American Cinematographer - January 2018 - 82

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Larry and Victor
(Chet Hanks)
participate in a
Revolutionary War
re-enactment in
Episode 5, "Thank
You for Your
Service."

of Larry only in profile when he was
talking to someone - it might even be
the 'button,' where Larry's got the zinger
line that ends the scene. It bugged me
whenever I would see a really funny line
of Larry's and you're watching him in
profile. Curb Your Enthusiasm is about
Larry David, and I really want to see
Larry's face. So my first suggestion to
Jeff Schaffer, who is one of the producers
and one of the main directors of Season
9 of Curb, was exactly that. I said, 'We
can't be shooting Larry in two-shots
when we have the opportunity to shoot
82

January 2018

a single of him [with a third camera].'
The other nice addition to using
three cameras is we can get through
scenes quicker. Most of the time when
we got to the end of a scene, we didn't
have to come back again. With three
cameras, you're usually shooting your
master and your two overs at the same
time. It's important for everybody to be
happy when they walk off the set at the
end of the day, and not be exhausted.
It was also important to light it in
a way that it looked real, natural, and
pleasant on people's faces, and that also
American Cinematographer

worked for three different angles. It's a
very difficult way to shoot a scene, but
it's also really effective and really efficient. When you see Curb in Season 9
and you compare it to seasons past, I
think most people will say it looks better
- and we're looking at Larry from the
right direction!
For the scene with the admissions officers, you were using a combination of diffused Arri SkyPanels,
Source Fours and light coming in
through the glass French doors. Can
you talk a bit about that setup?
Stewart: We used the SkyPanels a
lot on Curb. They start out being a pretty
soft light, but you need to make it a tiny
bit bigger of a source, so we diffused it
just to smooth out the light a little bit
more. For the light coming in through
the French doors, I think we were
mainly relying on natural light, but if we
needed a bigger punch, we would use [a
9K or 6K HMI] to punch up the light
that was hitting the walls.
The lighting in that scene also
provided subtle shadows.
Stewart: Those were nice, and we
were adding to them with the Source
Fours, which punched up some darker
parts of the wood - like the mantel or



Table of Contents for the Digital Edition of American Cinematographer - January 2018

Contents
American Cinematographer - January 2018 - Intro
American Cinematographer - January 2018 - Cover1
American Cinematographer - January 2018 - Cover2
American Cinematographer - January 2018 - 1
American Cinematographer - January 2018 - 2
American Cinematographer - January 2018 - Contents
American Cinematographer - January 2018 - 4
American Cinematographer - January 2018 - 5
American Cinematographer - January 2018 - 6
American Cinematographer - January 2018 - 7
American Cinematographer - January 2018 - 8
American Cinematographer - January 2018 - 9
American Cinematographer - January 2018 - 10
American Cinematographer - January 2018 - 11
American Cinematographer - January 2018 - 12
American Cinematographer - January 2018 - 13
American Cinematographer - January 2018 - 14
American Cinematographer - January 2018 - 15
American Cinematographer - January 2018 - 16
American Cinematographer - January 2018 - 17
American Cinematographer - January 2018 - 18
American Cinematographer - January 2018 - 19
American Cinematographer - January 2018 - 20
American Cinematographer - January 2018 - 21
American Cinematographer - January 2018 - 22
American Cinematographer - January 2018 - 23
American Cinematographer - January 2018 - 24
American Cinematographer - January 2018 - 25
American Cinematographer - January 2018 - 26
American Cinematographer - January 2018 - 27
American Cinematographer - January 2018 - 28
American Cinematographer - January 2018 - 29
American Cinematographer - January 2018 - 30
American Cinematographer - January 2018 - 31
American Cinematographer - January 2018 - 32
American Cinematographer - January 2018 - 33
American Cinematographer - January 2018 - 34
American Cinematographer - January 2018 - 35
American Cinematographer - January 2018 - 36
American Cinematographer - January 2018 - 37
American Cinematographer - January 2018 - 38
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American Cinematographer - January 2018 - 40
American Cinematographer - January 2018 - 41
American Cinematographer - January 2018 - 42
American Cinematographer - January 2018 - 43
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American Cinematographer - January 2018 - 49
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American Cinematographer - January 2018 - 56
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American Cinematographer - January 2018 - 58
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American Cinematographer - January 2018 - 63
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American Cinematographer - January 2018 - 65
American Cinematographer - January 2018 - 66
American Cinematographer - January 2018 - 67
American Cinematographer - January 2018 - 68
American Cinematographer - January 2018 - 69
American Cinematographer - January 2018 - 70
American Cinematographer - January 2018 - 70a
American Cinematographer - January 2018 - 70b
American Cinematographer - January 2018 - 71
American Cinematographer - January 2018 - 72
American Cinematographer - January 2018 - 73
American Cinematographer - January 2018 - 74
American Cinematographer - January 2018 - 75
American Cinematographer - January 2018 - 76
American Cinematographer - January 2018 - 77
American Cinematographer - January 2018 - 78
American Cinematographer - January 2018 - 79
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American Cinematographer - January 2018 - 81
American Cinematographer - January 2018 - 82
American Cinematographer - January 2018 - 83
American Cinematographer - January 2018 - 84
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American Cinematographer - January 2018 - 120
American Cinematographer - January 2018 - Cover3
American Cinematographer - January 2018 - Cover4
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