The American Society of Cinematographers

Loyalty • Progress • Artistry
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Robin Hood
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Mathieson joined Nakamura for an intense few days toward the end of the grade. “I spent what time I could with it, and then I had to let it go, and that was fine,” says the cinematographer. “I think a lot of films look the same these days because there’s too much fiddling around in the DI. A scene might be slightly underexposed or overexposed, and if you leave it the way it is, there’s a visual rhythm when all the scenes are cut together. If you fiddle with every frame in every single scene, there’s no journey in the film photographically.”   



4-perf Super 35mm

Arricam Studio , Lite; Arri 235

Optica, Angenieux and Panavision lenses

Kodak Vision3 500T 5219; Vision2 50D 5201, 250D 5205

Digital Intermediate

Printed on Kodak Vision 2383

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