{"id":688,"date":"2010-01-06T12:18:54","date_gmt":"2010-01-06T12:18:54","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=688"},"modified":"2014-05-29T18:23:41","modified_gmt":"2014-05-29T18:23:41","slug":"the-red-planet","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/the-red-planet\/","title":{"rendered":"The RED Planet"},"content":{"rendered":"

Don Burgess, ASC and the brothers Hughes whip up a storm in the high New Mexico desert for The Book of Eli.<\/em><\/p>\n

By Margot Carmichael Lester<\/p>\n

Filmmaking twins Albert and Allen Hughes don\u2019t make a lot of movies \u2013 four in sixteen years by last count. But when they do critics and audiences take notice. Their last film, released in 2001, was the bloody-good Jack the Ripper yarn, From Hell<\/em>, while their first picture, the gritty urban indie, Menace II Society<\/em>, was released in 1993. Their newest effort, The Book of Eli<\/em>, may be the most daring and disturbing in a resume packed with radical choices and characters. Set in post-apocalyptic America, it focuses on Eli (Denzel Washington), a survivor who holds the keys to saving humankind through a book he has in his possession. Eli is trying to outrun a local warlord, Carnegie (Gary Oldman), who wants possession of the sacred tome. It\u2019s an edgy take on the classic themes of end-of-the-world-as-we-know-it and good-versus-evil, and as Albert Hughes points out, it was the first thing that came along in a while that caught the twins\u2019 singular sensibilities. Hughes says he was inspired to take on The Book of Eli<\/em> after immersing himself in the Nine Inch Nails\u2019 Year Zero album. \u201cI listened to the songs and then I had an eight-hour dream about the movie,\u201d he recounts. \u201cI filled pages getting the visuals from my head down on paper. I damn near went crazy with it because I got no sleep.\u201d<\/p>\n

\"\"<\/p>\n

A Meeting of the Minds<\/strong><\/p>\n

Of the two brothers, Albert works closely with the cinematographer (Albert shot the twins\u2019 feature documentary, American Pimp), and so approached Don Burgess, ASC, for The Book of Eli<\/em>. Burgess, who handled DP chores on such studio hits as Forrest Gump<\/em>, Spider-Man<\/em> and The Polar Express<\/em> (co-photographed with Robert Presley), liked the script right off the bat. But he said he did have one hesitation.<\/p>\n

\u201cThe thought of working with two directors can be kind of an, \u2018Oh, my God. What a nightmare\u2019 situation,\u201d the Oscar-nominated DP laughs. \u201cI\u2019ve experienced something like it on commercials, where there are directors, creative directors and clients. But in movies? That\u2019s a whole different thing. Honestly, I can\u2019t imagine making a movie with my brother, but they have their way of doing it. And because they\u2019ve done it so long, they\u2019re good at dividing up the responsibilities.\u201d<\/p>\n

Satisfied the division of labor would keep sibling conflicts to a minimum, Burgess signed on. \u201cI could see something for a cinematographer to actually do,\u201d he says. \u201cFrom the first meeting, I was able to come up with a lot of story-telling from a visual standpoint. Albert and I had a meeting of minds over the picture.\u201d<\/p>\n

In addition to the Nine Inch Nails, iconic director Sergio Leone\u2019s spaghetti Westerns also influenced the Hughes brothers\u2019 vision. \u201cThat\u2019s the obvious one,\u201d Albert allows. \u201cBut I\u2019ve always liked [Leone\u2019s] style and that great Western framing. It\u2019s always about the build-up.\u201d Eli\u2019s<\/em> color palette and feel were also influenced by French movies from the 1970s, with Albert adding that he likes that period\u2019s \u201chighlights and the grainy look.\u201d<\/p>\n

\"\"<\/p>\n

For his part, Burgess says he honed his vision for the film by rummaging around an art bookstore. \u201cI came up with some religious imagery by Gustave Dor\u00e9, and some raw black-and-white stills from the book, Nagasaki Journey (The Photographs of Yosuke Yamahata), from the day after the bomb hit Hiroshima. Somehow, I put that together.\u201d<\/p>\n

Between the stark visuals and the desperately nervy story line, Albert\u00a0 knew he wanted to experiment with cameras and gear; that\u2019s where the RED ONE\u2122 camera made its entrance.<\/p>\n

