American Cinematographer - March 2009 - (Page 44) Cutting-Edge Camerawork style and 13.5-570mm optically stabilized), and two are EX3s with Fujinon 14x zooms. The show is framed at 16x9, and all cameras record at 24 fps. (The F23 records to HDCam-SR tape, and the EX3 records to Sony SxS flash memory cards.) Working with multiple cameras offers several advantages. “For one, I like how performances match,” says Wagner. “Actors with comedic skills are constantly refining the material and trying different approaches to it, and if you use just one camera, nothing’s ever going to match. Multiple cameras make it easier for actors and the editor, and the lighting strategy it imposes on the cinematographer is not that difficult to do.” Another advantage is speed. “I don’t know how Roy does it, but he works faster than anyone I’ve ever worked with,” remarks Denis Doyle, the show’s first assistant director. Wagner (left) brings decades of film experience to the set but has embraced the potential of high-definition video. DIRECTOR‘S VIEWFINDER NEW OIC 35 Eyepiece adjustable from -4 to +4 diopter Eyepiece adjustable to right or left eye For all lenses with 54 PL-mount For Arriflex 435/535 ground glasses Pivot holder for easy grip OIC 1 6 Eyepiece adjustable from -5 to +5 diopters 7 integrated ground glass markings Therefore no exchange of any ground glasses Immediate change from format to format For all lenses with 54 PL-mount Pivot holder for easy grip www.denz-deniz.com · Tel: +49 89 - 62 98 66 0 · Fax: +49 89 - 62 98 66 20 44 http://www.denz-deniz.com http://www.denz-deniz.com
For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.