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Rodrigo Prieto, ASC, AMC is clearly held in highesteem by his collaborators. Oliver Stone sang his praisesin our October coverage of �7�>�•�•�Ê�-�Ì�À�i�i�Ì�\�Ê���œ�˜�i�Þ�Ê� �i�Û�i�À�-�•�i�i�«�Ã, and within this month’s overview of ��ˆ�Õ�Ì�ˆ�v�Õ�•(“Letting Go,”page 30), director Alejandro González Iñár-ritu offers his own endorsement in a sidebar commentary(“Iñárritu on Method,” page 38). “The visual grammar ofthis film was very delicate and sophisticated because ithad to combine the social, the physical, the metaphysicaland a hyper-realistic approach,” Iñárritu notes. “To me,��ˆ�Õ�Ì�ˆ�v�Õ�•is by far Rodrigo’s most lyrical and poetic work.Realistically and metaphorically, he found light in the dark-est places possible.”

The film offered Prieto ample opportunity to be creative. The emotional journey of themain character, Uxbal (Javier Bardem), led Prieto to suggest the unusual strategy of shiftingfrom 1.85:1 to anamorphic 2.40:1, with a transition point that combined the 1.85 formatwith anamorphic lenses. “I suggested we test starting at 1.85 and eventually opening up to2.40 to represent the transition from [Uxbal’s] tight control to ultimate release,” he says.“There was some concern that the shift would be too jarring, but we decided it worked.”

That spirit of experimentation is also evident in David O. Russell’s boxing drama �/�…�i���ˆ�}�…�Ì�i�À, which allowed cinematographer Hoyte van Hoytema, NSC, FSF to blend dramascenes shot on 2-perf 35mm with fight sequences shot on Betacam-SP. For the former, vanHoytema used Aaton’s Penelope camera, and for the latter, he employed vintage Sony videocameras. “When shooting 2-perf for [2.40:1] output, you expose far less negative than 4-perf, saving a lot of money, and if you are interested in getting grain and texture, it’s the wayto go,” the cinematographer tells Michael Goldman (“Tough Love,” page 42).

The sci-fi spectacle �/�À�œ�˜�\�Ê���i�}�>�V�Þrequired Claudio Miranda, ASC to combine a varietyof strategies, including 3-D camera rigs, LED and Electro Luminescent lighting technology,high-speed cameras and face-replacement animation effects. As Miranda explains to NoahKadner (“Back to the Grid,” page 52), some of the lighting was built directly into the futur-istic costumes worn by characters in the computer environment known as the Grid: “Thesuits really drove the pastel look of the digital world. We wanted to see the suit lights cast-ing interactive light from character to character and have everything look as luminous aspossible, like the glow of a computer monitor.” Further insights into the production areoffered in a sidebar Q&A with Digital Domain’s visual-effects supervisor, Eric Barba, and headof animation, Steve Preeg (“Barba and Preeg on �/�À�œ�˜�\�Ê���i�}�>�V�Þ,” page 60).

This issue also offers a heartfelt salute to cinematographer Roger Deakins, ASC, BSC,a longtime friend of the magazine who will receive the Society’s Lifetime Achievement Awardon Feb. 13. Though still in his prime and shooting as artfully as ever, the seemingly tirelessDeakins has built a legacy of excellence that simply demanded the ASC’s highest honor. PatThomson’s account of his remarkable career (“A League of His Own,” page 64) offers illu-minating details about his formative years, insights earned after decades of experience, anda sidebar on �/�À�Õ�i�Ê���À�ˆ�Ì�]Roger’s latest collaboration with the Coen brothers.

Stephen PizzelloExecutive Editor

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January 2011

Creating an Animated “Eye of the Storm”By Iain Stasukevich

“A couple of years ago, I saw a short animated film byAnthony Lucas called �/�…�i���Þ�Ã�Ì�i�À�ˆ�œ�Õ�Ã�Ê� �Ý�«�•�œ�À�>�Ì�ˆ�œ�˜�Ã�Ê�œ�v�Ê���>�Ã�«�i�À�Ê���œ�À�i�•�•�œ,and it blew me away,” recalls director Christopher Alender. “Theanimation was done with silhouettes and collage backgrounds, andit got me wondering if I could do the same thing with live action.”

Alender put the idea on hold until singer/songwriter BenLovett, a close friend, asked him to produce a music video for a songon his album �/�…�i�Ê���i�>�À�°�ÊWhen Alender listened to the album, thetrack “Eye of the Storm” jumped out at him. “It’s like a soundscapewith a very cinematic feel,” he observes.