Seeing RED<\/strong><\/p>\n

Form the outset, the RED was slated for just one scene: a shoot-out at a remote cabin. \u201cI\u2019d envisioned the scene as a single shot combining hand-held, Steadicam, bungee cams and other weird rigs,\u201d Albert recalls. \u201cI was thinking, what if we gave the camera to a small boy who was a major action fan? What would he do and where would he go with no sense of death or danger? Would he run there? Would he go here? It was all about capturing that enthusiasm and energy.\u201d The RED\u2019s small size made it worth exploring, as did the camera\u2019s stark color palette.<\/p>\n

\"\"<\/p>\n

Burgess did extensive tests with the RED on location in the New Mexico desert, where most of the exteriors would be shot. [The Book of Eli was shot in the small rural town of Carrizozo and on stages in Albuquerque]. Burgess had mounts made for the camera so he could use Panavision Primo lenses. Then he tested it side-by-side with an Arriflex 435 from Otto Nemenz International. \u201cBecause of its desaturated nature, the RED was able to provide the look within its limitations,\u201d Burgess explains. \u201cWe didn\u2019t need the full dynamic range of color negatives. And there really was no difference for me than shooting film. It worked out very well.\u201d<\/p>\n

So well, in fact, that Albert and Burgess decided to use the RED for the entire movie. And Burgess wasn\u2019t overly concerned, given that 1st AC Don Steinberg and A-camera operator Peter McCaffrey had used the rig before. \u201cThey were my safety net,\u201d the DP smiles.<\/p>\n

Jeroen Hendriks, who served as the film\u2019s RED camera technician, calls it \u201cthe simplest camera ever; basically just a pimped-up still cam that shoots 24 frames a second in RAW, like a Canon 5D,\u201d he explains. Hendriks says the main thing to be concerned about is exposure. \u201cThe RED\u2019s open format means anyone along the production line can manipulate the look,\u201d he continues, \u201cso as a DP, you want to make sure it looks like what you want it to look like before you send it out. If you put a look on it, there is no need for other people to tinker with it.\u201d<\/p>\n

And that\u2019s exactly what Burgess and Albert did. They joined digital colorist Maxine Gervais at Warner Bros. Motion Picture Imaging before filming commenced to set the look and establish the range that would be needed in DI.<\/p>\n

\"\"<\/p>\n

\u201cWhen we got the movie back, the proxies were a guiding light and kept everyone on the same page,\u201d Burgess reports. \u201cI find that a big plus \u2013 and a lot better than when we would time movies in the dark in a crummy room in a lab.\u201d But there are a few kinks in the system. \u201cIn the old days, total timing might be 6 to 8 hours,\u201d Burgess notes. \u201cSometimes now they want to book me in for 10 days!\u201d<\/p>\n

Though Burgess says he liked the experience, he\u2019d hardly call himself a RED convert. \u201cIt\u2019s not a process cinematographers are in love with,\u201d he says. \u201cI\u2019d still rather shoot everything anamorphic and run it through the lab. But that\u2019s the world we live in now.\u201d<\/p>\n

Making Memories <\/strong><\/p>\n

Of all the visual striking moments in The Book of Eli<\/em>, the previously mentioned shoot-out scene best showcases camera and support crews. During the sequence, in which the heroes hunker down in a house surrounded by villains, the camera follows the action from inside, out and back in again. Getting the shot required what Burgess calls \u201cthe world\u2019s biggest bungee cam.\u201d The result has a rough, in-the-moment feeling, like watching life in real time.<\/p>\n

\u201cWe were fortunate to have Michael Coo as key grip. He\u2019s fantastic with different rigs and solving problems,\u201d says McCaffrey. \u201cWe did a couple of lunchtime tests and captured the concept footage on video. The sequence required traveling the camera over long distances, quickly and at a range of heights. The Steadicam wasn\u2019t an option because it didn\u2019t have the height range, and the handheld created too shaky of a feel; we needed something in-between.\u201d<\/p>\n

McCaffrey says the Eli team built a rig off a 100-foot construction crane with 200 feet of bungee cable! \u201cIt was like zero gravity,\u201d he remembers. \u201cIt allowed us to travel from behind armored cars into and around the house, and gave me the freedom to put the camera wherever I wanted anytime over a 400-foot radius at any height. It\u2019s one of those sequences where there are lots of seamless cuts and transitions, and yet appears as one 2.5-minute shot in the midst of absolute chaos. It was a hell of a lot of fun to be involved in!\u201d<\/p>\n

