The American Society of Cinematographers

Loyalty • Progress • Artistry
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J. Edgar
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For the 1920s sequences, Eastwood and Stern occasionally asked Bogdanowicz to add a soft vignette to the frame. “That gives those shots an older feel, suggesting a darker lens, perhaps,” she says. “It also helps the 1960s material feel more modern [by contrast]. We didn’t want the vignettes to be distracting, though. They’re just a subtle way to direct the eye to the center of the frame and suggest a vintage feeling.”

Stern raves about the DI’s ability to help him deliver the blacks Eastwood craves. “Clint builds these worlds on blacks,” he observes. “I’ve understood that since I started working for him as a gaffer under [cinematographer] Bruce Surtees. Richer, deeper blacks have always been the marching orders, but now we are greatly aided by film stocks with more dynamic range and the tools we have in the DI. Today we can really explore that black corner of things far more than we could 30 years ago.”




Anamorphic 35mm

Panaflex Platinum, Millenium XL

Panavision C-Series

Fujifilm Eterna Vivid 500 8547, 160 8543

Digital Intermediate

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