American Cinematographer - February 2011 - 29

Left: Kato and Reid add some custom features to a 1965 Chrysler Crown Imperial; dubbed the Black Beauty, the car is their vehicle of choice for navigating the city’s seedier corners. Below: The crew employs a helium lighting balloon for a night shot of the car outside of the Reid mansion.

“Michel would draw up and animate the artwork on his Mac, and we’d feed the QuickTime file into the projectors right there,” says Schwartzman. “The whole thing took five minutes to set up.” When Reid isn’t out fighting crime, he’s running his late father’s newspaper, The Sentinel. Some of these office scenes were shot in the visually striking Creative Artists Agency building in Los Angeles, but production designer Owen Paterson and his crew built the newsroom set onstage at Sony Studios. “It looks kind of like the bullpen in All the President’s Men , with windows all around and two glass elevators at the very end of it,” Schwartzman explains. Gondry wanted the space to have a flat fluorescent look and asked for fluorescent practicals to be built into the ceiling. (Schwartzman augmented these with Kino Flo Image 80s.) Two 240'x28' TransLites of Los Angeles, custom-designed by J.C. Backings,were hung outside the windows — one for day and one for night. Schwartzman preferred the TransLites to bluescreen because having something tangible on set allowed him greater control over the effect. “Michel wanted to have the ability to see differ-

ent types of weather conditions outside, but we didn’t have photo backings with different color temperatures or different looks, so we’d just light part of the backing with a spotlight to achieve a different effect,” he recalls. “During daytime scenes, I’d sometimes put a 1-inch mirror tile outside the window in front of the backing and throw it out of focus to make it look like a really hot reflection off a building. I tried to replicate some of the things you can’t control
ww.theasc.com w

when you’re on location.” The sunnydaytime look for the newsroom set was supplied by approximately 100 6-Light Maxi coops running above and along the length of the photo backing, pointing back through the set windows. “It was a lot of lighting,” says Schwartzman. “The top three globes were Medium Par 64s and the bottom three were VNSP Par 64s, so we could have hard light or softer light.” All of the lights were on
February 2011 29


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American Cinematographer - February 2011

Table of Contents for the Digital Edition of American Cinematographer - February 2011

American Cinematographer - February 2011
Contents
Editor’s Note
President’s Desk
Short Takes: God of Love
Production Slate: The Way BackThe Last Lions
Masked Men
Total Immersion
Behind the Music
A Cinematic Passport
Post Focus: MTI Films
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Robert Steadman, ASC
Clubhouse News
ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - American Cinematographer - February 2011
American Cinematographer - February 2011 - Cover2
American Cinematographer - February 2011 - 1
American Cinematographer - February 2011 - 2
American Cinematographer - February 2011 - Contents
American Cinematographer - February 2011 - 4
American Cinematographer - February 2011 - 5
American Cinematographer - February 2011 - 6
American Cinematographer - February 2011 - 7
American Cinematographer - February 2011 - Editor’s Note
American Cinematographer - February 2011 - 9
American Cinematographer - February 2011 - President’s Desk
American Cinematographer - February 2011 - 11
American Cinematographer - February 2011 - Short Takes: God of Love
American Cinematographer - February 2011 - 13
American Cinematographer - February 2011 - 14
American Cinematographer - February 2011 - 15
American Cinematographer - February 2011 - Production Slate: The Way BackThe Last Lions
American Cinematographer - February 2011 - 17
American Cinematographer - February 2011 - 18
American Cinematographer - February 2011 - 19
American Cinematographer - February 2011 - 20
American Cinematographer - February 2011 - 21
American Cinematographer - February 2011 - 22
American Cinematographer - February 2011 - 23
American Cinematographer - February 2011 - 24
American Cinematographer - February 2011 - 25
American Cinematographer - February 2011 - Masked Men
American Cinematographer - February 2011 - 27
American Cinematographer - February 2011 - 28
American Cinematographer - February 2011 - 29
American Cinematographer - February 2011 - 30
American Cinematographer - February 2011 - 31
American Cinematographer - February 2011 - 32
American Cinematographer - February 2011 - 33
American Cinematographer - February 2011 - 34
American Cinematographer - February 2011 - 35
American Cinematographer - February 2011 - Total Immersion
American Cinematographer - February 2011 - 37
American Cinematographer - February 2011 - 38
American Cinematographer - February 2011 - 39
American Cinematographer - February 2011 - 40
American Cinematographer - February 2011 - 41
American Cinematographer - February 2011 - 42
American Cinematographer - February 2011 - 43
American Cinematographer - February 2011 - 44
American Cinematographer - February 2011 - 45
American Cinematographer - February 2011 - Behind the Music
American Cinematographer - February 2011 - 47
American Cinematographer - February 2011 - 48
American Cinematographer - February 2011 - 49
American Cinematographer - February 2011 - 50
American Cinematographer - February 2011 - 51
American Cinematographer - February 2011 - 52
American Cinematographer - February 2011 - 53
American Cinematographer - February 2011 - A Cinematic Passport
American Cinematographer - February 2011 - 55
American Cinematographer - February 2011 - 56
American Cinematographer - February 2011 - 57
American Cinematographer - February 2011 - 58
American Cinematographer - February 2011 - 59
American Cinematographer - February 2011 - 60
American Cinematographer - February 2011 - 61
American Cinematographer - February 2011 - 62
American Cinematographer - February 2011 - 63
American Cinematographer - February 2011 - Post Focus: MTI Films
American Cinematographer - February 2011 - 65
American Cinematographer - February 2011 - 66
American Cinematographer - February 2011 - 67
American Cinematographer - February 2011 - New Products & Services
American Cinematographer - February 2011 - 69
American Cinematographer - February 2011 - 70
American Cinematographer - February 2011 - 71
American Cinematographer - February 2011 - 72
American Cinematographer - February 2011 - 73
American Cinematographer - February 2011 - 74
American Cinematographer - February 2011 - 75
American Cinematographer - February 2011 - International Marketplace
American Cinematographer - February 2011 - Classified Ads
American Cinematographer - February 2011 - Ad Index
American Cinematographer - February 2011 - 79
American Cinematographer - February 2011 - In Memoriam: Robert Steadman, ASC
American Cinematographer - February 2011 - 81
American Cinematographer - February 2011 - Clubhouse News
American Cinematographer - February 2011 - 83
American Cinematographer - February 2011 - ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - Cover3
American Cinematographer - February 2011 - Cover4
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