FEATURES.

Priority on Portraiture
Next Generation In First Reformed, a key visual reference was painter turned writer-
Cinematographer Alexander Dynan began working with director director Bresson’s 1951 film Diary of a Country Priest, which was filmed
Paul Schrader on 2016’s Dog Eat Dog, as part of the director’s in the 1.33:1 aspect ratio. For The Card Counter, Schrader and Dynan drew
late-career decision to collaborate with early-career filmmakers. inspiration from Bresson’s 1966 feature Au Hasard Balthazar, which was
“When I started using Final Cut, I realized that I could have more filmed in 1.66:1, the European widescreen standard. The filmmakers use
control over my own work,” Schrader says. “So, I found a crew of
this frame to lend a portraiture quality to their close-ups — which, along
[younger] department heads and told them, ‘I want you to spur
with the rest of the film, were captured with Arri Rental’s DNA LF lenses
my imagination.’”
on an Alexa LF in Open Gate mode — and to isolate Tell from his sur-
roundings. “I like the look and feel of the LF in Open Gate,” Dynan says.
“On Paul’s movies, the framing is very specific. It’s about carving out our
characters, and the things that they see, from the rest of the world. At a
poker table, a 1.85:1 frame would have caught someone else’s shoulder,
or else I would have had to push [the other actors] too far away.”
A specific shot that the filmmakers borrowed directly and precisely
from Au Hasard Balthazar was dubbed “the Portrait,” and was repeat-
ed throughout The Card Counter on a 35mm lens from 2½' to 4' away.
“Motifs are a key element of transcendental cinema,” Dynan says. “We’re
trying to get the viewer to lean in and explore the image.”
Dynan chose the DNA LF lenses because he considers them “an
44 / MARCH 2022

Top, from left: Director Paul Schrader, cinematographer Alexander Dynan

and 1st AD Martin Jedlicka on set. Bottom: Dynan eyes a shot of the
poker table as key grip Bill Hilferty takes the measurement.
evolution of Arri’s 35mm-format Master Prime lenses,” he says. “[DNA “We’re trying
LFs] are lighter-weight and they’re faster. They’re great workhorses.” to get the
The cinematographer notes the deliberate focus work that he and
viewer to lean
Schrader did — with the aid of 1st AC Timothée Arene — in isolating
Isaac from his environment when the actor leans toward the camera, in and explore
and blending him in with the background when he leans back. “Focus in the image.”
[the larger LF format] has a shallower depth of field than what you’d see
in Super 35,” the cinematographer says. “At T2, the background became
too impressionistic, whereas at T5.6 it was sometimes too deep. It all
depends on the focal length and what feels right for the story.”
Capturing Austerity
Once he’s released, and no longer within the rigid structure of the prison
system, Tell finds comfort in the repetitive, austere nature of casino life
— the same tables, carpet patterns, wallpaper and games wherever he
goes. As when he was incarcerated, the repetition and sameness of Tell’s
life has an arresting effect on the passage of time. “During production, as
Paul and I went from casino to casino around the South, the monotony
of that world started to set in,” Dynan recalls. “Paul liked the idea that
Tell was floating from one non-space to another non-space, so as we
MARCH 2022 / 45

PASSING TIME
For Tell’s nightmare about his experiences at Abu Ghraib prison,

the filmmakers employed an Entaniya 8mm T2.9 fisheye
(pictured with lens cap on) paired with a Red Helium camera.
“Paul wanted shot, the use of a Steadicam started to creep into our language — using
the flashback the cinematography to reflect the character’s circular journey.” Dynan
worked with A-camera and Steadicam operator Nick Müller to design
scenes to
long following shots. And within still shots, Dynan notes that sometimes
feel like a VR “we’ll move the camera ever so slightly to accentuate the moments when
experience.” the camera doesn’t move.”
The filmmakers’ goal is to distort the viewer’s expectation of time and
compel them to “lean forward” by withholding action or information.
As Schrader writes later in his introduction, “The slow-cinema director
says, ‘I know what you want; I know what you expect; but I’m going to do
the opposite.’ Why? ‘Because I’m after something else and will use your
expectations to get it. The filmmaker, instead of creating a film world
in which the viewer needs only to surrender, creates a world which the
spectator must contemplate — or reject out of hand.”
In regard to color schemes, “Production designer Ashley Fenton and
I talked a lot about the paint color in the motel rooms where Tell stays,”
Dynan says. They opted to paint the walls a very light gray, instead of
solid white, so that “Tell’s gray world felt consistent throughout the film.”
Dynan worked with DIT Ian Edwards and colorist Tim Masick at
Company 3 New York to keep the film’s palette within strict tolerances.
The poker scenes are particularly effective at highlighting The Card
Counter’s focus on emotional austerity. For most of these sequences,
the cinematographer turned to two skirted Litegear LiteMat Spectrum
4s with egg crates and Light Grid or full diffusion. Meanwhile, close-
ups of the players’ faces reveal almost nothing; LiteMat Spectrum 2Ls
were floated in as eyelights, while Dynan and Schrader illustrated Tell’s
“poker face” by deliberately withholding his. These sequences highlight
Tell as a man with an ability to hide what he’s feeling — a skill that’s
46 / MARCH 2022

“ The DNAs are incredibly flexible lenses. I was consistently impressed by how
they held their shape and displayed so much character at multiple iris settings:
”
painterly wide open and beautifully crisp as you close down.
Cinematographer Alexander Dynan
www.arrirental.com/dnalf

