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2012 / 09 - September Issue of American Cinematographer

Here's a at the August 2012 issue of American Cinematographer magazine, which has a special focus on postproduction.

The Dark Knight Rises (Warner Bros.)
Wally Pfister, ASC was behind the lens once again for this third and final installment in director Christopher Nolan's Batman series. After a long absence, Gotham City's caped crusader (Christian Bale) must don his cowl once again in a desperate battle against his greatest foe yet, the terrorist criminal known as Bane (Tom Hardy). Pfister goes into detail on the sprawling production, which included shooting in anamorphic 35mm and Imax during seven months of principal photography in locations ranging from Jodhpur, India to Pittsburgh, Pa., with extended stays in Los Angeles and London.

The Amazing Spider-Man (Sony)
John Schwartzman, ASC joined director Marc Webb for this reboot of the web-slinger's big-screen franchise. Re-presenting the superhero's origin in a new light, the film pits the friendly neighborhood Spider-Man (Andrew Garfield) against the super-villainous Lizard (Rhys Ifans) as the wall-crawler tries to unwrap the mystery surrounding his parents' disappearance. Schwartzman details his experiences shooting the movie in native 3-D using Red Epic cameras and rigs supplied by 3ality Technica, whose CEO, Steve Schklair (an ASC associate member) also shares insights into the production.

Total Recall (Sony)
Paul Cameron, ASC teamed with director Len Wiseman for the latest big-screen adaptation of Philip K. Dick's short story We Can Remember It for You Wholesale. In the year 2084, factory worker Douglas Quaid (Colin Farrell) begins to suspect his mind has been tampered with in an effort to hide the fact that he is a spy caught in the conflict between superpowers Euroamerica and New Shanghai. Shooting in Toronto, Cameron employed Red Epic cameras and Panavision anamorphic lenses to capture the dystopian tale.

Abraham Lincoln: Vampire Hunter (20th Century Fox)
Caleb Deschanel, ASC helped turn the legendary U.S. president (played by Benjamin Walker) into a vampire-slaying hero for this big-screen adaptation of Seth Grahame-Smith's bestselling novel. Deschanel discusses his collaboration with Russian-Kazakh director Timur Bekmambetov (Night Watch, Day Watch, Wanted) on locations in Louisiana, as well as his techniques for integrating the movie's live-action elements with elaborate visual effects.

The August issue's departments also offer illuminating insights:

  • Short Takes presents an interview with documentary cinematographer Buddy Squires about his use of the Phantom 65 camera for New York Story, a project he shot for the New York Historical Society that includes cityscapes shot in a 4.7:1 aspect ratio.
  • Production Slate features a Q&A with Darius Khondji, ASC, AFC about his two recent collaborations with director Woody Allen, Midnight in Paris and To Rome With Love. This section also spotlighst cinematographer Adriano Goldman, ABC's work on director Fernando Meirelles' 360.
  • Post Focus looks under the hood of the Jerzy Zielinski, ASC-photographed Chicks Are Just Different, which was largely shot inside of a car on greenscreen stages using 35mm film, requiring extensive compositing of background plates captured with Panavision's Genesis digital camera.
  • ASC Close-Up spotlights Society member David Boyd, whose credits include the series Firefly, Deadwood, Without a Trace, Friday Night Lights and The Walking Dead, and the features 12 Rounds, Get Low and Joyful Noise.

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2012 / 09 - September Issue of American Cinematographer

 

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