{"id":506,"date":"2009-07-13T09:52:10","date_gmt":"2009-07-13T17:52:10","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=506"},"modified":"2014-06-05T22:05:20","modified_gmt":"2014-06-05T22:05:20","slug":"shooting-star","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/shooting-star\/","title":{"rendered":"Shooting Star"},"content":{"rendered":"

Dante Spinotti, ASC, AIC locks and loads to tell Michael Mann\u2019s epic story of America\u2019s first-ever \u201cPublic Enemy Number One\u201d<\/p>\n

<\/p>\n

Dante\u2019s Inferno<\/h3>\n

Starring Johnny Depp as Dillinger and Christian Bale as his dogged pursuer, Agent Melvin Purvis, Public Enemies<\/em> reunites Mann with his long-time creative partner, cinematographer Dante Spinotti, ASC, AIC. In the past, the pair has collaborated on such critically acclaimed hits as Manhunter<\/em>, The Last of the Mohicans<\/em>, Heat<\/em> and The Insider<\/em>.<\/p>\n

Spinotti says that Mann originally wanted to shoot Public Enemies<\/em> in a \u201ctraditional manner,\u201d that is on film, using dolly moves and \u201cvery correct\u201d camera set-ups. But then the pair decided to compare film to digital to see which might better reflect the freshness of the Dillinger source material. Spinotti had used Sony\u2019s F23 2\/3-inch sensor camera (which captures in full 1920 x 1080 progressive in 4:4:4 RGB color space) on two commercials, but was uncertain how it would translate to the big screen. Side-by-side tests were performed in the parking lot of Mann\u2019s production offices, pitting the F23 against a Panavision Super 35 loaded with the flexible Kodak Vision3 5219 stock. The tests replicated some of Public Enemies<\/em>\u2019 anticipated conditions – daylight, dusk, night shots – and employed 1930s cars, streetlights, costumed stand-ins and period posters plastered on a background wall.<\/p>\n

\"\"<\/p>\n

Mann and Spinotti were impressed with the depth of field of the F23, which offers a robust B4 lens mount, particularly its ability to capture the background in sharp focus. Spinotti says the pair noticed that the F23 delivered a sharpness that was very acute.<\/p>\n

\u201cIt was interesting to shoot a period piece in this hyper real, ultra detailed way,\u201d the cinematographer reflects. \u201cWhile at the same time, you have cameras that can also fly all over the place and be carried handheld with a zoom. The operators can come out of the bank robbery and jump in a car and follow our heroes down the road. The camera is very close to the story and the actors, and it also has the ability to register real locations with a different kind of reality than film. Michael was interested in having a movie that was not attached to convention, or a period look. He always uses a very strong establishment of the visual language in the film, making sure it\u2019s a step forward.\u201d<\/p>\n

Video controller David Canning said that Mann works with HD cameras differently from most other filmmakers in that he wants the recorded picture to be as close to what the film will ultimately look like on the screen. \u201cWe did stuff in the camera,\u201d Canning explains, \u201csaw it right then, and recorded that. We went further in the DI suite, but the look is pretty much set right there in camera with Dante and Michael.\u201d<\/p>\n

\u201cWith the F23 you can do things to the color directly in the camera that will be what you have in dailies and in the film later, but from which you cannot really come back,\u201d Spinotti recalls. \u201cIn other words, we were not recording in a safe or comfortable way. Dave Canning and (digital imaging technician) Ted Viola did a brilliant job. In fact as I was looking at the compositing Michael was carrying forward, I could tell that it would be a laborious process in postproduction, adding layers and layers of exact correction, but the starting point was always the original look that was recorded on the tape.\u201d<\/p>\n

\"\"<\/p>\n

In addition, Canning believes Enemies may be the first feature film employing Ethernet control of cameras; using an IP-based system, by plugging CAT5 cables into a router, the control system instantly showed which cameras were plugged in.<\/p>\n