PASSING TIME
Tech Specs: 1.66:1, 2:1

Cameras: Arri Alexa LF, Red Helium
Lenses: Arri DNA LF, Entaniya fisheye
Tell prepares for a brutal act.
prison loudspeakers.
Abuse and trauma create a physical stain on the body, Tell relates to
Cirk: “Your body remembers.” To that end, Dynan, Schrader and Fenton
designed the Abu Ghraib cell block to be a disorienting and traumatizing
space for the viewer — a seemingly indefinite loop of prison cells where
each atrocity was staged and lit to stand out. Says Dynan, “We had a hard
ceiling and were going to see every lighting unit, so we wired fluorescent
tubes in a staggered pattern along the hallways and in the cells, so that
you’d never have shadows cast from the camera. I wanted to hide the
camera and camera shadow, because it was such a wide lens and we saw
so much. I staggered the lighting so it could feel as seamless an observa-
tional POV as possible.”
“Paul wanted the flashback scenes to feel like a VR experience,” Dynan
continues. He found inspiration in James Wong Howe, ASC’s expressive
cinematography for John Frankenheimer’s 1966 psychological thrill-
er Seconds, which made special use of a 9.8mm Kinoptik Tegea fisheye
prime lens.
“What I like the most about working with Alex is his conscientious-
“When you don’t move the camera to see ness, the advanced thinking through all possibilities and references,”
something horrific, it compels the viewer says Schrader. “I can bounce iffy ideas off of him and he’ll process them,
rather than be swept up in my flights of fancy. I find myself thinking a
to generate the horror themselves.”
little more fearlessly, knowing that whatever I come up with, he’ll find a
way to make it work.”
Dynan and Schrader pull the audience into Tell’s nightmare through
the use of a floating first-person perspective — achieved with a Stea-
dicam, operated by Müller, equipped with an Entaniya 8mm T2.9 fish-
eye, paired with a Red Helium camera capturing in 8K. The distortion
that comes with a 220-degree angle of view flattened into a 2:1 frame
— as opposed to the rest of the feature’s 1.66:1 ratio — combined with
allowed him to survive as a card counter, a prison inmate, and as we Fenton’s claustrophobic set design, results in an eye-straining, disori-
soon find out, a soldier. enting image. “Everything we did there was designed to make you sick,”
says Dynan.
First-Person Horrors The cinematographer notes his appreciation for the work of VR con-
At a casino-hosted trade-show panel for government contractors, pre- sultant Ben Schwartz, who was “instrumental in developing this look
sented by retired Major John Gordo (Willem Dafoe), Tell crosses paths with me.”
with Cirk Balford (Tye Sheridan), a young man whose father was a guard
at Abu Ghraib, a detention complex in Iraq used by the U.S. Army to Night Lights
house political prisoners during the Iraq War. Major Gordo was an offi- Day after day, Tell is content to go from one casino to the next, playing
cer there, and Tell was there too, as a private — and like Cirk’s father, Tell round after round of poker, winning just enough to keep him under the
was sentenced to prison for the torture and abuse of prisoners, while radar — until he’s noticed by La Linda (Tiffany Haddish), a poker-player
their superiors, like Gordo, went on to profit as experienced private cit- “stable” manager who convinces him to join a high-profile, high-stakes
izens. Now Cirk wants revenge, and in Tell he sees “a man who might Vegas-bound tournament. The two embark on a romantic relationship.
want a piece of what I’m going to do.” As Tell’s life is thrown into forward motion, the lighting and camera-
That night, Tell dreams of Abu Ghraib. Its hellish maze of mustard-yel- work reflect an expansion of his environment. In a pivotal scene, La Linda
low brick walls is smeared with blood and excrement. The floor, wet with takes him on an evening walk through an outdoor garden populated
urine, is lit by the garish, ugly light of practical fluorescent bulbs. Naked, with towering LED sculptures. Müller follows them with a Steadicam as
sack-headed prisoners are on their knees, in fetal positions or barely they stroll along, holding hands. They enter a rainbow tunnel of pulsing
standing as they’re beaten, terrorized and humiliated. Their screams are practical LEDs, accentuated with rows of randomized, color-matched
drowned out by the roar of heavy-metal music pumping through the SkyPanel S60s — the soft light and intimate setting providing a dreamy,
48 / MARCH 2022

Top, from left: Operator Nick Müller (at camera), Dynan, 1st AC
Timothée Arene and Schrader prep a choreographed dolly sequence
depicting Tell’s final confrontation. Middle and bottom: The filmmakers
prepare for an intense scene with Isaac and actor Tye Sheridan.
hopeful contrast to Tell’s awful nightmares. The scene ends with the
camera floating over a rainbow of light in a computer-generated, God’s-
eye view of the garden’s spacious, flowing topography.
“I just took the colors from the practical LED Christmas lights and
put them on the S60s,” Dynan says. “Then, I had the S60 fade between
the different colors, so that when [the actors] exited the tunnel, the color
of the tunnel extended beyond, onto the path they continue walking on.
VFX then took this shot and built the fantastical world that is created in
the ‘wonderland’ sequence.
Grim Confrontation
Moments before the Vegas tournament is set to begin, Tell finds out that
Cirk is going after Gordo. Tell abandons his seat at the poker table to stop
Cirk, but as he drives through the night — his eyes flashing brightly with
the light of oncoming cars — he knows he’s already too late.
“It’s a process trailer at night,” Dynan says of the driving scene. “We
used a series of Astera Titan tubes on a chase to add additional moti-
vated light into Tell’s eyes, and combined it with what was naturally
occurring.”
Gordo enters his house to find Tell seated in a high-backed chair in
the living room, gun in hand, waiting among furniture meticulously cov-
ered in off-white sheets.
The rest of the scene plays out in a single, long take: Tell stands, a bag
of torture devices in hand, his gun leveled at Gordo. Gordo, resigned,
crosses frame right to a hallway off the living room, toward another part
of the house. Tell follows. The camera pans with them but doesn’t leave
the room. Sounds of pain and suffering are soon heard offscreen. Beat.
Then, in the same shot, the camera pans slightly left, then slowly dol-
lies back toward the foyer. The light cross-fades in-camera from night
to day. The camera rolls to a stop, and Tell re-enters the living room — outside — were used to simulate direct morning sunlight coming into
bloody, battered, drenched in sweat. the house, while the background outside the house was lit by three addi-
“When you don’t move the camera to see something horrific, it com- tional T5s. Inside, a skip-bounced ETC Source Four ellipsoidal spot pro-
pels the viewer to generate the horror themselves, and that’s more ef- vided additional slashes of light across the room.
fective than anything we could show,” says Dynan. The dolly move was
performed by dolly grip Balz Biellmann, who timed it with a steady click Full Circle
track fed from the sound cart to his headset. Tell finds himself back in prison, where the film started, and where
The lighting transition was accomplished with the assistance of gaf- the reintroduction of routine and strict regimentation has once again
fer T.J. Alston, key grip Bill Hilferty and their teams. The scene was shot seemed to stall the passage of time. He’s summoned to see an unexpect-
at night, with the cameras color-balanced to 3,200K. All the lamps were ed visitor — La Linda. They see each other, smile, and reach out toward
controlled through Alston’s tablet. each other, fingertips meeting, but separated by a barrier of tempered
An exterior Arri SkyPanel S360 dialed to 5,000K was bounced off security glass in what Schrader called an “expression of love by an un-
an 8'x8' UltraBounce, providing soft, cool moonlight through the liv- feeling man within an unfeeling environment” — when writing about a
ing-room windows. Two interior SkyPanel S60s, also set at 5,000K, scene that appears in Bresson’s 1959 film Pickpocket, which this scene in
were affixed with Chimeras with Light Grid and 40-degree egg crates, The Card Counter was designed to echo.
and set up as a cross-key for the seated positions. An additional S60 was Schrader maintains that there is no universal formula for how the
bounced into the ceiling for base room-tone. During the time shift, the transcendent is conveyed in the film medium. “It depends on your ma-
LED lamps’ color temperatures were shifted to 3,200K to turn the cool terial, and how much you feel you need to withdraw from the audience.
moonlight into neutral white. You have to find your own mechanism to get the viewer to lean forward,
After the shift, three Arri Fresnels — two T12s and a T5, all located but it’s a delicate dance. You don’t want them to get up and walk out.”
MARCH 2022 / 49