Like ���>�Ã�«�i�À�Ê���œ�À�i�•�•�œ, the video for “Eye of the Storm” is set ina steampunk world, a highly technological Victorian society powered

by steam. The video tells the story of a lonely captain (played byLovett) battling to keep his airship afloat in the midst of a ragingtempest. Alender decided to shoot all of the action against blue-screen, using minimal set pieces and props, and he asked cine-matographer Craig Kief, a fellow Florida State University alumnus,to step behind the camera. “Craig is always game when I call him,even when we’re doing something weird,” says Alender. Kief sayshe was immediately drawn to the images Alender proposed. “A lotof the work I do, mostly commercials and music videos, has exten-sive visual effects, so this seemed like a natural fit,” says the cine-matographer.

The visual effects for “Eye of the Storm” called for thecreation of the airship and all of the weather effects, and also forpicking out specific details in Lovett’s costume and the props. Typi-cally, this would be accomplished by chroma-keying the bluescreenelements of the frame, but Alender intended to shoot 4K with theRed One MX (recording to Red Drives and Compact Flash cards),and he didn’t want the CPU-hogging process to impede the postworkflow. “It really slows you down, especially if you’re experi-menting and working with high-resolution imagery,” he says. “Weworked with the 4K sources but mastered in a 2K comp.”

Alender and Kief came up with a way to isolate the elementsthey wanted to remove by shooting under black lights and using aluma key instead. The idea is based on an RGB image being split intothree separate monochrome channels, with each channel contain-ing a separate luma key based on a defined level of exposure. Kiefand Alender experimented with different kinds of fluorescent tapeand paint until they found the ones that reacted best to ultravioletlight. “Green fluorescent tape was the most powerful, so we usedit to build part of the captain’s wardrobe,” says Alender. “Orange Ph

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Singer Ben Lovettpilots an airship

into a fiercestorm in the

music video forhis song “Eye of

the Storm.”CinematographerCraig Kief utilized

bluescreens,black lights andfluorescent tape

to isolate keyelements of the

imagery thatwould later becombined with

CG effects.

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SonyPictures.com/Awards

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���˜�œ�Ì�…�i�À�Ê�Ž�i�Þ�Ê�Ã�i�µ�Õ�i�˜�V�i�Ê�ˆ�˜�Û�œ�•�Û�i�Ã�Ê�Ì�…�i�`�ˆ�Ã�«�œ�Ã�>�•�Ê�œ�v�Ê�>�Ê�L�œ�`�Þ�Ê�v�À�œ�“�Ê�>�Ê�L�À�ˆ�`�}�i�°�Ê�/�…�i�Ê�v�ˆ�•�“�‡�“�>�Ž�i�À�Ã�Ê�œ�À�ˆ�}�ˆ�˜�>�•�•�Þ�Ê�Ì�…�œ�Õ�}�…�Ì�Ê�œ�v�Ê�Ã�i�Ì�Ì�ˆ�˜�}�Ê�Ì�…�i�>�V�Ì�ˆ�œ�˜�Ê�œ�˜�Ê�>�Ê�V�>�Õ�Ã�i�Ü�>�Þ�Ê�L�À�ˆ�`�}�i�]�Ê�Ü�ˆ�Ì�…�Ê�•�ˆ�}�…�Ì�ˆ�˜�}

Cooke Optics LimitedBritish Optical Innovation and Quality Since 1893.

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Page 17: American Cinematographer 201101

30 �*�A�N�U�A�R�Y���������� American Cinematographer

he new film �"�I�U�T�I�F�U�Lis the latest collaboration betweendirector Alejandro González Iñárritu and cinematogra-pher Rodrigo Prieto, ASC, AMC, and although it doesnot feature the kind of fractured narrative that character-

ized their previous features, �!�M�O�R�E�S���0�E�R�R�O�S��(�!�#��April ’01), �����'�R�A�M�S(�!�#��Dec. ’03) and �"�A�B�E�L(�!�#��Nov. ’06), it nonethelessoffers a similarly rich tapestry of characters and subplots. Thefilm focuses on Uxbal (Javier Bardem), a divorced father oftwo, who hustles a living in Barcelona by selling goods from aChinese sweatshop to African street vendors, and by moon-lighting as a kind of messenger between the dead and theliving — he possesses the eerie ability to see ghosts. WhenUxbal learns that he has a terminal illness, he struggles tocome to terms with his fate, all the while concealing his ill-

