IEC
#2: "Tristan + Isolde" [2003]
ARTUR REINHART PSC
Born: 24 March 1965, Kluczbork, Opolskie, Poland.
Education: PWSFTviT, Lódz, Poland [1988-92].
Career: Ph & dir commercials.
Appeared in the doc 'Wiecej swiatla. Festiwal Operatorów Filmowych Camerimage '97' [1997, Piotr Lazarkiewicz; ph: Adam Sikora; 54m].
Awards: Camerimage 'Golden Frog' Award [1994] for 'Wrony'; Camerimage 'Golden Frog' nom [1998] & Polish FF, Gdynia, 'Golden Lion (Zlote Lwy) Best Cinematography' [1998] for 'Nic'; Camerimage 'Golden Frog' nom [2005] & Polish FF, Gdynia, 'Golden Lion Best Cinematography' [2005] for 'Jestem'; Polish FF, Gdynia, 'Golden Lion Best Cinematography' [2010] & Plus Camerimage 'Golden Frog' Award [2010] for 'Wenecja'; ASC TV Award nom [2012] for 'Hatfields & McCoys'.
'Hatfields & McCoys' [2011]: With only 69 days to shoot a 3-part miniseries, knowing exactly how he [Artur Reinhart] would achieve the series' very specific look was the first safely crossed hurdle on a challenging course. Determining that technology would aid his needs, Reinhart was able to convince the producers to let him switch to the RED Epic camera instead of the ARRI ALEXA which was originally prescribed to the shoot. With an incredibly tight post schedule, roughly 80% of all DI and color correction had to be done on set, Reinhart knew the Epic's RAW format would aid in this task. He was able to do some test shooting on the sets with the actors and costumes, and achieve the exact finish required for the scenes. He then developed a look-up table where he could illustrate to director Kevin Reynolds the look of each sequence prior to shooting. "Kevin [Reynolds] saw very close to the final look, and this gave him a precise idea of what I was going for," said Reinhart. "This saved a lot of time, and Kevin was very happy."
Shooting on location in Romania presented a number of logistical and aesthetic problems. Many trees in Romania are not indigenous to the United States, so he had to be extremely conscious of what the camera captured. And with roughly two hours of daylight each day, there was little room for error. Many of the film's mid-day interior shots actually occurred in the darkness. To ensure the lighting looked as natural and realistic as possible, especially with so many sunless shots, Reinhart worked closely with the production designer to maximize the opportunities settings could provide. Since many of the structures were built from scratch, Reinhart helped the design team incorporate light spaces and rigging throughout the structures where lights could be mounted or holes where they could pass through. "We pre-rigged lights, then covered the lights with set dressing," said Reinhart. "Pre-rigging really helped save time and overcome problems."
Green screen work also played into the complexity of the shoot. Prior to shooting, Reinhart anticipated some digital replacements would be required, such as masking modern, non-American buildings. However, green screens were also instrumental in replacing the windows in buildings to represent daytime scenes during night time shoots. With the visual effects company in Canada, communication was not immediate and many of their needs had to be anticipated. Reinhart relied upon his previous experience with CG and was able to set up trackers accurately. He also provided extensive notes and screen grabs so the VFX company would be as prepared as possible. [From article by Marjorie Galas on the LA 411 website.]