Key Grips on Set Safety
Seasoned key grips share
insights on maintaining
a safe workplace.
By Terry McCarthy
50 / MARCH 2022
p. 50-53 Set Safety_v3.indd 50 2/3/22 9:37 PM

K
ey grips work with equipment that can be large,
heavy, difficult to maneuver, linked to an electric cur-
rent, suspended from a height, or pose some other
danger to people on set. Therefore, an important part
of the key grip’s job is to ensure the equipment is safe,
and to speak up if they see a potential issue — before
it becomes hazardous.
Key grip Bodie Hyman (The Muppets, The Mick, Key & Peele) has been
working in the industry for 20 years, and says maintaining an awareness
of safety comes down to a mindset. “Early on I worked with James Kwi-
atkowski, who [has been a frequent] key grip for Steven Spielberg, and
he taught me the mentality of ‘things will go wrong, so always keep an
eye out for what could go wrong,’” he says.
As an example, Hyman notes the challenges of working on The Mup-
pets, which required the set to have spaces below floor level. “We pulled
out swathes of steel deck, and the flooring ended up littered with holes
— we were creating literal pitfalls.” The grips put up caution tape and
added lips around the edges of the holes, but Hyman says the real solu-
tion is proactive and constant communication about potential threats.
“I would make an announcement before shooting, every time,” he says,
adding that he always pointed out where the holes were, some of which
might have changed from the last shoot or from rehearsals.
Hyman says that anticipating risks is even more important when
shooting with vehicles. “When you have actors in cars, it gets really
dangerous — cameras outside cars, cars on trailers, shooting car-to-car
— things can go south really quickly. I remember being a young grip
standing in the woods watching cars go past, and my job was to yank the
cameraperson into the woods if something went wrong. That seemed
cool as a young man, but now that I’m older and more experienced, it
doesn’t seem like such a good idea. Now we have remote heads, which
are a better solution.”
Vidal Cohen, key grip on the series The Rookie, Masters of Sex and Cal-
ifornication, says, “I tell all my grips: ‘If you see something you are not
happy about, get me on the radio. If you think there is imminent danger,
just stop it. Even if it turns out to be safe, I am the department head and Opposite page: Key grip Michael Anderson (third from left), director/
I will back you up.’” co-creator Jonathan Nolan (far left), stunt coordinator Doug Coleman
Cohen spent eight years in the U.S. Marine Corps, which is where he (second from left), 1st AD Jamie Marshall (right) and crew work out
began to learn about safety. “The Marines take safety really seriously — logistics on the set of HBO’s Westworld. This page: Key grip Bodie
Hyman (left) on the set of the ABC series The Kids Are Alright, working
there is a consequence for everything that happens in the Marine Corps.”
alongside operator David Sammons (right) and dolly grip Chuck May.
When he transitioned into the entertainment industry, he was surprised
to find that there are big differences in safety education and awareness,
depending on location. Committee chair, who has 25 years of experience as an IATSE safety
PHOTOS COURTESY OF THE FILMMAKERS.
On one international shoot, he recalls, “one person didn’t understand rep. “You can call Kent at any time and get a ruling on a safety issue,”
why you couldn’t do an electrical tie-in while standing in a puddle of Cohen says. He recalled one setup that made him uncomfortable, which
water!” On another occasion, Cohen, the cinematographer and the gaffer involved an insert car on a trailer with dolly track next to the car. Cohen
walked into a courtyard where the crew was erecting a scaffolding. The called Kent, who informed him that according to OSHA (Occupational
main supports had no adjustable feet, so the local crewmembers were Safety and Health Administration), they could not do that setup. Kent
jamming pieces of scrap wood underneath the supports to keep them then offered a safer alternative. “I went to the 1st AD, and we fixed the
level. “We were horrified,” he says. “They said, ‘We do that all the time.’ problem. Invoking OSHA is often enough to ensure that a problem is
And we said, ‘Maybe, but you’re not doing it this time.’” addressed.”
Cohen adds that one very helpful resource during his 28-year career Manny Duran, whose credits include Thor, Fantastic Four and X-Men:
has been having access to people like Kent Jorgensen, IATSE’s Safety First Class, has been in the grip department since 1998. “Experience is
MARCH 2022 / 51

KEY GRIPS ON SET SAFETY
Key grip Vidal Cohen coordinates a diffusion rigging.
“If you think there is imminent danger, just everything,” he says. “Not just the number of years, but quality of expe-
stop it. Even if it turns out to be safe, I am the rience counts as well. You could be doing something wrong for 20 years.
People who are more knowledgeable need to step up and instruct, if
department head and I will back you up.” need be, to keep a working environment safe and productive.”
According to Duran, 1st ADs are often put under unreasonable pres-
sure to keep things moving. “I remember specifically one AD saying we
needed to hurry, hurry, hurry. He jumped in and started helping with set
dressing, and he started hustling backwards with a table in hand. He fell
and the table fell on top of him, and he jumped up and started cursing. It
wasn’t until then when he made an announcement: ‘We all need to slow
down and be careful.’”
Duran adds that if the AD on set is the key safety officer, “then they
need to have more of a say when it comes to being in control of the crew
52 / MARCH 2022

Anderson and colleagues.
and their safety, as well as the timetable that is burning under them. The
DGA needs to back their ADs, and ADs need to know that they will be
supported when they have to confront the production with safety and
schedule concerns.”
To that point, key grip Michael Anderson (Men in Black, Westworld,
Captain Marvel) says, “It all comes down to the 1st AD, so in prep, I really
get to know the 1st AD. I sit with them and talk about what’s coming up
on the schedule and what equipment we will be using.”
Anderson, who has been on sets for 37 years, says he was fortunate
to have learned “set etiquette” at the beginning of his career. On today’s
sets, however, he feels those kinds of protocols aren’t always as prev-
alent. “Sometimes, I have to reeducate the 1st AD,” he says. “If we are
doing a stunt, work out who needs to be there and then clear everyone
else out. I’ve been on sets that were chaotic, and everyone was rushing
around.”
In an industry where time equals money, safety should still take pre-
cedence. Says Anderson, “I am good at slowing things down.”
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MARCH 2022 / 53