Biutiful

By Benjamin B

•|•

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www.theasc.com January 2011 33

�C�H�A�R�G�E���O�F���P�U�T�T�I�N�G���H�I�S���L�I�F�E���I�N���O�R�D�E�R�����)���F�E�L�T�T�H�A�T���A�N�A�M�O�R�P�H�I�C���L�E�N�S�E�S���W�O�U�L�D���H�E�L�P�I�S�O�L�A�T�E���H�I�M���A�N�D���C�O�N�V�E�Y���H�I�S���D�E�S�P�A�I�R�B�E�C�A�U�S�E���T�H�E�Y���W�O�U�L�D���S�L�I�G�H�T�L�Y���A�L�T�E�R���T�H�E�T�E�X�T�U�R�E���O�F���T�H�E���I�M�A�G�E�����)���W�A�N�T�E�D���T�H�E���B�A�C�K� �G�R�O�U�N�D�S���A�T���T�H�I�S���P�O�I�N�T���T�O���H�A�V�E���T�H�A�T���S�O�F�T� �F�O�C�U�S���T�E�X�T�U�R�E�����T�H�A�T���S�L�I�G�H�T�L�Y���L�I�Q�U�I�D���F�E�E�L���O�F�A�N�A�M�O�R�P�H�I�C�����7�E���M�A�D�E���T�H�E���A�S�P�E�C�T� �R�A�T�I�O�T�R�A�N�S�I�T�I�O�N���A���F�E�W���S�C�E�N�E�S���L�A�T�E�R���O�N���A���C�R�A�N�E�S�H�O�T���A�T���T�H�E���B�E�A�C�H�����U�S�I�N�G���A�N���A�N�G�L�E���O�F���T�H�E�O�C�E�A�N���T�O���O�P�E�N���T�H�E���E�D�G�E�S���O�F���T�H�E���S�C�R�E�E�N���T�O�������������)���S�H�O�T���M�O�S�T���O�F���T�H�E���M�O�V�I�E���W�I�T�H�0�A�N�A�V�I�S�I�O�N���5�L�T�R�A���3�P�E�E�D���;�:���3�E�R�I�E�S�=�-�+�)�)�S�����A�N�D���F�O�R���M�O�S�T���O�F���T�H�E���A�N�A�M�O�R�P�H�I�C�W�O�R�K���)���U�S�E�D���0�A�N�A�V�I�S�I�O�N���S���'� �3�E�R�I�E�S�L�E�N�S�E�S�����7�H�E�N�E�V�E�R���T�H�E�R�E���W�A�S���A���S�O�U�R�C�E���O�F�L�I�G�H�T���I�N���F�R�A�M�E�����L�I�K�E���A���W�I�N�D�O�W�����T�H�E���-�+�)�)�S�W�O�U�L�D���C�A�U�S�E���A���S�L�I�G�H�T���F�L�A�R�E�����A�N�D���T�H�E�Y���G�A�V�E�T�H�E���I�M�A�G�E���A���H�A�R�D���E�D�G�E���A�N�D���C�O�N�T�R�A�S�T�Y���F�E�E�L�T�H�A�T���W�E���L�I�K�E�D�����&�O�R���C�E�R�T�A�I�N���M�O�M�E�N�T�S�����W�E�E�N�H�A�N�C�E�D���T�H�E���F�L�A�R�E���O�F���B�R�I�G�H�T���S�O�U�R�C�E�S�W�I�T�H���A���4�I�F�F�E�N���3�M�O�Q�U�E���&�I�L�T�E�R���O�N���T�H�E�C�A�M�E�R�A����

The 1.85 anamorphic passage inthe film is very impressionistic, withUxbal crossing the bridge at sunset,roaming the streets at night, and thengoing to meet his brother at the night-club.

Prieto: �(�E���I�S���G�O�I�N�G���T�H�R�O�U�G�H���A�D�E�E�P�L�Y���T�R�A�U�M�A�T�I�C���M�O�M�E�N�T�����S�O���W�E

Top: This HDframe grabshows part ofthe film’stransition fromspherical 1.85:1to anamorphic2.40:1. Prietoshot thissequence in 1.85with anamorphiclenses. Middleand bottom:Uxbal’s longwalk ends at agarish, surrealnightclub, wherehe seeks solacein alcohol andthe opposite sex.

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www.arridigital.com

ALEXA is now in use on a vast range of 3D and 2D feature films,

T V shows, commercials, documentaries and music videos.