But Mother Nature almost prevented the shoot from happening. \u201cWe were shooting in the middle of a plain, not a tree around,\u201d recalls Alton Walpole, a New Mexico native and Eli\u2019s<\/em> unit production manager. \u201cWe incurred some pretty heavy winds which were the worst working conditions.\u201d In fact, production was delayed for two days until the wind died down to a more moderate 70 mph. The crew wrapped all the gear as if it were raining, and wore protective eyewear. \u201cThe wind looks great on film, but isn\u2019t great to work in,\u201d adds Walpole. For Burgess, it was all in a day\u2019s work. \u201cTo me, you gotta go there to get the image to go right. If it\u2019s not beating you up, you\u2019re probably not there yet.\u201d<\/p>\n

\"\"<\/p>\n

Another memorable shot is a rollover sequence on a stretch of deserted highway. Albert wanted to focus inside the car and then pull away to capture the rollover. \u201cThe helicopter was flying beside the car looking in the passenger and driver\u2019s side windows,\u201d the co-director explains. \u201cWe went from backlight to frontlight to sidelight. We were flying low and had a count for the car to pull away violently. The pilot needed to stay in there till the count was complete. We did two rehearsals and one take!\u201d<\/p>\n

Aerial DP Steve Koster used a Wescam 100 series coupled with the RED camera.\u201d It gave us a steady image that was matched for color and exposure with the ground based cameras,\u201d Koster says. The running footage was shot in Palmdale, Calif., and was matched afterwards with a Technocrane for a seamless shot.<\/p>\n

Old-School, New-School<\/strong><\/p>\n

Producers Broderick Johnson and Andrew Kosove at Alcon Entertainment, were interested to see how the Hughes Brothers would approach their first effects-rich film. \u201c One thing early on that gave us comfort was that they were very well prepared and put together a look book. From their experience in commercials, they came in with a complete presentation of their vision for the movie,\u201d Johnson says. \u201cBetween what they were going to do visually and our common passion for substance of screenplay, we were comfortable that we could deal with the challenges of working with two people instead of one.\u201d<\/p>\n

The Book of Eli<\/em> also marks the first time the Hughes Brothers have worked with an \u201cold-school\u201d director of photography. \u201cIt was Generation X meeting Baby Boomer,\u201d Albert laughs. \u201cThere wasn\u2019t tension, but there was that generational gap. [Burgess] was talking about all these rules that I was hearing about for the first time! So we did butt heads on a few things. But he let down his guard on some things and I did mine and we came together. Don really cares about the story.\u201d<\/p>\n

That attention to the narrative is the key to Burgess\u2019 success, according to crewmates like McCaffrey. Along with his Oscar nod for Forrest Gump, Burgess has two ASC nods, and a BAFTA nomination. \u201cHe\u2019s a master in moving the camera to tell a story within a scene,\u201d observes McCaffrey. \u201cIt\u2019s a joy to watch because each movement makes perfect sense to the feel and emotion of the movie.\u201d<\/p>\n

For his part, the cinematographer says he is amped about the film and having worked with a pair of talents like the brothers Hughes, who in many ways have defined filmmaking for a new generation. \u201cI\u2019m excited about the way it looks,\u201d says Burgess. \u201cIt\u2019s some of the best work I\u2019ve done in a while, and the best thing I\u2019ve seen shot on the RED.\u201d<\/p>\n

photos by David Lee \/ Warner Bros. Pictures<\/p>\n","protected":false},"excerpt":{"rendered":"

Don Burgess, ASC and the brothers Hughes whip up a storm in the high New Mexico desert for The Book of Eli. By Margot Carmichael Lester Filmmaking twins Albert and Allen Hughes don\u2019t make a lot of movies \u2013 four in sixteen years by last count. But when they do critics and audiences take notice. Their last film, released in 2001, was the bloody-good Jack the Ripper yarn, From Hell, while their first picture, the gritty urban indie, Menace II […]<\/p>\n","protected":false},"author":1,"featured_media":3196,"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":[29,64,63],"class_list":["post-688","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-cinematography","tag-red-camerea","tag-the-book-of-eli"],"acf":[],"yoast_head":"\nThe RED Planet - 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\/the-red-planet\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The RED Planet - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Don Burgess, ASC and the brothers Hughes whip up a storm in the high New Mexico desert for The Book of Eli. By Margot Carmichael Lester Filmmaking twins Albert and Allen Hughes don\u2019t make a lot of movies \u2013 four in sixteen years by last count. But when they do critics and audiences take notice. 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By Margot Carmichael Lester Filmmaking twins Albert and Allen Hughes don\u2019t make a lot of movies \u2013 four in sixteen years by last count. But when they do critics and audiences take notice. 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