Filmmakers’ Forum By Jaron Presant, ASC
Clear-Cut Color: Communicating Chromaticity

in Motion-Picture Production
Cinema lighting is currently un- that will be shot on a soundstage. is to light the scene with our sunset color that we photo-
dergoing exciting innovations in a To evoke the time and place on beloved sunset color and not graphed on location, and then
wave of improving technologies stage, you’re after that same get bogged down in technical measure whether our lighting
for the on-demand tuning of light unique sunset color you already minutia. We want to spend our equipment onstage is truly creat-
color. But as tools become more captured on location. To create precious time on set making ing the same color.
complex, intricate and varied, we this kind of nuance, it’s not suf- beautiful images, not tediously It may seem like our common
need new solutions for wrangling ficient to merely put a standard navigating user menus and man- practices have this covered, but
the sprawling variables — vari- orange gel over an incandescent ufacturer-specific settings that they don’t. Color temperature
ables that have the potential to lamp or set an LED unit’s menu to have no coherent correlation to is habitually employed, but this
give us rich creative control, but a generic “sunset” option. our artistic intent. method is problematic, as it
too often just leave us in a techni- In pre-LED days, re-cre- The solution lies not in piling only describes a small subset of
cal boondoggle. ating such a precisely unique on even more bandages by add- perceivable colors. Additionally,
Imagine that you’re shooting color would have been virtually ing extra dials and knobs, but in unlike its implementation in hard
a scene in California, with a Sep- unthinkable. But today, we may clarifying the problem and fixing science where color temperature
tember sunset glinting across a search for the answer in the vast it at its root. And at the heart of is rigidly defined, the numer-
coastal Santa Barbara seascape. array of modes, dials, buttons, this problem, there indeed lies ic-sounding color-temp settings
After shooting the sweeping wide options and sliders offered in an issue to be solved before any in our industry have become
shots on location at the perfect many contemporary LED fixtures others: the lack of a workable descriptive names that don’t have
moment, you then need to sus- — yet fiddling with a looming pile industry norm for unambiguously fixed definitions. For example,
pend that sunset indefinitely for a of opaque and non-standardized identifying color. We need a way “3,200K” can mean the color of a
long dialogue portion of the scene knobs is not the goal. Our goal to uniquely quantify the singular traditional cinema incandescent
54 /MARCH 2022
p. 54-57 Film Maker Forum_v2.indd 54 2/3/22 9:40 PM

Opposite, top: The rich and evocative blends of color that we find in
nature, and often seek in our image design, are more nuanced and
varied than can be represented by a simple orange/blue axis, bi-color
crossfade, or one-dimensional color-temperature scale.
Could we be on the
precipice of a paradigm
shift in cinema
lighting?
fixture or the hard-science defi-

nition of a point on the Planckian
locus at 3,200K, yet these are
different colors. On top of that,
“color temperature” and “cor-
related color temperature” (CCT)
are often used interchangeably,
but they are not the same thing.
With so many layers of ambiguity,
the system breaks down, leaving
us with an unreliable way to
identify colors. And if that weren’t
enough, because color tempera-
ture uses a sliding (logarithmic)
scale, equal numeric changes
at different Kelvin temperatures
aren’t perceptually uniform, which
makes the whole system difficult
to conceptualize, implement
or use with a sense of assured
meaning.
Another commonly used color
system is RGB, but that method
is even more undependable. Not
only are there countless RGB
color spaces (not to mention each
individual LED’s own native RGB),
but all RGB color spaces entangle
brightness with color, so it’s im-
possible to identify a color of light here’s the good news: although practice. person, an image sensor or a film
without an associated brightness. there is not a widely adopted, The solution is this: chroma- emulsion — will perceive that bar-
Additionally, most LED lighting fix- workable system in everyday use ticity coordinates. And indeed, rage of photons as a color. The
tures have R, G and B (red, green within the film industry, such a chromaticity coordinates suc- results of this correlation can be
and blue) illuminants inside them, system already exists in the realm cessfully, precisely and uniquely represented using a two-dimen-
but no two models have the same of the hard sciences. And it is name colors in a way that none of sional coordinate system — that
colors of red, green or blue emit- implemented in the film industry, the other methods can. is, by representing each distinct
ters. Add to this that most have though it’s not a commonly used The study of color in academia perceived color as a location (a
one or several other illuminants in methodology. So the solution, and hard science has long es- coordinate) on a flat graph.
addition to red, green and blue, at least to the problem at the tablished methods for evaluating There are several (inter-con-
and we are left with a messy, base of the pile, does not need a flow of light in the physical vertible) metrics for this method
ambiguous conversion to RGB. to be developed from scratch, world, and correlating with how of identifying and distinguish-
Sounds like chaos, right? Well, but merely adopted as common an observer — whether it’s a ing all perceived colors using
MARCH 2022 / 55

Filmmakers’ Forum
Chromaticity coordinates successfully, Beyond matching our Santa hold. As x,y becomes more com-
precisely and uniquely name colors in a way that Barbara sunset, we can re-create mon, we would gain a common
it at half of its saturation, or figure reference point — a shared lan-
none of the other methods can. out which color to set our light to guage to precisely communicate
if we want that same color under exact colors. And with precise
a different white balance. We can language comes precise control
chromaticity coordinates. The Once we’ve laid this founda- even determine whether an unex- that leads to the ultimate goal:
most apt for our purposes is a tion, vast creative possibilities pected result is due to a spectral greater authorship of our images.
color space called “CIE 1931 xyY,” emerge, while technical quag- sensitivity issue. The possibilities This brief glimpse is just the
or “x,y” for short. Perhaps you’ve mires fall away. And we can build go on and on. beginning of the possibilities. If
seen this graph, but not heard it on these underpinnings to go be- Could we be on the precipice we as a community are willing to
described in quite this way. yond merely matching and re-cre- of a paradigm shift in cinema expand our toolsets, the returns
This is the key: We need to ating colors. It now becomes lighting? What I’m proposing is a can be extraordinary.
change our industry paradigm for possible to find various blends modest first step, but once the
identifying colors of light, from and equivalents that allow for so ball gets rolling, filmmakers and
methods that simply pose as rig- much more functionality. We can manufacturers can start inspiring
orous to a method that is actually meaningfully control fixtures that each other with ideas, building
numeric, unambiguous and thor- don’t have built-in x,y modes, or positive feedback loops that will
ough. That method is chromaticity find creative new color blends produce exciting opportunities.
coordinates. without a physical reference. Imagine what the future could
56 /MARCH 2022