Supplementing the three F23s were Sony 950s and an EX1. The 950 was the body cabled down to a deck for shots inside cars. \u201cWe had the Zeiss zooms which were 2.8 and very, very sharp,\u201d A camera 1st A.C. James Apted notes. \u201cWe had two sets of zooms, 6-27 and 17-112, that we rented and kept the whole time. Michael was very happy because he could change the frame quickly. With the F23 you can take the deck off the back and cable it, which we did often.\u201d [Taking the deck off did however create weight distribution challenges for the operators in that the cameras became front heavy.]<\/p>\n

Other lenses included the Fujinon 42-by-9.7, which C camera operator John Grillo and C camera 1st A.C. Chris Cuavas used quite often to grab tight shots. In addition, the company also used a Fujinon 10-1 whenever the 17-112 zooms were in use.<\/p>\n

You Are There<\/h3>\n

Much of Public Enemies<\/em> was shot in actual Dillinger locations, such as the Crown Point Jail in Indiana from which he made his most famous escape. Was the gun \u201cGentleman John\u201d used in his breakout whittled from a bar of soap, block of wood, or was it actually real, as many Dillinger buffs have speculated down through the years?<\/p>\n

\"\"<\/p>\n

Other scenes were shot in period buildings and on streets throughout the Midwest requiring a \u201ctake it on the road\u201d methodology. Since Mann had grown up in Chicago and went to college in Wisconsin, he was familiar with the territory and drew from that for location scouting with Spinotti.<\/p>\n

But with 100 percent location work, \u201cit was not a case of let\u2019s pull that wall and put the camera there,\u201d explains A camera operator Lucas Bielan. \u201cIt was, \u2018Let\u2019s get in that corner.\u2019 So you had to make the camera and yourself quite compact.\u201d<\/p>\n

Steadicam operator Roberto De Angelis agrees. \u201cThe most important thing for Michael is to be ready for anything,\u201d he remarks, \u201cMichael was always going, \u2018OK, let\u2019s do more.\u2019 It was amazing. Usually I push the director. This time it was him pushing me. It\u2019s much more creative than somebody who says, \u2018Yes, it\u2019s OK, it\u2019s fine.\u2019\u201d<\/p>\n

\u201cRoberto and I did a lot of action sequences with the 950,\u201d Bielan adds. \u201cIt was hard work. But it was worth it. It\u2019s very risky, but that\u2019s Michael, to take a film that is completely period, a very iconic and familiar subject, and make it in a digital format.\u201d<\/p>\n

Spinotti said the digital format afforded them the opportunity to record in any kind of light through an exact use of period practicals. \u201cObviously, in 1933 there was a different kind of illumination than there is now,\u201d the DP explains. \u201cThe shadow areas are much more extended. The lights were dimmer. It was interesting to collaborate with production designer Nathan Crowley and it was a very tight operation between myself, (gaffer) Bob Krattiger and (set decorator) Rosemary Brandenburg to make all the practicals work properly for the scene.\u201d<\/p>\n

\"\"<\/p>\n

\u201cIt was a challenge all the time trying to get fixtures that would actually put out some sort of light source but would not come out well overexposed; stuff that would light ambiently but also light subjects,\u201d Krattiger says. Krattiger was particularly pleased with a sequence shot in a Chicago theater using old-fashioned, Edison-type bulbs. \u201cThey were very warm. You could see the filament,\u201d he recounts. \u201cWe put in keylight and a couple of little things but it was these warm bare bulbs that were in groups of three that lit the set and they\u2019re really very pretty. To do that set in film you\u2019d have to really push it. With digital we could dig in there a bit deeper and, at least with the F23, we could go with a lot more natural lighting.\u201d<\/p>\n

A Clean Getaway<\/h3>\n

One of Enemies\u2019 key action sequences occurs when the FBI surprises the Dillinger gang, who are holed up at the Little Bohemia Lodge in Manitowish Waters, Wisconsin.<\/p>\n

