The American Society of Cinematographers

Loyalty • Progress • Artistry
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Public Enemies
The Taking of Pelham 1 2 3
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ASC Close-Up

Schliessler was not involved in the DI, which was carried out at 2K, but that’s not to say he was out of the loop. “I tried to do as much as I could in-camera, and we set the look with our tests in prep,” he notes. “We shot tests in the tunnel, on the street and on the MTA set, and then sat with Stefan for the color-correction and carried the tests through a filmout.” Company 3 also referenced the tests in creating the hi-def dailies — a format Schliessler found wanting on a picture with so much low-light work. “Pretty much every day, I went to Company 3 after work to look at
the scanned negative, especially the low-light scenes,” he reports. But he wasn’t concerned when it came time for the final color-correction. “Stefan has graded 90 percent of my commercials, and I knew his work would match mine.   

“Lighting-wise, this was definitely the most challenging movie I’ve done because of all the tight spaces, the 360-degree shooting and the multiple cameras,” he concludes. “There wasn’t a shot that wasn’t challenging.”




Super 35mm

Panaflex Platinum, Millenium XL

Primo lenses

Kodak Vison3 500T 5219, 250D 5205

Digital Intermediate

Printed on Kodak Vision 2383

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