COVER STORY STORARO AND HIS DIRECTORS

The Virtual World By Noah Kadner
Techvis: Visualizing the ‘How’
Previsualization has traditionally multiple phases of production. It to achieve the desired imagery Steven Tom, who serves as a
referred to the preliminary pre- can be produced within the virtual — before the high pressure and virtual-production supervisor at
sentation of the director’s vision art department (VAD) to block expenses of full production begin. The Third Floor, has collaborated
for a given scene. A less-fre- the physical location and explore For productions that will on techvis for projects such as
quently discussed subset of this parameters related to the physical incorporate an LED volume for Eternals, WandaVision, Shang-Chi
field, however, is the visualization space that the set or digital com- in-camera visual effects, the and the Legend of the Ten Rings,
of how the shooting of this scene ponents will occupy. It also often accompanying (and increasingly) The Mandalorian, and Jungle
will be accomplished. Known as accompanies the previs process, complex workflows call for even Cruise. “Techvis is best used as
“technical visualization,” or “tech- where shots that the filmmakers more elaborate and accurate a tool to visualize a shooting plan
vis,” the process involves creating have designed and approved are techvis to account for a set that that has been collectively agreed
a simulation, which can be a 2D then examined in order to develop will combine physical and simulat- upon by department heads, and
image or a 3D-animated version a shooting methodology, which ed environments. is a synthesis of all their insights
of the production elements — is ultimately agreed upon by the This installment of The Virtual and requirements,” he says. “It
both physical and CG — required key collaborators and heads of World focuses on the applica- provides a visual reference that
to realize a shot or sequence. This departments. tions of techvis — including its allows key contributors to orga-
simulation is used to illustrate, Techvis comprises a virtual use in planning for LED-wall nize gear, map out logistics, and
and then help coordinate, the camera’s view of a simulated virtual-production shoots, and the determine filming order for the
physical-production approaches shot, with digital representations importance of the cinematogra- shots to make the shoot day as
necessary to achieve the desired of physical components such as pher’s involvement in the techvis efficient as possible. When every-
material. cameras, dollies, cranes, lighting, process. one has a clear understanding of
Unlike traditional previs, which actors, set pieces and props — as what will be lensed and how it will
serves to imagine a finished shot, well as CG characters, creatures Field Specialists be done, the time savings from
techvis imagines the physical and effects. The system provides Two seasoned companies provid- using techvis become apparent.”
components and techniques that a cost-effective and low-pressure ing techvis and other visualization Felix Jorge serves as CEO and
will be needed to create that shot. preproduction testbed to explore services to filmmakers are The co-founder of Happy Mushroom,
Techvis can be generated at different technical approaches Third Floor and Happy Mushroom. which contributed techvis and
58 / MARCH 2022
p. 58-63 Virtual World Tech Viz_v4.indd 58 2/3/22 10:21 PM

This page and opposite: For this war montage in the Marvel
movie Shang-Chi and the Legend of the Ten Rings, The Third
Floor assembled techvis that was used as the production team
planned multiple plate passes for single shots.
IMAGES ON THIS PAGE AND OPPOSITE COURTESY OF MARVEL / THE THIRD FLOOR.
VAD support to such productions built, the DP is narrowing down completely storyboarded and with the animation rolling and
as The Mandalorian and The the scope by placing cameras, previs’ed — with shots involving myself or a director on the iPad.
Book of Boba Fett, as well as the and the set decorator homes heavy stunts and VFX [being The previs team has all of our
ASC Motion Imaging Technology in on which assets are physical previsualized with] techvis.” tools at their disposal — we can
Council’s Standard Evaluation Ma- [versus] virtual.” “We can do a lot of the work be as specific as ‘start dolly track
terial 2.0 short film The Mission. remotely,” he adds, “where we here and end it there,’ and can
“To create techvis and environ- Previs Meets Techvis use a virtual camera on an iPad to then actually do a take as if riding
ments,” he says, “we work with Having served as director of set up shots, with all the lenses that specific dolly. Same goes for
the director, production designer, photography on episodes of in our package simulated. Those cranes, Steadicam, handheld, etc.
the director of photography, The Mandalorian and Boba Fett, shots form the basis of previs, Whatever movement we want can
executive producers and the VFX David Klein, ASC has ample which goes through editorial as be achieved through the v-cam
supervisor within a virtual location hands-on experience collaborat- though they’re cutting the actual session and fine-tuned later. Gen-
scout, which allows us to see ing on the techvis process with episode — and based on that erally, lighting is done with anoth-
things live and make changes. Happy Mushroom and The Third edit, the techvis is created.” er group in a separate session, in
“We typically have weekly Floor. “I’m involved very early on “We set up the shots just as we [Epic’s] Unreal [Engine].”
sessions where all the different these shows, with a consider- would in practical environments,
creatives can critique the shots able amount of prep due to the
and jump into VR headsets, if they complex LED-volume work and
have them, and place cameras,” the extensive previs,” says Klein, Techvis imagines the physical components
Jorge continues. “The production who’s shared cinematography
designer is thinking about how duties on Boba Fett with Dean
and techniques that will be required to create
much is going to be physically Cundey, ASC. “Each episode is a shot.
MARCH 2022 / 59

The Virtual World
A techvis image created by Happy Mushroom for the ASC MITC

StEM2 project The Mission — detailing the Arri Creative Space LED
wall, the virtual environment, physical props/set design, virtual
actors, and stage structural components.
Use Cases For the San Quentin State production is using greenscreen, at The Third Floor London. “Via
Techvis can be used to design Prison set, this included creating what sizes will be needed and in techvis, they could also look at
and coordinate blocking within a to-scale techvis location sche- what positions the material will be digital extensions for artillery,
specific physical location, such matics with 2nd-unit director placed — as well as to coordi- mountains of shell casings, digital
as working out the field of view Brian Smrz to plan placements for nate on-set physical effects with doubles, and effects that would
for a given format size, or which cameras and characters. Techvis postproduction visual effects. support the practical artillery
lenses, camera rigs and other — in combination with previs — The Third Floor created techvis pieces and stunt performers.”
tools and gear will be required. also helped determine modular with the team on The King’s Man, Techvis can also be used to
On Venom: Let There Be Carnage, filming options, which maximized shot by Ben Davis, BSC, to work plan crowd replication via multiple
shot by Robert Richardson, ASC, resources by making the most out a complex trench-warfare passes — potentially involving
The Third Floor worked with time- and gear-efficient use of sequence involving stunt work, elements like plate photography,
the production-design, camera, setups and background actors. practical effects, and plenty of motion control and digital extras
directing and visual-effects teams Additionally, techvis can help digital set extensions and post- — for sequences taking place in
to maximize shooting plans and determine how much of a set production enhancement. such environments as concerts,
sets. to build practically and, if the “The production had designs sporting events or battlefields.
and a CG model for a German ar- For a sequence featuring the
The early engagement and guidance of the tillery weapon called ‘Big Bertha,’ armies of Wenwu (Tony Leung)
as well as a portion they planned in Shang-Chi and the Legend of
director of photography are critical to the to build practically,” says Jason the Ten Rings, shot by Bill Pope,
success and utility of techvis. Wen, visualization supervisor the production team used techvis
60 / MARCH 2022