All over the world, filmmakers such as Martin Scorsese

and Roland Emmerich have quickly taken advantage of the

camera’s exceptional image quality and streamlined workflows

to bring their creative visions to life. With a modular design and

convenient update methods, the future-proof ALEXA enables

cinematic storytelling like no other camera system before.

To name only a few...

ANONYMOUS – 2D feature

H UG O C ABRET – 3D feature

TH E TH REE MUSKETEERS – 3D feature

D ISNEY PROM – 2D feature

RED BULL AIR RAC E – 2D feature

ARMANI PERFUME – commercial

MERC ED ES BENZ – commercial

...much more to come

ALREADY T HE CAMERAOF CHOICE

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Representative in U.S.: camadeus Film TechnologiesNorth Hollywood, CA 91605Tel. +1-818-764-1234 We accept

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AC visited the Legacy set in June2009,as the filmmakers prepared toshoot a major action sequence andclose-ups of Hedlund simultaneouslyon different stages. Kosinski started theday by showing off the Comic-Contrailer in high quality and then review-ing storyboards and cutout models ofkey set pieces, many of which paidsubtle homage to the original film.

The groundbreaking visual effectsin the original Tron, shot by BruceLogan, ASC ( AC Aug. ’82), wereachieved primarily by painstakinglyrotoscoping and colorizing black-and-white 70mm film and incorporatingstate-of-the-art computer animation.To enhance the sense of technologicalprogress that has marked the interven-ing decades, the Legacy team chose toembrace high-definition video, and inorder to further distinguish the digitalworld created by Kevin Flynn from thereal world, they shot sequences set in theGrid in stereoscopic 3-D. After testinga number of options, Miranda decidedto work with Pace’s Fusion 3-D system,using a pair of Sony CineAlta F35cameras.

An earlier iteration of the Fusion

system, fitted with Sony HDC-F950s,was used on James Cameron’s Avatar(AC Jan. ’10), and although the Legacyteam tested that rig, “we really preferredthe 35mm-sized sensor in the F35,”Miranda says during a break in filming.“I loved its shallow depth of field andsofter, more pleasing 3-D effect.” Whenshooting with the 3-D rig, 1st AC JonasSteadman supported camera operatorJohn Clothier from a specially converteddigital-imaging-technician station,where he used a Camnet touch-screen

system designed by Pace to handle inte-rocular/convergence, mirror correctionsand iris; in addition, Steadman pulledfocus with a Preston remote-focushandset.

Recording 1080p HD to Codexhard drives, the filmmakers devisedtheir own guidelines for their 3-D work.For example, referring to the point inspace where the two cameras’ lenses areaimed, and which determines whetherobjects appear to float in front of orbehind the screen plane, “we decided to�5

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Opposite: SamFlynn (GarrettHedlund) followsin his father’sfootsteps andraces a light cyclewithin the worldof the Grid inTron: Legacy,directed by JosephKosinski and shotby ClaudioMiranda, ASC.This page, top:Twenty years afterdisappearing intothe Grid, KevinFlynn (JeffBridges) isreunited with hisson. Bottom: Thefilmmakersutilized digitalface-replacementtechnology tocreate Legacy’santagonist, CLU2.0.

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Chapman G3 stabilized head. We alsomodified a Graphlite, designed byPacific Motion Control, to work as agantry motion-control crane. Instead oflaying motion-control track on theground, the track and crane wereinverted to come from the ceiling. Thisgave us great flexibility; I could reachanywhere on set without laying track. Italso allowed me to create a perfect high-speed circle track.”

Some of the action set in Legacy’sdigital world also required high-speedphotography. For this, Pace supplied theproduction with a modified 3-D mirrorrig fitted with two optically linkedVision Research Phantom HDcameras, allowing Miranda to shoot atup to 1,000 fps while closely matchingthe F35 material.

Legacy opens with a prologue setin 1989 and then jumps ahead to thepresent day; these sequences were shotin 2-D with a single F35 on location inVancouver. The prologue features ayoung Sam (Owen Best) and Kevin,and Bridges was able to play his youngerself thanks to the facial-replacementtechnology pioneered by DigitalDomain for Benjamin Button . Button’svisual-effects supervisor, Eric Barba,again collaborated with Miranda forLegacy. “Jeff was on set to digitally drivethe facial animation, and then we

shot with a body double mimicking his physical movements,” explainsMiranda. Bridges’ facial movementswere captured by means of a head-mounted rig with four witness cameras,and the body double, Miranda notes,“wore a gray mask to facilitate thereplacement process. The double had ahairstyle and build similar to Jeff’syounger self, so we could go without themask on over-the-shoulder shots. As onBenjamin Button , the idea was to treatthe lighting no differently from any

other scene; we didn’t want to draw anyspecial attention to the effect.”

In Legacy’s present day, AlanBradley (Bruce Boxleitner, reprising hisrole from Tron) prompts Sam, now 27,to check on Kevin’s long-abandonedarcade. In the first Tron, Flynn’s Arcadewas a real location in Culver City, Calif.,and production designer DarrenGilford painstakingly re-created the setat the Vancouver studio for Legacy.Inside the arcade, “I didn’t use the orig-inal film as a reference,” says Miranda.

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�$�E�A�K�I�N�S�����I�N�P�U�T���C�O�N�T�I�N�U�E�S���D�U�R�I�N�G�P�R�O�D�U�C�T�I�O�N�����h�&�R�O�M���S�H�O�T���D�E�S�I�G�N�����T�O���L�I�G�H�T� �I�N�G�����T�O���H�O�W���A�N�D���W�H�E�N���Y�O�U���M�O�V�E���T�H�E�C�A�M�E�R�A�����2�O�G�E�R���I�S���B�R�I�L�L�I�A�N�T���A�T���B�R�I�N�G�I�N�G�S�O�M�E���E�X�T�R�A���D�I�M�E�N�S�I�O�N���T�H�A�T���C�H�A�N�G�E�S���T�H�E�E�N�T�I�R�E���F�E�E�L�I�N�G���O�F���W�H�A�T���Y�O�U���R�E���D�O�I�N�G���v���S�A�Y�S�*�O�E�L�����h�%�V�E�N���W�H�E�N���H�E���S���S�H�O�O�T�I�N�G���I�N�S�E�R�T�S���H�E���S���A�L�W�A�Y�S���L�O�O�K�I�N�G���F�O�R���A���M�O�R�E���E�F�F�E�C�T�I�V�E�O�R���I�D�I�O�S�Y�N�C�R�A�T�I�C���W�A�Y���T�O���S�H�O�O�T�����&�O�R���E�X�A�M� �P�L�E�����I�N��No Country for Old Men �;AC �/�C�T��

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Top: Deakins andHarris capture a

close-up of FrancesMcDormand’s legsfor a scene in the

Coens’ period noircomedy The Man

Who Wasn’t There(2001), which

brought Deakinshis second ASC

Award. Bottom:Deakins lines up a

shot of JenniferConnelly for Vadim

Perelman’s Houseof Sand and Fog

(2003), whichrequired the

creation of someconvincing

exteriors onstageat Culver Studios.

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�*�A�N�U�A�R�Y����������

’07], we were shooting just an insert of awatch — it’s when Llewelyn [JoshBrolin] is waiting for that wounded guyto die under the tree — and Rogerframed it in such a way that it was asmuch about the landscape as it wasabout the watch.” Ethan notes, “We cutour own movies, and as an editor, youthink, ‘Oh, it’s an insert of a watch,’oryou think about the information thathas to be relayed: it’s an hour’s passage.You think [the shot] is about the watchface. But instead of framing it againstthe ground, which is how we boththought of it, Roger put it against a biglandscape with the trees.” Joel adds,“And in a movie all about landscapes,that’s kind of interesting and impor-tant.”

In addition to marking the startof his collaboration with the Coens, the1990s were significant for Deakins forother professional reasons. He moved tothe United States in 1992, settling inSanta Monica, Calif.; he became anASC member in 1994, after beingproposed for membership by JohnBailey, Allen Daviau and Steven Poster;and he earned his first Academy Awardnomination and won his first ASCAward for 1994’s

( June ’95) He shotanother dozen films that decade,including the Coens’ ( March’96), which showed the brothers’ morenaturalistic, observational side, andMartin Scorsese’s ( Feb.

