ACS on "VICE" Adam McKay on VICE Arri 435 Arricam Arriflex Arriflex 235 ASC Greig Fraser Keslow Camera Kodak Vision film Latest News VICE

Greig Fraser, ASC, ACS, "VICE"

Greig Fraser, ASC, ACS, "VICE"

Operator Greig Fraser ASC, ACS "VICE" with Arricam and Cooke Anamorphic / 75mm.

"VICE" was opened at this time, Christmas Eve. Rotate the reindeer up and information the sled to the nearest movie show. Director Adam McKay, "VICE" swings from a drama to a satire with an absurd absurd (if it wasn't so true). The operator was ASC's Greig Fraser, ACS. Greig invited the unpublished place to this discussion.

JON FAUER: Tell us concerning the film's movie logistics

GREIG FRASER: Keslow Digital camera did a superb job of delivering our movie. In the early levels, I talked to several rental corporations about the potential of capturing anamorphic, spherical and 16 mm. Keslow Digital camera was incredible. That they had all the cameras, gear and lenses, they usually have been specialists in every type. Once I was learning the job, I discovered that no one else had the depth and information. I talked about logistics with them they usually have been actually bent backwards. I was very excited to work with them.

A part of the VICE package deal within the Keslow digital camera manufacturing area. LR: Ryan Griffith (Senior R & D Technician at Arriflex 435), Ethan Cruice (Operator for Arriflex 235), Mitch Rutherford (Senior Digital camera Technician), Brad Wilson (Business Improvement Manager at Arricam LT), Nick Lanata (Arriflexin


First I wasn't positive which anamorphs I needed. Stability with the sharpness and character I needed. the digital era, I feel principally for digital cameras, and yet they appear nice with films.

Yes, and I strongly help Cookea. own a set of Cooke S4 primes. I shot Zero Dark Thirty with Cooke S4 and Elite. So I'm an enormous fan of Cooke's spherical lenses. These Cooke anamorphs have an identical high quality and delightful bokeh. I have Cooke smoothness that I can't describe. Focus falls superbly. At a distance from the middle they don’t seem to be utterly sharp to the left, proper, prime and bottom. I know that Cooke is proud that it's actually nice technically and they are. They’ve a special warmth for them that I felt that certain other lenses won’t have been for this film.

Brad Wilson at Keslow stated you had a set of 35mm and 16mm cameras with spherical and anamorphic lenses

used the Cooke 35mm anamorphic and Elite 35mm spherical primes. We had Arricams, Arriflex 435 and 235 and 35mm Eyemos. 16 mm had Bolex. We had good possibilities to shoot any type we needed, overlaying wars in Afghanistan, Iraq, Vietnam, Cambodia, presidential ceremony, and so on.

Greig Handheld 35mm Eyemo

Combine and match?

It was rewarding to match video and video of different ages, which we photographed just six months ago. Once I was grading, I used to be delighted to see how it cuts again from an exquisite material like 35mm and granular video or a granular movie, and then back to the gorgeous 35mm.

How did you determine to shoot a film first?

Luckily we had a movie sponsor at Adam McKay. Once we talked about it, he stated, "What do you think about shooting a movie?" I really like the film, so why didn't I shoot the movie?

We shot some checks in 35 mm and 16 mm movie. We weighed 16 mm, pushed the 35 mm movie and then examined the digital. We tested the digital 65 mm, the good digital type was incredible and we liked it. But we felt that this movie, perhaps masking 5 many years, can be higher in the movie. I wouldn't have used the phrase nostalgic as a result of we didn't purpose for it. It appeared like you have been watching the time when it was shot.

Nostalgia is just not the appropriate phrase.

Was it troublesome to compile a package deal of huge analog movie digital camera units?

Keslow knows very properly my love for kity kitit. [laughs] I feel I used to be lucky to have simply acquired Denny Clairmont's giant vary of analog units. When the sale went via, I obtained a very enthusiastic call from Brad Wilson, saying, "You have to check this out, it's like a treasure chest." Clairmont had such a tremendous history of creating custom gadgets and large optical bits. Units and lenses, and that I received at my fingertips, seemed to have a very full toolbox that I might use.

Your assistant Invoice Coe stated that when he walked to the Keslow digital camera on the primary prep day, it was terrible: every film digital camera the world has ever seen is in line. [laugh]

Yes, it was as if that they had pulled out each digital camera that Keslow had acquired. It sat there within the prep area. I felt dangerous as a result of I wasn't positive exactly what cameras we have been using for that because I was nonetheless brainstorm with Adam.

I nonetheless had a sense of where we have been going to make use of 16 mm in the early days and 35 mm balls in the 70's. I nonetheless tried to get my head to the film rules.

Poor Invoice had to stand up to somewhat time that I used to be slightly desirable about what they have been. However I assured her that whatever would occur, we might work within our department. We definitely had our work minimize in the first few weeks, however quickly we got here up with a very good rhythm that labored properly.

I feel your hardest job may need been your loader?

Sure, that's proper. Numerous movie magazines have been downloaded. There have been no totally different shares. I feel we only had two shops, Kodak Vision 500T and 200T. But we had three totally different meters and many various cameras. We had Arriflex 235, Arricam LT, Arriflex 416, Eyemos and so on.

We had a good suggestion of ​​what we used to return. It wasn't unexpectedly once we moved to 235. If we have been to photograph the interior of the Vision 500T, it was a very good opportunity to make a palm bag for 235. what the scene required. But loading is nearly dark artwork.

Greig Fraser, ASC, ACS and Invoice Coe, First AC, Arriflex 235.

dark rooms

Actually, it's an excellent question. I feel we needed to construct a darkish room or no less than eliminate all of the spare tires and cameras they stored at the hours of darkness truck room of the digital camera.

