American Cinematographer - March 2008 - (Page 56) Tantalizing Television Bones director of photography Gordon Lonsdale lines up a shot of Eric Millegan in one of the show’s main sets. for fill, bounce off a large day blue stretched above the room’s skylights; this allows for easy “walk-and-talks” and fast turnaround times on the set. The smaller sets make use of a combination of fluorescent lighting, window sources and frugal accents, with the exception of the bone room, which is almost entirely fluorescent-lit. Much of the secondary lighting comprises Kino Flos and Litepanels LED lights for kicklights in the eyes, with the occasional 1'square Litepanel as a compact key source. “I usually key the principal actors with a 4-by-4 Kino Flo through 129 diffusion for a nice, broad, soft light,” notes Lonsdale. “If we were shooting on 5218, we’d be forced to light to a T2 or T2.8, and that would make the focus puller’s job that much harder,” observes Messerschmidt. “At 1,000 ASA, we can shoot at a T4 or a T 2.8/4 split. It speeds things up and also adds to the look of the show; we can shoot at a slightly deeper stop without having to bring in bigger lights.” On location, shooting with Zeiss Ultra Primes permits Lonsdale certain freedoms that few TV productions with tight budgets and short schedules enjoy. For an interior night scene in a restaurant in downtown Los Angeles, Lonsdale found he could get away with using little more than a small table lamp to light a master shot of Booth and his ex (Tamara Taylor). Shooting at 2,000 ASA with the lens at a T2, the crew augmented the actors’ close-ups with Litepanels, while the environment outside the restaurant window required only a couple of Par cans to 56 http://www.rosco.com/swatchbook.asp http://www.rosco.com/swatchbook.asp http://www.rosco.com/swatchbook.asp http://www.rosco.com/rewards http://www.rosco.com/rewards
Table of Contents Feed for the Digital Edition of American Cinematographer - March 2008 American Cinematographer - March 2008 Contents Editor’s Note Short Takes: Bill Viola’s Ocean Without a Shore Production Slate: 4 Months, 3 Weeks and 2 Days Production Slate: Chantal: A Night at the Pyramids Magical Mystery Tour Some Kind of Monster Tantalizing Television Making Sitcoms “Sexy” Post Focus: Mega Playground Helps Set Look for Sibling Post Focus: Visual Effects Society Launches White Paper New Products & Services International Marketplace Classified Ads Ad Index In Memoriam: John McPherson, ASC ASC Membership Roster Clubhouse News ASC Close-Up: Wayne Kennan American Cinematographer - March 2008 American Cinematographer - March 2008 - American Cinematographer - March 2008 (Page Cover1) American Cinematographer - March 2008 - American Cinematographer - March 2008 (Page Cover2) American Cinematographer - March 2008 - American Cinematographer - March 2008 (Page 1) American Cinematographer - March 2008 - American Cinematographer - March 2008 (Page 2) American Cinematographer - March 2008 - Contents (Page 3) American Cinematographer - March 2008 - Contents (Page 4) American Cinematographer - March 2008 - Contents (Page 5) American Cinematographer - March 2008 - Contents (Page 6) American Cinematographer - March 2008 - Contents (Page 7) American Cinematographer - March 2008 - Editor’s Note (Page 8) American Cinematographer - March 2008 - Editor’s Note (Page 9) American Cinematographer - March 2008 - Short Takes: Bill Viola’s Ocean Without a Shore (Page 10) American Cinematographer - March 2008 - Short Takes: Bill Viola’s Ocean Without a Shore (Page 11) American Cinematographer - March 2008 - Short Takes: Bill Viola’s Ocean Without a Shore (Page 12) American Cinematographer - March 2008 - Short Takes: Bill Viola’s Ocean Without a Shore (Page 13) American Cinematographer - March 2008 - Short Takes: Bill Viola’s Ocean Without a Shore (Page 14) American Cinematographer - March 2008 - Short Takes: Bill Viola’s Ocean Without a Shore (Page 15) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 16) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 17) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 18) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 19) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 20) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 21) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 22) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 23) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 24) American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids (Page 25) American Cinematographer - March 2008 - Magical Mystery Tour (Page 26) American Cinematographer - March 2008 - Magical Mystery Tour (Page 27) American Cinematographer - March 2008 - Magical Mystery Tour (Page 28) American Cinematographer - March 2008 - Magical Mystery Tour (Page 29) American Cinematographer - March 2008 - Magical Mystery Tour (Page 30) American Cinematographer - March 2008 - Magical Mystery Tour (Page 31) American Cinematographer - March 2008 - Magical Mystery Tour (Page 32) American Cinematographer - March 2008 - Magical Mystery Tour (Page 33) American Cinematographer - March 2008 - Magical Mystery Tour (Page 34) American Cinematographer - March 2008 - Magical Mystery Tour (Page 35) American Cinematographer - March 2008 - Some Kind of Monster (Page 36) American Cinematographer - March 2008 - Some Kind of Monster (Page 37) American Cinematographer - March 2008 - Some Kind of Monster (Page 38) American Cinematographer - March 2008 - Some Kind of Monster (Page 39) American Cinematographer - March 2008 - Some Kind of Monster (Page 40) American Cinematographer - March 2008 - Some Kind of Monster (Page 41) American Cinematographer - March 2008 - Some Kind of Monster (Page 42) American Cinematographer - March 2008 - Some Kind of Monster (Page 43) American Cinematographer - March 2008 - Some Kind of Monster (Page 44) American Cinematographer - March 2008 - Some Kind of Monster (Page 45) American Cinematographer - March 2008 - Tantalizing Television (Page 46) American Cinematographer - March 2008 - Tantalizing Television (Page 47) American Cinematographer - March 2008 - Tantalizing Television (Page 48) American Cinematographer - March 2008 - Tantalizing Television (Page 49) American Cinematographer - March 2008 - Tantalizing Television (Page 50) American Cinematographer - March 2008 - Tantalizing Television (Page 51) American Cinematographer - March 2008 - Tantalizing Television (Page 52) American Cinematographer - March 2008 - Tantalizing Television (Page 53) American Cinematographer - March 2008 - Tantalizing Television (Page 54) American Cinematographer - March 2008 - Tantalizing Television (Page 55) American Cinematographer - March 2008 - Tantalizing Television (Page 56) American Cinematographer - March 2008 - Tantalizing Television (Page 57) American Cinematographer - March 2008 - Making Sitcoms “Sexy” (Page 58) American Cinematographer - March 2008 - Making Sitcoms “Sexy” (Page 59) American Cinematographer - March 2008 - Making Sitcoms “Sexy” (Page 60) American Cinematographer - March 2008 - Making Sitcoms “Sexy” (Page 61) American Cinematographer - March 2008 - Making Sitcoms “Sexy” (Page 62) American Cinematographer - March 2008 - Making Sitcoms “Sexy” (Page 63) American Cinematographer - March 2008 - Making Sitcoms “Sexy” (Page 64) American Cinematographer - March 2008 - Making Sitcoms “Sexy” (Page 65) American Cinematographer - March 2008 - Post Focus: Visual Effects Society Launches White Paper (Page 66) American Cinematographer - March 2008 - Post Focus: Visual Effects Society Launches White Paper (Page 67) American Cinematographer - March 2008 - Post Focus: Visual Effects Society Launches White Paper (Page 68) American Cinematographer - March 2008 - Post Focus: Visual Effects Society Launches White Paper (Page 69) American Cinematographer - March 2008 - New Products & Services (Page 70) American Cinematographer - March 2008 - New Products & Services (Page 71) American Cinematographer - March 2008 - New Products & Services (Page 72) American Cinematographer - March 2008 - New Products & Services (Page 73) American Cinematographer - March 2008 - New Products & Services (Page 74) American Cinematographer - March 2008 - New Products & Services (Page 75) American Cinematographer - March 2008 - New Products & Services (Page 76) American Cinematographer - March 2008 - New Products & Services (Page 77) American Cinematographer - March 2008 - International Marketplace (Page 78) American Cinematographer - March 2008 - Classified Ads (Page 79) American Cinematographer - March 2008 - Ad Index (Page 80) American Cinematographer - March 2008 - Ad Index (Page 81) American Cinematographer - March 2008 - In Memoriam: John McPherson, ASC (Page 82) American Cinematographer - March 2008 - In Memoriam: John McPherson, ASC (Page 83) American Cinematographer - March 2008 - ASC Membership Roster (Page 84) American Cinematographer - March 2008 - ASC Membership Roster (Page 85) American Cinematographer - March 2008 - Clubhouse News (Page 86) American Cinematographer - March 2008 - Clubhouse News (Page 87) American Cinematographer - March 2008 - ASC Close-Up: Wayne Kennan (Page 88) American Cinematographer - March 2008 - ASC Close-Up: Wayne Kennan (Page Cover3) American Cinematographer - March 2008 - ASC Close-Up: Wayne Kennan (Page Cover4)
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