� A League of His Own

�/�œ�«�Ê�•�i�v�Ì�\�Ê���i�>�Ž�ˆ�˜�Ã�]���>�À�À�ˆ�Ã�Ê�>�˜�`�Ê�œ�Ì�…�i�À�Ê�V�À�i�Ü�“�i�“�L�i�À�Ã�Ê�V�…�>�Ã�i�Ê��À�Þ�V�i

���>�•�•�>�Ã�Ê���œ�Ü�>�À�`�Ê�v�œ�À�Ê�>�Ã�…�œ�Ì�Ê�œ�˜�Ê���°�Ê� �ˆ�}�…�Ì�-�…�Þ�>�“�>�•�>�˜�½�Ã�ÊThe

Village �­�Ó�ä�ä�{�®�°�Ê�/�œ�«�À�ˆ�}�…�Ì�\�Ê���i�>�Ž�ˆ�˜�Ã�Ê�>�˜�`

�-�…�Þ�>�“�>�•�>�˜�Ê�«�•�œ�Ì�Ê�Ì�…�i�ˆ�À�>�«�«�À�œ�>�V�…�°�Ê���ˆ�`�`�•�i�\�Ê�/�…�i

�V�ˆ�˜�i�“�>�Ì�œ�}�À�>�«�…�i�À�Ã�Ì�>�˜�`�Ã�Ê�L�i�˜�i�>�Ì�…�Ê�>�Ê�}�À�ˆ�`

�œ�v�Ê�Ã�«�>�V�i�Ê�•�ˆ�}�…�Ì�Ã�Ê�œ�˜�Ã�Ì�>�}�i�>�Ì�Ê�1�˜�ˆ�Û�i�À�Ã�>�•�Ê�-�Ì�Õ�`�ˆ�œ�Ã

�v�œ�À�Ê�-�>�“�Ê���i�˜�`�i�Ã�½Jarhead �­�Ó�ä�ä�x�®�°

��œ�Ì�Ì�œ�“�\�Ê���Ì�Ê�i�>�Ã�i�Ê�ˆ�˜�Ê�Ì�…�i�“�Õ�V�Ž�]�Ê���i�>�Ž�ˆ�˜�Ã�Ê�Ü�>�ˆ�Ì�Ã�Ê�Ì�œ

�V�>�«�Ì�Õ�À�i�Ê�>�Ê�Ã�…�œ�Ì�Ê�v�œ�ÀJarhead�°

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District 9

House, M.D.

Devil

Robben Island

Inception

Lost

Avatar

Richard Crudo, ASC (center) presented HPA Awards for Outstanding Color Grading to StefanSonnenfeld (left), Siggy Ferstl (right) and Steve Porter (not pictured).

80

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84 January 2011 American Cinematographer

Colorfront Optimizes On-Set Dailies

DSC Labs Adds Red CamBook

Cinedeck Gets Extreme

Panasonic Introduces P2 Storage Unit

New Products & Services• SUBMISSION INFORMATION •

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For more information about AFI Fest, AFI Conservatory and other AFI programs, go to AFI.com.

Luke Lynch (E ‘09) Editor

Georgia Archer (P ‘98) Producer/Director/Writer

Anthony Dominici (D ‘99) Executive Producer

Matt Kregor (E ‘99) Co-Producer/Editor

Jose Pulido (E ‘99) Editor

Sam Harowitz (C ‘09) Production Manager

Darren Aronofsky (D ‘92) Director

Jon Avnet (D ’72) Executive Producer

Matthew Libatique (C ‘92) Director of Photography

David Lynch (D ‘70) Producer/Director/Writer/Editor/Production Designer

Frederick Elmes (D ’72) Cinematographer

Miguel Bunster (C ’06) Cinematographer

Ed Zwick (D ‘75) Producer/Director/ Co-Writer

Marshall Herskovitz (D ‘75) Producer/ Co-Writer

Pieter Jan Brugge (P ‘79) Producer Steven Fierberg (D ‘95) Cinematographer Steven Rosenblum (C ‘76) Editor

Nick Simon (D ‘08) Director/Writer

Thomas Mahoney (P ‘08) Producer

Chady Eli Mattar (P ‘08) Producer

Hayden Roush (P ‘08) Producer

Scott C. Silver (E ’08) Producer/ Additional Editor

Robert Konowalow (P ’10) Line Producer

Daniel Meersand (S ’08) Writer

Kevin Duggin (C ’08) Cinematographer

Katy Skjerping (E ‘ 08) Editor

Noah Rosenthal (C ’08) Second Unit Director

Andrew J. Spieler (D ‘09) Director/Writer

Marina Stabile (P ‘09) Producer/Writer

Samuel Harowitz (C ‘09) Cinematographer Vegard H. Sorby (E ‘09) Editor Harrison Yurkiw (PD ‘09) Production Designer

Josef Lieck (D ’01) Associate Producer/Line Producer

Lisa Wiegand (C ’95) Cinematographer

Maggie Kiley (DWW ‘09) Director/Writer

Christopher Jones (E ’03) Editor

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