March 20, 2024

Masters of the Air cinematographer Richard Rutkowski, ASC

Masters of the Air on AppleTV+ is about the pilots who served in the 100th Bomb Group in the U.S. Air Force during World War II. Cinematographer Richard Rutkowski shot episodes 107 and 108, which included both aerial flying, bombing and imprisoned airmen at a German POW camp. From the beginning, Richard was impressed with how everything was organized on such a massive scale. The props, set design and costumes were extremely exact to the time period. “I really am attracted to stories that have authenticity in them,” says Richard. “And they put the authentic on camera. It is all exactly what it’s meant to be, what it was at the time, as close as they can get.”

Richard worked with director Dee Rees on their block of Masters of the Air. The prison camp scenes involved working with searchlights, mud and absolute darkness at night, with up to 250 people in a scene. He chose to light in a way that would emphasize the dim lighting, gray atmosphere and unhealthy look for the POWs. Some of the Tuskegee Airmen, the legendary African-American fighter pilots, are also brought to the POW camp and the prisoners are integrated into the previously racially-segregated fighting force.

Shooting the action inside the planes involved large-scale LED volume screens surrounding the aircraft sections, with an LED roof overhead, which created most of the lighting for the scene. The actors were placed on a gimbal controlled articulated steel deck so they could react to the motion. The cameras tracked with the video system, and had GPS locators that allowed the background to respond to where the camera was so that it knew how much background to put in.

Richard was the sole cinematographer on the FX series The Americans for several seasons. The Americans was about a Russian spy couple posing as Americans in suburban Washington D.C. during the Cold War in the 1980’s. Richard established the look of the show, with the couple’s “normal” DC life leaning into bolder primary colors, in a kind of red, white, and blue cleanliness. By contrast, in their double life as spies, Richard chose a grittier, darker and grainy look. On The Americans, Richard says he learned the value of letting the actors do their work. “(There is) an unspoken connection being made about whether a scene is moving well, whether a take is truly finished. I would learn to stop reaching for that cut button. No matter who said what, if the actor was in it, we don’t cut. You leave the boom up, keep out of the frame. If the actor’s in it, we’re not cutting. We’ll go till they’re ready.”

As a kid, Richard’s father was a fine art painter and he grew up all over the country. He began making 16mm films in college and working with theatrical director Robert Wilson. After college, Richard started working on small budget films, working his way up through the camera department, including being a second assistant camera on School Ties with cinematographer Freddie Francis, a two time Oscar winner. After School Ties, Richard wrote Ed Lachman asking to work with him, and he went on to work with Ed on several movies. He feels that working your way up and learning all the different crafts in the camera department is a great education for a DP.

Masters of the Air is available on AppleTV+.

Find Richard Rutkowski: Instagram @richardrutkowskidp

Sponsored by Hot Rod Cameras www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

June 29, 2023

Jurassic Punk, Life After Pi, Midnight Son director Scott Leberecht

Director Scott Leberecht began his filmmaking career as a visual effects art director at Lucasfilm’s Industrial Light & Magic. His latest documentary film, Jurassic Punk, is about his fellow ILM effects artist Steve “Spaz” Williams. A talented artist, Steve pioneered computer animation VFX in movies, creating the alien effects for The Abyss and the morphing transitions for the “T-100” in Terminator 2: Judgement Day. Steve’s most ambitious and revolutionary work for the movie and VFX industry was his work on the completely computer animated dinosaurs for 1993’s Jurassic Park.

Scott met Steve during his internship at ILM. Jurassic Punk was originally meant to be about the whole ILM ensemble at that pivotal time between The Abyss and Jurassic Park. But as Scott gathered the stories, he realized that he needed a main character who had an interesting arc, and Steve definitely fit the profile. Steve’s work on Jurassic Park had never been properly acknowledged, with credit for the visual effects going mainly to Phil Tippett and Dennis Muren. Steve himself was always a notoriously difficult, hard-drinking asshole who had trouble fitting into the corporate structure of ILM. Scott found it hard to shoot Steve’s interviews for Jurassic Punk, since his friend was at such a low point in his life. But Steve understood that Scott was trying to tell the story of what life can be like for a creative worker who gives their all, only to be left with little credit or money. Scott sees Jurassic Punk as telling two cautionary tales: be careful about innovating within corporate structures, and ensure that the people who create the art are properly acknowledged.

Life After Pi, a documentary short Scott made with Christina Lee Storm in 2014, is also a personal story about working in the VFX industry. Shortly before winning the Oscar for their special effects in Life of Pi, the visual effects studio Rhythm & Hues filed for bankruptcy. Scott had been working for the company for about six months when everyone was fired. The doc explores what’s been happening to the visual effects industry, as work is outsourced and it becomes a race to the bottom for the cheapest price. There was a very short window of time after Rhythm & Hues’ collapse where effects workers could speak their mind, even staging a demonstration outside the Academy Awards that year. Today, effects workers continue to voice their need to form a union, as the quality of effects work declines while studios demand cheaper VFX done at an even faster pace.

You can watch Jurassic Punk streaming on Amazon and Kanopy.

Life After Pi is on YouTube.

Midnight Son has just been released on Blu-Ray and features a soundtrack by Kays Al-Atrakchi

Find Find Scott Leberecht: https://www.jurassicpunkmovie.com/
Instagram: @jurassicpunkmovie

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz