{"id":2669,"date":"2013-04-17T15:18:00","date_gmt":"2013-04-17T23:18:00","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2669"},"modified":"2014-06-04T16:51:01","modified_gmt":"2014-06-04T16:51:01","slug":"souls-on-the-ledge","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/souls-on-the-ledge\/","title":{"rendered":"Souls on the Ledge"},"content":{"rendered":"

Paul Cameron, ASC, takes the shortest visual line between two lost characters for his newest feature, Dead Man Down<\/strong><\/em><\/p>\n

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When Danish writer\/director Niels Arden Oplev called Paul Cameron, ASC to work on his new film, Dead Man Down<\/i>, which was set to shoot last summer in Philadelphia, Cameron didn\u2019t hesitate to take the call. The cinematographer had seen Oplev\u2019s adaptation of the worldwide bestseller, The Girl with the Dragon Tattoo<\/i>; and soon after he jumped on-board, Colin Farrell, Noomi Rapace and Terrence Howard confirmed their involvement.<\/p>\n

Cameron, who had worked with Farrell on Total Recall <\/i>in 2011, describes the Dublin-born star as an absolute pleasure to work with. \u201cHe does his homework and when he shows up on set he\u2019s ready to go,\u201d Cameron explains. \u201cColin knows what I\u2019m doing with my shots, when to play for close-ups and when to play for\u00a0three to four cameras in an action sequence, all of which make the camera team\u2019s jobs so much easier.\u201d<\/p>\n

The longtime Guild shooter knows a thing or two about intuitive storytelling himself, with credits that include Man on Fire <\/i>and D\u00e9j\u00e0 Vu<\/i> with Tony Scott, Swordfish<\/i> and Gone in Sixty Seconds<\/i> with Dominic Sena and Michael Mann\u2019s Collateral<\/i>.<\/p>\n

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\u201cThe script [for Dead Man Down<\/i>] was raw and truthful from page one,\u201d he recalls. \u201cIt follows Victor [Farrell] and Beatrice [Rapace], two simple, real people with wounded hearts, as they form an unusual alliance to take revenge on Victor\u2019s employer, the crime boss Alphonse [Howard] who had killed Victor\u2019s family.\u201d In fact, screenwriter Joel Wyman had told Cameron the origins of the story came from a\u00a0feeling he had early on as a father and husband: that he couldn’t bare the idea of anything happening to his family.<\/p>\n

Dead Man Down\u2019s <\/i><\/b>workflow was a culmination of digital techniques<\/b> Cameron has been exploring for the last two years on films and commercials. Working with L.A.-based DIT Dane Brehm, the project\u2019s dailies were timed on-set\u00a0utilizing Assimilate Scratch. The visual management system gives cinematographers full control of color across the digital pipeline.\u00a01619 provided transcoded dailies via PIX and Apple iPads.<\/p>\n

\u201cFor the first time in digital capture I felt what I shot exactly matched what I saw during DI,\u201d Cameron boasts.\u00a0\u201cI can\u2019t stress how important it is for DPs to control and color what they shoot.\u00a0Part of this is sticking with one color correction system and one professional monitor to make decisions on. Also, a system guaranteeing metadata makes it all the way down the digital\u00a0pipeline. Assimilate Scratch really streamlines that process.\u201d<\/p>\n

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Testing was handled at Philadelphia-based DIVE\u2019s DI suite with senior colourist Alex Bickel. After the first test, Cameron made the decision with Oplev to add CineGrain\u2019s scan of Fuji 35mm 64D to the final DCP digital cinema versions, as well as onto the final film release prints. \u201cBickel showed me CineGrain\u2019s program and library\u00a0of 4K film grain scans,\u201d Cameron continues. \u201cThis one in particular isn\u2019t overwhelming \u2013 it is a sharp, small grain pattern, overlayed at 80 percent normal contrast.\u201d<\/p>\n

Since shooting Dead Man Down<\/i>, the DP has\u00a0incorporated CineGrain on almost all his digital dailies, transcoding with a slight offset. Also key to the Dead Man Down<\/i> pipeline were senior digital intermediate colourist Jill Bogdanowicz at Technicolor Hollywood, senior engineer John-Michael Trojan\u00a0from DIVE (interfacing Brehm with Assimilate) and senior color timer\u00a0Mato Der Avanessian from Fotokem handling the IP\/IN and film prints.<\/p>\n

Cameron used ARRI ALEXA, which he considers the most \u201cfilm-like\u201d sensor on the market, and captured with Codex ARRIRAW. Since all the visual effects in this intimate and personalized revenge drama were finished by Reliance in 2K, Cameron says 2.5K capture was sufficient. And since the plates of the main location \u2013 a Manhattan balcony and apartment interior – were shot on the RED EPIC at 5K, there was ample resolution to blow up\u00a0or move around as needed.<\/p>\n

