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Visit biografmuseet.dk about Danish cinemas
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A portrait of George Washington
"We Fight To Be Free"
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Read more
at
in70mm.com
The 70mm Newsletter
|
Reprintet from Kodak's InCamera, April 2007 with
permission |
Date:
20.08.2008 |
Director-cinematographer Kees Van Oostrum, ASC (right) discusses a
scene for with camera operator Chris Moseley (left). Photo by Kent Eanes
When the Wall Street Journal surveyed historians and asked them to chose
the best and most important American presidents, George Washington was
number one on their list. When the newspaper asked ordinary people the
same question, Washington was sixth. That was the essence of the
challenge facing Kees Van Oostrum, ASC when he was asked to direct and
shoot a docudrama about the life of George Washington.
"We Fight To Be Free" was produced by Greystone Communications for display
in two theaters in the new visitors center at the Mt. Vernon, Virginia,
estate that was Washington’s home. The 22-minute film spans some 30
years of Washington’s life, concluding with his return to Mt. Vernon in
1797 after serving two terms as president.
“All nonfiction filmmakers have a duty to inform and be truthful, but
there is a huge difference between shooting a documentary for television
and a re-enactment of history that will be presented in a cinema
environment,” he says. “I saw this fi lm as an opportunity to paint a
more complete picture of Washington as a human being. It demanded
cinematic production values that transport audiences back in time.”
The documentary was produced at practical locations in West Virginia,
Maryland and Virginia, including the Mt. Vernon estate and on the banks
of the James River. The cast was augmented by 100 re-enactors dressed in
period costumes and uniforms. Van Oostrum filmed battles and scenic
backgrounds in 65mm format in order to capture a naturalistic feeling of
depth and dimension. Medium shots and intimate close-ups were filmed in
Super 35 format. He says that use of the large format film provides a
more immersive and compelling experience for less than a penny per
spectator. “We were true to the period by lighting scenes primarily with
candles and fires at night and daylight,” Van Oostrum says. “When
necessary, we augmented that light with small Chimera soft boxes and
sometimes HMIs angled to emulate sunlight.” His palette consisted of
KODAK VISION2 50D 5201 fi lm and KODAK VISION2 200T 5217 film that was
used for the few interior scenes and for exteriors shot at darker times
of day. Van Oostrum covered big exterior scenes with as many as five or
six cameras. One was usually operated at a high-speed frame rate for
slow motion effects. Sometimes one or two cameras were placed on the
ground and used to film re-enactors running towards or retreating from
them. Those cameras were operated by remote control.
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More
in 70mm reading:
"As Good as it Gets"- Demonstrates power of
large format
Internet link:
Kodak
screenarchives.com
imdb.com
mountvernon.org
documentary.org
jenreviews.com
|
InCamera
April 2007 edition.
“There are night and early daylight scenes at the camp in Trenton, where
we want the audience to feel the cold and see real mountains and trees
in the background,” he says. “We shot day for night, because it was
impractical to light those big landscapes.”
Van Oostrum used the RevolveR Motion Control System on the We fi ght to
be free camera to multiply the 100 re-enactors into some 400 troops in
various shots. The device enabled him to repeat zooming, focusing,
panning and tilting moves in multiple takes. He framed the first
take with re-enactors on the left side of the frame, and repeated it
with them on the right side, top and bottom. The elements were
composited during postproduction. Deluxe in Los Angeles processed some
16 hours of 35 and 65mm fi lm. After offline editing, EFILM in Los
Angeles scanned the conformed 35mm negative at 4K resolution. DKP 70MM
in Santa Monica scanned the 65mm film at 6K resolution. The master file was “rezzed” down to 2K to expedite interactive DI timing.
"We Fight To Be Free" premiered last fall in two theaters that are part of
the new Ford Orientation Center and Donald W. Reynolds Museum and
Education Center at Mt. Vernon that Washington called home. The estate
is operated by the Mt. Vernon Ladies’ Association, a non profit
organization that is dedicated to keeping Washington’s memory and spirit
alive.
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21-01-24 |
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