American Cinematographer - March 2013 - 16
16-35mm f2.8 and 70-200mm f2.8 zoom
lenses and Zeiss ZE primes ranging from
21mm to 100mm.) “Until then, I’d actually
tried to avoid the 5D,” he reveals. “It’s too
small, and my fingers are too thick to handle
it. It’s not my cup of tea, so to speak.”
Digital-imaging technician Jonathan
O’Connell handled all of the 5D’s settings,
which included the creation of a monochrome color profile and bracketing each
lighting setup over and under by a stop to
help determine exposure. “I know what’s
happening with the camera, but I prefer to
have someone take care of the technical
settings so I can be free to frame and light
— you know, the things people expect you
to do as a director of photography!” says
Van Essen. 1st AC Andrew Greenen
rounded out the camera department.
Much of Ballen’s early work was set
outdoors and/or naturally lit, but, he notes,
“the light in South Africa is so hot! One day
I was out taking pictures, and I knocked on
somebody’s door. Then I went inside physically and psychologically, and I never came
back outside again! Since then, the places
I’ve worked in have always been very dark
and dingy, and I have to use a flash.”
“Because Roger uses a flash,” says
Van Essen, “I thought of using a single soft
key light, but with shadows.” The cinematographer points to the wide locked-off
shot of Vísser sitting in a chair while people
dance next to her. “During the shoot, we
discovered a key light was all we needed.”
Gaffer Clint Stone blacked out the
warehouse and lit the sets entirely from the
inside. Van Essen favored a 2K Blonde with
a Chimera “and a lot of flags.” The lighting
package also included 800-watt Redheads,
4-bank Kino Flos and 150-watt Dedolights,
and Van Essen decided that breaking the
light with solids and negative fill was better
than bringing in more sources.
Some scenes called for additional
decoupage. The Dedos offered camera-side
eyelight and were used in the kitchen and
trophy den to add interest to the backgrounds. The Redheads were bounced into
bead board for ambience. Kino Flos with
Lee 251 diffusion were brought in for closeups and specials. The moldy bathroom
scene was lit with a 4-bank Kino overhead
without diffusion or a grid.
The creative team worked within the
Top: Yo-Landi
Visser stands with
live rats crawling
on her shoulders
for a scene in the
video. Middle: A
photograph
entitled “Caged”
(2011) from
Ballen’s “Asylum”
series. Bottom,
from left: Melle
Van Essen, Visser,
Ninja and Ballen
on the set.
16
March 2013
American Cinematographer
American Cinematographer - March 2013
Table of Contents for the Digital Edition of American Cinematographer - March 2013
American Cinematographer - March 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Die Antwoord’s “I Fink U Freeky”
Production Slate: Lore
Trials by Fire
Strong Foundations
Tech Savvy
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Charles Austin, ASC • Alfred Taylor, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Russell Carpenter
American Cinematographer - March 2013 - American Cinematographer - March 2013
American Cinematographer - March 2013 - Cover2
American Cinematographer - March 2013 - 1
American Cinematographer - March 2013 - 2
American Cinematographer - March 2013 - Contents
American Cinematographer - March 2013 - 4
American Cinematographer - March 2013 - 5
American Cinematographer - March 2013 - 6
American Cinematographer - March 2013 - 7
American Cinematographer - March 2013 - 8
American Cinematographer - March 2013 - 9
American Cinematographer - March 2013 - Editor’s Note
American Cinematographer - March 2013 - 11
American Cinematographer - March 2013 - President’s Desk
American Cinematographer - March 2013 - 13
American Cinematographer - March 2013 - Short Takes: Die Antwoord’s “I Fink U Freeky”
American Cinematographer - March 2013 - 15
American Cinematographer - March 2013 - 16
American Cinematographer - March 2013 - 17
American Cinematographer - March 2013 - 18
American Cinematographer - March 2013 - 19
American Cinematographer - March 2013 - Production Slate: Lore
American Cinematographer - March 2013 - 21
American Cinematographer - March 2013 - 22
American Cinematographer - March 2013 - 23
American Cinematographer - March 2013 - 24
American Cinematographer - March 2013 - 25
American Cinematographer - March 2013 - 26
American Cinematographer - March 2013 - 27
American Cinematographer - March 2013 - Trials by Fire
American Cinematographer - March 2013 - 29
American Cinematographer - March 2013 - 30
American Cinematographer - March 2013 - 31
American Cinematographer - March 2013 - 32
American Cinematographer - March 2013 - 33
American Cinematographer - March 2013 - 34
American Cinematographer - March 2013 - 35
American Cinematographer - March 2013 - 36
American Cinematographer - March 2013 - 37
American Cinematographer - March 2013 - 38
American Cinematographer - March 2013 - 39
American Cinematographer - March 2013 - Strong Foundations
American Cinematographer - March 2013 - 41
American Cinematographer - March 2013 - 42
American Cinematographer - March 2013 - 43
American Cinematographer - March 2013 - 44
American Cinematographer - March 2013 - 45
American Cinematographer - March 2013 - 46
American Cinematographer - March 2013 - 47
American Cinematographer - March 2013 - 48
American Cinematographer - March 2013 - 49
American Cinematographer - March 2013 - Tech Savvy
American Cinematographer - March 2013 - 51
American Cinematographer - March 2013 - 52
American Cinematographer - March 2013 - 53
American Cinematographer - March 2013 - 54
American Cinematographer - March 2013 - 55
American Cinematographer - March 2013 - New Products & Services
American Cinematographer - March 2013 - 57
American Cinematographer - March 2013 - 58
American Cinematographer - March 2013 - 59
American Cinematographer - March 2013 - 60
American Cinematographer - March 2013 - 61
American Cinematographer - March 2013 - 62
American Cinematographer - March 2013 - 63
American Cinematographer - March 2013 - 64
American Cinematographer - March 2013 - Classified Ads
American Cinematographer - March 2013 - Ad Index
American Cinematographer - March 2013 - 67
American Cinematographer - March 2013 - 68
American Cinematographer - March 2013 - In Memoriam: Charles Austin, ASC • Alfred Taylor, ASC
American Cinematographer - March 2013 - 70
American Cinematographer - March 2013 - 71
American Cinematographer - March 2013 - ASC Membership Roster
American Cinematographer - March 2013 - 73
American Cinematographer - March 2013 - Clubhouse News
American Cinematographer - March 2013 - 75
American Cinematographer - March 2013 - ASC Close-Up: Russell Carpenter
American Cinematographer - March 2013 - Cover3
American Cinematographer - March 2013 - Cover4
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