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\u201cI captured uncompressed 4:4:4 which helped with sharpness,\u201d Cameron explains. \u201cI prefer that over shooting SDI compressed, for 2:40 spherical and 2K theatrical release especially.\u00a0The ARRIRAW color correction is significantly cleaner.\u00a0It also allowed for a clean color correction in P3. ARRI has always been one of the major motion picture camera companies providing\u00a0complete production accessories and support.\u201d<\/p>\n

Cameron advocates that cinematographers weigh each and every camera and digital capture system on the market during prep. \u201cTo me they are like film stocks,\u201d he states. \u201cEach sensor and manufacturer has idiosyncrasies. Some have higher\u00a0resolution; some have better natural skin tones. Some thrive in the shadows; some save the highlights.\u00a0As DPs, we need to\u00a0track the [technology] through all the changes and test them for what they are when we dive into a project. \u00a0It took\u00a0film over a hundred years to become the magnificent and eloquent medium that it has become. Digital capture is doing pretty\u00a0well in its early development, but like anything, it has room for improvement.\u201d<\/p>\n

Dead Man Down <\/i><\/b>centers on Farrell and Rapace\u2019s characters<\/b> – immigrants from Eastern Europe who live across from one another on the 17th story of a Lower East Side tenement. Close enough to see but too far to overhear, they are, as Cameron describes, \u201clike two lost birds\u00a0nesting in\u00a0brick towers high above the asphalt jungle.\u201d<\/p>\n

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All balcony exteriors, and apartment and hallway interiors with Farrell and Rapace were shot on a stage in Philadelphia (doubling for NYC due to budget constraints). But a few shots were done at the real apartment building, just off Allen\u00a0and\u00a0Grand Streets in Lower Manhattan. Dead Man Down<\/i>\u2019s Philadelphia locations also included scenes captured aboard the SS United States, a ship from 1952\u00a0dry-docked\u00a0in Philadelphia.<\/p>\n

Cameron says making the balcony look real with a \u201cNYC seen through Eastern\u00a0European eyes\u2019 vibe [Oplev] and [production designer] Niels Sejer were after,\u201d was challenging.\u00a0\u201cThe set is\u00a0beautiful inside and out, but the massive green screen and rails were daunting,\u201d he recounts, \u201cand making the light match the plates became one of my greatest concerns.<\/p>\n

\u201cDuring the early stages of prep, I shot plates from the actual\u00a0balconies\u00a0in NYC and tested rear screen projection as an option for green screen.\u00a0I wanted the actors\u00a0to be able to feel like they were in New York. It\u00a0would have been helpful in balancing the light, but unfortunately the resolution wasn\u2019t sharp enough even using Red Epic 5K plates and\u00a0Christie 2K projection.\u00a0It\u00a0became apparent\u00a0green screen was\u00a0necessary.<\/p>\n

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\u201cAfter the first week of principle photography, I heard we were shutting down for two days to accommodate the actors\u2019 schedules. So I took the camera crew to New York\u00a0to shoot plates with the Epic,\u201d he adds. \u201cOur first dawn was magical. Instead of blue skies and sunshine it was pouring rain and dark, which was perfect. The afternoon skies brought great thick, haunting clouds; and that night the sodium glow of Manhattan under-lit the clouds forming this eerie glow. All those plates made the film.\u201d<\/p>\n

With the help of DIVE VFX supervisor Ed Mendez,\u00a0Cameron used a live composite system to check shots of the balcony. \u201cThe real building with the set matched to face a 45-degree angle to Allen St in\u00a0New York City,\u201d he continues, \u201ctherefore the natural reality was askew and so were the plates. The real balconies were\u00a0seventeen stories high and there were no intermediate objects or buildings nearby to ground it.\u00a0I had to be able to see what the composites and plates would look like.\u00a0The on-set system we\u00a0had was\u00a0rudimentary, but it worked great, helping Ken [gaffer Ken Shibata] and I make fast lighting adjustments.\u201d<\/p>\n

Cameron says he found the \u201csimplicity\u201d to the European director\u2019s vision comforting. \u201cEverything for Niels is driven by his characters\u2019 reality,\u201d he concludes. \u201cIn the final edit, most wide or establishing shots were removed.\u00a0Also, a few sequences we designed and shot didn\u2019t see the light of day because in the end they didn\u2019t\u00a0serve\u00a0the characters.\u201d<\/p>\n

All photos courtesy of Paul Cameron \/ John Baer \/ FilmDistrict<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Paul Cameron, ASC, takes the shortest visual line between two lost characters for his newest feature, Dead Man Down<\/p>\n","protected":false},"author":1,"featured_media":3452,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[26,29,30,31,42],"class_list":["post-2669","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive","tag-arri-alexa","tag-cinematography","tag-codex","tag-dead-man-down","tag-paul-cameron"],"acf":[],"yoast_head":"\nSouls on the Ledge - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/souls-on-the-ledge\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Souls on the Ledge - 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