IMAGES ON THIS PAGE AND OPPOSITE COURTESY OF THE ASC.
A Zoom techvis session for The Mission, with cinematographer scope of the LED wall and how available lens package into the
Christopher Probst, ASC; visual-effects supervisor David Stump, it interacts with the real-world visualization of the LED volume
ASC; director/producer and ASC associate Jay Holben; producer/post physical set. and the camera’s position, tech-
supervisor and ASC associate Joachim Zell; production designer John
According to Tom, “LED vis allows filmmakers to shoot
Muto; and the virtual-environment-creation team of Happy Mushroom.
volumes and VR scouting have live-action components within the
significantly increased the need volume — and later composite
for techvis in the very early that image into the final frame —
created by artists at The Third of real-world environments and stages of shoot planning. Simple with the assurance that the shot
Floor to visualize multiple camera GPS mapping to illustrate the techvis can be employed during will work out, even if the captured
positions and passes, which precise angles of sunlight — and the blocking phase to visualize imagery is just a small component
would ultimately allow the real shadow — that will present them- the parameters of the LED vol- of the overall frame.
actors and horses to be seam- selves at a specific location at ume. Creatives can then take this “There are a lot of circum-
lessly extended and joined with any date and time the filmmakers physical space into account when stances — particularly for
digital doubles into a shot of far provide. The resulting informa- designing a shot, and it provides extreme wide scope — where
more soldiers on horseback than tion can be incorporated into the valuable information about the set our camera wants to be too far
were actually employed on the techvis simulation in order to help for work being done by the VAD.” away from the volume for us to
production. the production team devise the Jorge adds, “The DP, VFX achieve,” Klein says. “Either the
most efficient shooting order on a supervisor, set-construction size and shape of the volume
Planning for the Sun given day to achieve the desired crew and the art director can or the size of the stage could
In addition to helping represent looks. utilize techvis to narrow down be preventing it. Steve Tom will
physical sets and camera vari- the scope. Instead of building take our hopes and desires and
ables, techvis techniques have Visualizing the Volume 360 degrees of an environment, turn them into a techvis, so that
also been designed to assist with In-camera VFX with LED walls we might be able to decrease to we know, for example, that our
sun and time-of-day optimization. adds more complexity to the mix. a fraction of the size of what we 100mm anamorphic wide shot
Much like mobile apps such as For sequences that make use of originally thought we needed to that should be 400 meters from
Chemical Wedding’s Helios Pro, this technology, techvis is em- build.” the set is now a 50mm spheri-
techvis can combine simulations ployed to simulate the space and By incorporating a production’s cal VFX shot, in an appropriate
MARCH 2022 / 61

The Virtual World
Top: Assembled by Happy Mushroom, this mockup of Boba Fett’s ship on Season 2 of the Disney
Plus / Star Wars series The Mandalorian shows the plane of the LED wall. Bottom: The speeder
chase from Star Wars: The Rise of Skywalker was assisted by techvis produced with The Third
Floor to study placement and layout for the on-location greenscreen in Jordan.
position. The shot, which will

ultimately be postage-stamp-
sized on the screen, is captured
from outside the volume — but
still inside the stage — and we
photograph only the actors and
the virtual set just behind them,
then fill in everything else in post.
“The interactive lighting we
get from the volume is priceless
— and the backgrounds, too,”
he adds. “The VFX wizards then
bend the VFX environments to our
creative process, and do not at-
tempt to make us do the reverse.”
Cinematographer’s Imperative
The early engagement and guid-
ance of the director of photog-
raphy are critical to the success
and utility of techvis. Klein sees
techvis as an important piece of
planning, but thinks it shouldn’t
necessarily dictate every creative
move the cinematographer
makes. “Follow your gut and set
up the shots the way you want to
set them up,” he says. “It’s imper-
ative that you have your director,
cinematographer, production de-
signer and, hopefully, your script
supervisor weighing in on the pro-
BOTTOM IMAGE COURTESY OF LUCASFILM LTD. / THE THIRD FLOOR.

cess. Let the techvis, previs and
TOP IMAGE COURTESY OF LUCASFILM LTD. / HAPPY MUSHROOM.

storyboard departments follow
you and the director — it can’t be
the other way around.”
“Techvis is best used as a tool to visualize a shooting plan that has been
collectively agreed upon by department heads, and is a synthesis of all
their insights and requirements.”
62 / MARCH 2022