I feel that Keslowilla there are nonetheless individuals who keep in mind how one can film cameras and magazines might be maintained and repaired?

Sure, I feel they are pleased with it. We had an excellent package, great help, they usually did every little thing exceptionally properly.

Publish-production had a destructive scanned after which DI?

The movie was scanned at 4K during production in diaries. The scanning course of is now so good that we only touched the unfavorable once and it was all.

Once you say that the unfavorable touches solely once, was it in the diary stage?

That's proper. We went by means of Fotokem and used Nextlab Dailies. This was translated instantly into the ultimate courses. It was great to stroll into the final score collection, and the colors have been equivalent with the diaries and what everyone had seen in the course of the Avid modifying. Our colorist was Dave Cole, who additionally supervised diaries.

You referred to previous films or stills by getting ready for "VICE?"

. We now have not tried to imitate it, we were not making a doc. We made a drama. We stayed in a line where easy, elegant pictures have been created for an important narrative yarn that wasn't weird, it wasn't loopy. It was comparatively rough and easy because we might then go in 16 mm codecs and video to create some madness between the anamorphic 35 mm

Framegrab movie: Christian Bale (middle) Dick Cheney underneath the identify "VICE". Annapurna Footage launch. © 2018 Annapurna Footage, LLC.

The place where it was shot. Metropolis Corridor, Los Angeles. 10 two-color Lite tiles suspended from every corner four with a block and an absence line. Photograph by Matt Kennedy.

What about display lighting? Did you employ classic lamps?

No. I’m a really robust semiconductor (LED) lighting. I do know that it isn’t for every DP, and I do know that I’ve typically been biting individuals's ears from robust my opinions on these matters. As you understand, I'm going to drive an electrical automotive in Los Angeles as a result of I'm making an attempt to do my job for the setting and all the things.

If I omit and illuminate our group with fifty 6K mild, I misplaced solely six months when my electric automotive was properly. In one hour, utilizing 50 x 6K furniture is 300,00zero watts (300 kilowatts). However that's not the only purpose. I am also very involved in flexibility and the power to vary the colours of LED lamps, because which means I can cope with units in the same method as teisin colour palette session.

I can regulate the inexperienced and blue, really refine the look and get a really particular colour. For me it is an unbeatable device for me: the power to create very fascinating, lovely, delicate colours. When capturing digitally, you possibly can focus whenever you watch a set gadget. Whenever you shoot with a film, it is a little more troublesome because you are making a shade meter and testing.

Gaffer Mike Bauman commented: It was Sekonic C700. I simply tried a brand new C800.

Greig, what kind of lamps did you employ?

In the newest movies I have been using Digital Sputniks and LiteGear models. “VICE” was not totally different. Digital Sputnik was used to create a tender sun. For those who put enough Digital Sputnik in parallel, you will find yourself with a light-weight that looks so much like a delicate sun however has the power and adaptability to regulate shade. For example, you can also make a hotter or a bit smoother late within the afternoon with a heat glow. We used a number of LiteGear panels within the studio to create an environment outdoors the White House and the Western wing. We also used Creamsource Doppio bicolor LEDs and are additionally very helpful

Framegrab. Sam Rockwell (on the left) as George W. Bush and Christian Bale (on the best) Dick Chene39. © Annapurna Footage, LLC.

Situated in Biltmore Lodge, LA. Greig says, “We had to plan the sun's path carefully, and then we added LiteGear LiteMats when the windows didn't come into the sun.”
LiteMat Plus LED luminaires have been put in above the home windows. They will join on to sockets.

You have been one of the first filmmakers to introduce LEDs.

If I can use a light-weight source with a battery, then out of the blue it’ll remove plenty of the infrastructure you must run the sunshine. Instantly you want much less power, perhaps not a generator, you want much less cables, consumables and consumables. It's about flexibility. If I need to make it slightly cooler, a bit warmer, with out having to send gels and ladders and frames to 5 groups of people and make loads of noise, in this case I can do it quietly with out disturbing the actors. The lighting division and I all of a sudden look good because we are quick and environment friendly, and no one notices behind the scenes.

This current world of lighting is so thrilling because the quality of these LEDs is now so good. I'm talking concerning the look of colour and the way nicely they’re with skin colors, particularly the furniture I simply talked about.

I'm not a type of who need to throw the tungsten lights off. I feel the options for DP are great. Sooner or later in the future I need to use these lights again. However right now I’ve a very easy rigging, flexibility and LED lighting.

How did you start within the movie business?

I used to be on the Melbourne Images Faculty referred to as RMIT. I turned a photographer who worked professionally. However I had buddies in a movie production company, and I assumed it was truly extra about what I needed to do because movie production is teamwork and it really appeals to me.

You typically work as a photographer. Chances are you’ll stay in a vacuum, however you collaborate as a filmmaker. You assume with the trainer and the crew, speak about references, and develop the thought. It’s a very refreshing expertise because you use your personal experiences and hopefully help each other's ideas and develop them.

Further Pictures and Interviews Mike Bauman, Gaffer and Invoice Coe, First AC, shall be adopted in FDTimes in February 2019.

Bill Coe, VICE's First Digital camera Assistant, stated: “Greig often uses the same style every day: cargo shorts, Blundstone boots and a blue or white shirt. So, Halloween, we all dressed in Greig. “From left to right: Amanda Levy,“ B ”digital camera 2. assistant; Paul Metcalf, “B” digital camera 1. assistant; Baz Idoine, A-Digital camera Consumer; Greig Fraser, ASC, ACS, Operator; Invoice Coe, “A” Digital camera 1. Assistant; Ryan Creasy, A-Digital camera 2. Assistant; Christian Kessler, Second Assistant; Rob Reaves, Digital camera PA.