| FILMS AT THE PWSFTviT | |
|---|---|
|
1988 |
Top - Art [Michal Zablocki] c; short/7m |
|
1989 |
Elegia dla jednej pani [Dariusz Jablonski] tvm/21m; cph: Romuald Lewandowski, Wanda Pietrzak, a.o. |
|
1989 |
Rece [Michal Zablocki] tvm/13m |
|
1989 |
Wrony [Rainer Schaupp] c; short/4m |
|
1989 |
Skad krasnoludki wziely swoje czerwone kapturki? [Witold Iwaszkiewicz; tvm] c.asst; ph: Krzysztof Hejke |
|
1990 |
Wege-Bereiter. Erinnerung an Jerzy Bossak [Rainer Schaupp] b&w; doc/5m |
|
1991 |
Podroz [Pawel Lozinski] b&w; short/9m |
|
1991 |
Czas na granicy/Zeit an der Grenze [Rainer Schaupp; doc] c.op; ph: Krzysztof Hejke |
|
1991 |
Godzina [Michal Zablocki] c; short/6m |
|
1991 |
Zbieg [Michal Zablocki & Artur Reinhart] c; short/8m |
| FILMS & TELEVISION | |
|---|---|
|
1990 |
Widmo [Witold Iwaszkiewicz] c; short/9m; cph: Andrzej Czeranowski |
|
1991 |
Miejsce urodzenia/Birthplace [Pawel Lozinski] 16mm/c; doc/47m; co-prod PWSFTviT |
|
1992 |
89 mm od Europy [Marcel Lozinski] 16mm/b&w; doc/12m; cph: Jacek Petrycki |
|
1993 |
Pora na czarownice/A Time for Witches [Piotr Lazarkiewicz] c |
|
1993 |
Taranthriller [Miroslaw Dembinski] c; short/52m; cph: Pawel Edelman |
|
1994 |
Wrony/The Crows [Dorota Kedzierzawska] c; 66m; + co-ed |
|
1994 |
Prowokator/Provocateur [Krzysztof Lang] c |
|
1995 |
100 lat w kinie/100 Years of Polish Cinema [Pawel Lozinski] c; tv-doc/62m |
|
1995 |
Wszystko moze sie przytrafic/Anything Can Happen [Marcel Lozinski] c; doc/39m |
|
1995 |
Für immer und immer [Hark Bohm] c |
|
1996 |
Bandyta/Brute [Maciej Dejczer] c; cph: Marian Prokop |
|
1998 |
Nic/Nothing [Dorota Kedzierzawska] c; + co-prod/co-ed/still ph |
|
2002 |
[Frank Herbert's] Children of Dune [Greg Yaitanes] 3-part tv-miniseries; 2uc: Miro Gábor |
[Right] with Kevin Reynolds [pointing] - "Tristan + Isolde"
|
2003 |
Tristan + Isolde [Kevin Reynolds] s35-to-35mm/c; 2uc: Miro Gábor; released in 2006 |
|
2004 |
Jestem/I Am [Dorota Kedzierzawska] c; + prod/co-ed |
|
2006 |
Pora umierac/Time to Die [Dorota Kedzierzawska] b&w; + co-prod/co-prod des/co-ed |
|
2007 |
A gdyby tak sie stalo/And If That Happens [Marcel Lozinski] c; doc/38m; cph: Jacek Blawut |
|
2008 |
Jutro bedzie lepiej [Dorota Kedzierzawska] c; + (exec) prod/prod des/co-ed |
|
2009 |
Wenecja/Venice [Jan Jakub Kolski] c; also 3-part tv-miniseries, 2015 |
|
2011 |
Hatfields & McCoys [Kevin Reynolds] 3-part tv-miniseries/RED Epic-to-HD; 2uc: Gabriel Kosuth; for History Channel; see above |
|
2012 |
Inny swiat/Another World [Dorota Kedzierzawska] c; doc/97m; + prod/co-scrpl/co-ed |
|
2014 |
Texas Rising [Roland Joffé] 5-part tv-miniseries/RED Epic Dragon (scope), 2015; 2uc: Luis David Sansans; for History Channel |
|
2017 |
Zuzel [Dorota Kedzierzawska] c |
| MISCELLANEOUS | |
|---|---|
|
1992 |
Listopad/November [Lukasz Karwowski] c.op (+ Steadicam op); ph: Pawel Edelman |
|
1992 |
Psy/Pigs [Wladyslaw Pasikowski] c.op (+ Steadicam op); ph: Pawel Edelman |
|
1992 |
Enak [Slawomir Idziak; tvm] co-spph; ph: Andrzej Jaroszewicz |
|
1992 |
Das letzte U-Boot/The Last U-Boat [Frank Beyer; tvm] c.op; ph: Witold Sobocinski |