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Clubhouse News
Society Welcomes New Members
Alex Disenhof, ASC attended Em- In 2017, Disenhof shot the Fox Simon Duggan, ASC, ACS began Duggan’s other feature work
erson College to study film. Early in series The Exorcist, including the his career shooting commercials, includes the World War II drama
his career, he earned a Camerimage pilot; his work on the first epi- which have earned him numerous Hacksaw Ridge — which earned
nomination for Best Cinematogra- sode earned him an ASC Award accolades, including two AICP him another AACTA Award for Best
phy in a Music Video for his work on nomination. He earned another Awards and more than two dozen Cinematography and nominations
Hammock’s “Mono No Aware.” After Camerimage nomination for his Australian Cinematographers So- from the Australian Film Critics
photographing the features Funeral camerawork on the pilot of City ciety Awards. His first feature, The Association and Camerimage — as
Kings and Emoticon, Disenhof got on a Hill. His other television Interview (1998), earned him a Best well as the action fantasy Warcraft,
his break shooting Michel Gondry’s work includes an episode of the Cinematography Award from the the romantic comedy Isn’t It Roman-
feature The We and the I, which FX series Legion; the season Film Critics Circle of Australia. Since tic and the action thriller Killer Elite.
premiered at the Cannes Film Fes- finale of HBO’s Watchmen; and then, he has photographed more His upcoming work includes Dis-
tival. In 2014, after shooting such the pilot and series of the Apple than a dozen features, including enchanted (the sequel to Disney’s
features as Fishing Without Nets Plus show The Mosquito Coast. 300: Rise of an Empire; Live Free or musical fantasy Enchanted) and
and Sticky Notes, the cinematog- His forthcoming credits include Die Hard; Underworld: Evolution; I, director George Miller’s Furiosa, a
rapher was featured in Variety’s the feature Alice and the Amazon Robot; Knowing; and Garage Days. prequel to Mad Max: Fury Road.
“Below the Line Impact Report.” Prime Video series The Lord of His work on Baz Luhrmann’s feature
He was featured again in Variety’s the Rings. adaptation of The Great Gatsby
2016 edition of the report. His other garnered Duggan a Best Cinema-
feature credits include Vincent N tography Award from the Australian
Roxxy, Captive State and Code 8. Academy of Cinema and Television
Arts (AACTA) as well as a Gold
Award from the Australian Cinema-
tographers Society.
64 / MARCH 2022
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Polish cinematographer Magdalena Let Me Down” earned a VMA nom-
Gorka, ASC, PSC attended the Na- ination for Best Electronic Music
tional Film School in Łódź, Poland, Video.
where she earned a master’s degree Gorka’s narrative work includes
in cinematography. Throughout the features I’m Still Here, Para-
her career, she has photographed normal Activity 3, Viral and Die in a
features, television series, music Gunfight. She earned a Camerim-
videos and commercials. In her age Golden Frog Award nomination
commercial work, Gorka is known for her work on the feature Jack
for her automotive photography, Strong, and her television credits
and has shot campaigns for clients include the HBO Max superhero
such as BMW, Audi, Mercedes-Benz series Doom Patrol and the Netflix
and Ford. She has photographed sci-fi drama Into the Night. Her
music videos for artists that in- forthcoming credits include the Par-
clude Elton John, Katy Perry and amount Plus sci-fi series Star Trek:
Krzysztof Zalewski. Her work on the Strange New Worlds, scheduled to
Chainsmokers music video “Don’t premiere this year.
After photographing the inde- Audience Award. The film was also
pendent features The Boyfriend nominated for six Academy Awards
Game and Down Under, South and six BAFTAs.
Australian cinematographer Lachlan In 2018, Milne shot four Season
Milne, ASC, ACS, NZCS shot writ- 3 episodes of Stranger Things,
er-director Taika Waititi’s critically sharing cinematography duties with
acclaimed feature Hunt for the Wil- Tim Ives, ASC. He served as lead
derpeople, which premiered at the cinematographer on Season 4 of
Sundance Film Festival and became the popular series, which is set to
the highest-grossing domestic New premiere this year. The cinematog-
Zealand film. His other feature cred- rapher again teamed up with Waititi
its include Little Monsters, Love and on the feature Next Goal Wins,
Monsters and Minari. Written and which will also release this year. His
directed by Lee Isaac Chung, Minari other forthcoming credits include
premiered at Sundance, where the feature The Inspection, written
it won the Grand Jury Prize and and directed by Elegance Bratton.
Moscow native Roman Vasyanov, Charlie Countryman. He has been a

ASC was accepted into the Gera- frequent collaborator with director
simov Institute of Cinematography David Ayer — the two have teamed
(VGIK), where he studied under on the features End of Watch, Fury,
cinematographer Vadim Yusov. Suicide Squad and Bright. Vasyanov
After graduating, he photographed earned an Independent Spirit Award
more than 300 commercials for nomination for Best Cinematogra-
such brands as Philips, Puma, phy for his camerawork on End of
Budweiser, Dell and Pepsi. He Watch.
also shot the Russian cult musical His feature work also includes
Hipsters (aka Stilyagi), directed by The Wall, Thank You for Your
Valery Todorovsky, which played at Service and Triple Frontier. In 2019,
numerous international film festivals Vasyanov again teamed up with
and won several of Russia’s Golden Todorovsky, on the Russian feature
Eagle and Nika Awards. Following Odessa (aka Одесса). His wides-
these projects, the cinematographer creen camerawork in this romantic
began working in the U.S., where he comedy set in the 1970s earned
shot a number of features includ- Vasyanov the Best Cinematography
ing The Motel Life, The East and honor at the Golden Eagle Awards.
MARCH 2022 / 65

Clubhouse News
ASC President Stephen Lighthill attends the Society’s East Coast holiday dinner.
East Coast ASC Members Gather members, associates and guests Lighthill flew in from Los Angeles Award. Lighthill also declared to
and Celebrate Kuras gathered for an East Coast holiday for the event, where he an- the group that the ASC will hold
In addition to the annual holi- dinner at The Players social club nounced that New York local Ellen more events on the East Coast
day festivities held at the ASC in New York City on Dec. 16, Kuras, ASC is the recipient of the in the future, “both social and
Clubhouse in Hollywood, 48 ASC 2021. Society President Stephen ASC’s 2022 Lifetime Achievement educational.”
Brooks Headlines Virtual

Alice Brooks, ASC
Workshop
Alice Brooks, ASC was the head-
liner of a virtual cinematography
workshop hosted by the Wom-
en’s Weekend Film Challenge in
January 2022. The ticketed event
consisted of three parts: a moder-
ated discussion with Brooks and
WWFC founders Tracy Sayre and
Katrina Medoff, Brooks’ feedback
on audience-submitted reels, and a
Q&A with the audience. Fellow ASC
member Nancy Schreiber attended
the event. Highlights from the work-
shop will be posted to the WWFC
YouTube channel.
66 / MARCH 2022

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New Products and Services
For more of our latest tech reports, visit
ascmag.com/articles/new-products.
Virtual Production Glossary Debuts

at VPGlossary.com
The Virtual Production Glossary has launched as part of an Arri Expands Orbiter Accessory Line
industry-wide effort to establish common vocabulary across Arri is expanding its accessory range for the Orbiter LED luminaire.
professionals working in virtual production. The database The Orbiter Docking Ring enables the luminaire to accept various
was established through a collaboration between the Visual industry-standard third-party optics, enlarging the fixture’s
Effects Society (VES), the ASC and a host of industry experts, application possibilities. The Orbiter Bag-o-Light enables users
with support from Epic Games and Netflix. Given the evolving to create soft and almost shadow-free illumination. Made of
nature of virtual production, the glossary is intended to be a ultra-translucent glass, the Orbiter Glass Cover allows for full,
dynamic, industry-propelled effort rather than a static document. unrestricted light output without impacting color temperature or
Suggestions for new terms and updates to existing terms are quality. The Orbiter Dome Mini provides omnidirectional light at a
encouraged via the website and the Virtual Production Glossary high intensity.
Discord community. The database of virtual production terms For more information, visit arri.com.
contained in the glossary is made available under the Creative
Commons CC-BY-4.0 license.
For more information, visit VPGlossary.com.
Rosco Introduces Miro Cube 2

Rosco Laboratories has released the Miro Cube 2, suitable for illuminating retail stores, museums, broadcast studios
or any installation that needs voluminous amounts of light without large, bulky fixtures. The Cube 2 is available in four
models: The 4CA is an RGBA fixture, the 4C is an RGBW color-mixing fixture, the WNC is a tunable white fixture, and the
UV365 is a high-output blacklight. Miro Cube 2 users can select a color temperature, choose from up to 54 True Rosco
Color gel matches, or create their own custom color.
For more information, visit us.rosco.com.
68 / MARCH 2022
p. 68-71 New Products_v3.indd 68 2/3/22 10:28 PM

Picture Shop to Open Pinewood

Facility
Streamland Media’s Picture Shop will open a dailies facility at operations and support teams will be based at the facility, offering
Pinewood Studios this year. Picture Shop Pinewood will occupy nearly 24/7 client assistance.
4,000 square feet and will include four grading rooms; access to For more information, visit pictureshop.com and pinewoodgroup.
Pinewood’s theaters; and secure, high-speed connections to a cloud- com.
based content-management and collaboration system. Production,
Teradek Announces Wavelength Sputnik

In collaboration with Verizon and Amazon Web Services, Teradek is now offering Wavelength
Sputnik, a new ultra-low-latency monitoring server for its Core cloud service. Wavelength
Sputnik puts Teradek’s streaming-video server on the Verizon 5G network, significantly
reducing streaming-video latency when paired with Teradek hardware, software and Core
cloud platform. The integration provides a 50-percent performance improvement over
Teradek’s existing low-latency options, according to the company.
For more information, visit teradek.com.
Sachtler Unveils Aktiv

10T, 12T, 14T
Sachtler has announced the Aktiv 10T, 12T
and 14T 100mm fluid heads, which bring the
speed and control benefits of Aktiv to camera
operators with heavier payloads. The Aktiv
10T supports up to 26.5 pounds; the Aktiv
12T supports up to 31 pounds, and the Aktiv
14T supports up to 35 pounds. Featuring
Sachtler’s SpeedLevel and SpeedSwap
technology, the Aktiv fluid head enables
camera operators to mount, level and lock the
head in seconds and to switch quickly among
tripod, slider or handheld shots.
For more information, visit sachtler.com.
MARCH 2022 / 69

NEW PRODUCTS AND SERVICES
Your Super 8 and 16mm

H&Y Filters Releases Film Lab for 50 years
Revoring Solutions
Hong Kong company H&Y Filters has
released a CPL filter and an ND Magnetic
Clip-on filter for the Revoring variable-
adapter ecosystem. The Revoring CPL
CAMERAS.
and the ND Magnetic Clip-on are available
in three sizes: 46-62mm, 58-77mm and FILM.
67-82mm. Additionally, the ND filter
comes in four grades: 4, 8, 16 and 400. PROCESSING.
The Revoring features self-retracting
blade technology with threaded ends
to secure to the front of lenses. Each SCANNING.
threaded end has been designed to
overlap, eliminating the risk of light leaks.
For more information, visit hyfilters.net.
818.848.5522 • pro8mm.com
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Wrap Shot
Casino
PHOTO BY PHILLIP CARUSO, COURTESY OF UNIVERSAL PICTURES.

Like The Card Counter (see page 42), Martin Scorsese’s Casino (AC
Nov. ’95) draws drama from the high-stakes gambling culture. Shot
by Robert Richardson, ASC, the ambitious crime epic was deeply
immersed in its Las Vegas-based settings. A good portion of the film
was shot inside the Riviera casino during off-hours, requiring the
production team to work around the gaming den’s night-owl activity.
“Tremendous constraints were placed upon us in terms of the time we
had to shoot,” Richardson recalled. “The graveyard shift was the time
when it was easiest on the Riviera, so we wouldn’t distract the casino’s
clients.”
72 / MARCH 2022
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COVER STORY STORARO AND HIS DIRECTORS
MARCH 2021 / 3
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AmericanCinematographer March2022

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March 2022 The International Publication of the American Society of Cinematographers

Roger Deakins, ASC, BSC: Six Favorite Films

50 Key Grips on Set Safety

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Blackmagic URSA Mini Pro 12K

Digital Film in Extreme Resolution Fast and Flexible Post Production

Cinematic 12K Super 35 Sensor

www.blackmagicdesign.com Learn More!

WEB DIRECTOR and ASSOCIATE PUBLISHER

CREATIVE DIRECTION and DESIGN

SUBSCRIPTIONS, BOOKS and PRODUCTS

ASC CEO and PUBLISHER Terry McCarthy

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MEMBERS OF THE ASC The ASC is not a labor union or a guild,

You’ll find everything in the ASC Gallery at MUSEUM CURATOR

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“THE BEST PICTURE

FOR YOUR CONSIDER ATION IN ALL C ATEG OR IE S INCLUD ING

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PORTRAIT BY MICHAEL M. PESSAH, ASC.

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ASC Members and Mentors

PHOTO BY ALEX LOPEZ, COURTESY OF THE ASC.

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PHOTOS COURTESY OF QUYEN TRAN, ASC.

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Charlotte Bruus Christensen, ASC

PHOTO COURTESY OF CHARLOTTE BRUUS CHRISTENSEN, ASC.

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Luo Pan, ASC, CNSC and crew.

PHOTO COURTESY OF LUO PAN, ASC, CNSC.

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“AS A VISUAL AND VISCERAL EXPERIENCE,

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PHOTO COURTESY OF GONZALO AMAT, ASC.

p. 10-17 Shot Craft_v5.indd 16 2/3/22 9:26 PM AC

Containing entirely new chapters and substantial

Edited by M. David Mullen, ASC and ASC associate

Topics covered in this new edition of our

• Evaluating digital cameras

The new AC Manual will be shipped in late March.

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“The more you plan, the more you can

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Once Upon a Time in the West (1968)

Leone’s ambitious, atmospheric Western is memorably presented in

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Top: Psychologist Kris Kelvin

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Below: An image Deakins captured in 2014 at the San Jose

More Deakins, Online and in Print

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The point of difference

WORLD-LEADING TECHNOLOGY FOR