Arri-news 2011

with ALEXA like it’s a film camera. From Levine’s perspective, “It was a pretty seamless experience in terms of the integration of a traditional camera department with a digital workflow and DIT support. In fact, as the comfort level with Chris developed, I would say that it was a model demonstration of the benefits of digital production using an appropriately staffed camera department.” Just as he would on a film set, Menges operated the A-camera himself. “Cinematography is about story; about the psychology of character; about catching performance and using light to breathe life into the frame,” he says. “All this information lives within the etched framelines of a camera’s ground glass, and that’s why I operate. When the chips are down and there is panic on the set or in your mind, study your ground glass and you’ll know how to construct the scene.” Understandably for a cinematographer who discovers a scene through the eyepiece, Menges lamented the lack of an optical viewfinder and looks forward to the arrival of the ALEXA Studio. “I know that the next generation of the ALEXA will be as revolutionary as the Éclair NPR camera was when it arrived in 1964; or crystal sync in the late 60s; or the first reliable radio mics; or the Steadicam.” Menges rated ALEXA at its base sensitivity of EI 800. “As far as lighting was concerned I just worked the way I’ve always worked, with a meter,” he says. “The exciting thing is that the camera can dig into the dark; to be able to photograph the sky at night is a beautiful thing.” Daldry wasn’t particularly interested in viewing dailies, but Menges had the chance to see a few shots up on a big screen both in prep and during the shoot. “I also saw some of Bob’s Hugo footage in their DI screening room; it looked absolutely wonderful and they weren’t even shooting ARRIRAW,” he says. “The real test will be in our final DI grade, but what I’ve seen so far has been magnificent.” Looking back, Menges enjoyed his experience on Extremely Loud and Incredibly Close and is pleased with the film’s emotional power. “I salute the crew that Harris Savides chose,” he concludes. “Gregor is an outstanding focus puller and when he had to leave the film we were fortunate to work with Andy Harris for the last six weeks. Maceo Bishop, our Steadicam and B-camera operator; key grip Tommy Prate; dolly grip Brendan Malone; gaffer Bill O’Leary and 2 nd Unit DP Pat Capone were all a joy to work with. I owe them a debt of thanks.” Tom Hanks and Thomas Horn play father and son in the film Stephen Daldry, director Read the full length article online: www.arri.com/goto/1109/elic ARRI NEWS 5