The scene required a very wide exterior night scene with car chases.<\/p>\n

\u201cThere were lights inside the lodge and, of course, there were a big number of gunshots that would supply flashes of light to faces and eyes,\u201d Spinotti explains. \u201cThe chase continues along the lake. It was a very steep hill, and tough logistically to light; a tiny little trail on which the actors would run. Bob Krattiger had this big 30,000 watt Bebee light set up across the lake plus some little Kino Flos or bounce lighting added, when necessary, on the faces of the actors that basically covered the whole scene.\u201d<\/p>\n

\"\"<\/p>\n

While the film benefitted from original architecture, certain modern elements had to be removed or masked. For instance, while the production found several suitable period banks, a quick solution was needed to disguise modern-day asphalt with period cobblestones. Crowley, who feels that working in IMAX for The Dark Knight<\/em> prepared him for digital on Public Enemies, says Mann himself spurred an innovative solution.<\/p>\n

\u201cMichael said, \u2018Can we make something like a carpet that rolls out?\u2019\u201d Crowley offers. \u201cMy concern was that the reason we don\u2019t usually do that is because when the cars are speeding out, they pull it up. So we had to find the right mixture. We molded cobblestones, cast them in a thin rubber sheet, then glued them together and made a street that we rolled up and carried on a great big truck!<\/p>\n

\u201cWe did plenty of tests in the workshop with cars and cobbles,\u201d Crowley laughs. \u201cIt was super thin so it wouldn\u2019t sink down when cars were sitting on it, but not so thin it would rip up and wrap around the wheels. We\u2019d have street shutdowns on Saturdays and Sundays, so on Friday night we\u2019d roll out cobblestones \u2014 your instant street.\u201d<\/p>\n

\"\"<\/p>\n

Another truck carried metal tram rails that could be set down onto the rubber cobblestone street. Occasionally, a nonmoving streetcar mock-up on the rails was added to the period look to help mask elements in the deep background.<\/p>\n

Oscar-winning costume designer Colleen Atwood (Memoirs of a Geisha<\/em> and Chicago<\/em>), who had worked with Mann and Spinotti on Manhunter<\/em>, jumped at the chance to work on a 1930s era crime drama, expressing a fondness for the materials and fabrics of that era, and adding that from a costuming standpoint, the road nature of the film was challenging.<\/p>\n

\u201cWe pre-fit the crowd, which required this mobile gypsy unit of clothes that moved from town to town ahead of the company,\u201d Atwood recounts. \u201cWhile they\u2019re shooting, we were actively fitting the next scene in the next town!\u201d<\/p>\n

This was the designer\u2019s first digital project, but because many films are now projected digitally, Atwood understands the demands of audiences becoming accustomed to seeing ultra-high detail. If she had concerns about whether certain materials worked, she conferred with Spinotti. For Enemies, she was able to mix in period clothing with manufactured clothing with fabrics she had pre-aged before construction. In addition, Atwood and her team had Dillinger\u2019s actual clothes to use as reference. \u201cWe had a couple of really beautiful shirts, ties and hats, from a place that had archived his clothes, but they were quite fragile for us to use in the film,\u201d she says.<\/p>\n

And while the costumers replicated his clothes, the filmmakers attached an HD Scope, so De Angelis could shoot over Depp\u2019s shoulder and through a pair of glasses the bank robber is wearing to best replicate what Dillinger actually saw as he exited Chicago\u2019s Biograph Theater, with the infamous \u201cWoman in Red.\u201d Laying in wait, of course, was Purvis and his pack of G-Men, bent on taking out the nation\u2019s first-ever \u201cPublic Enemy Number One.\u201d<\/p>\n

By Ted Elrick \/ photos by Peter Mountain<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Dante Spinotti, ASC, AIC locks and loads to tell Michael Mann\u2019s epic story of America\u2019s first-ever \u201cPublic Enemy Number One\u201d<\/p>\n","protected":false},"author":1,"featured_media":3857,"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":[2],"tags":[230,231],"class_list":["post-506","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-dante-spinotti-asc","tag-public-enemies-cinematography"],"acf":[],"yoast_head":"\nShooting Star - 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\/shooting-star\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Shooting Star - 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