American Cinematographer - April 2008 - (Page 40)

Card Sharks programming was so precise that we could choreograph the lights to sweep through on a certain line [of dialogue], which was very cool. We also integrated some Source Fours and Vari-Lites into the club lighting.” The students eventually rebel against their professor, and he gets back at them by sabotaging their solo adventure in Vegas. When Campbell returns to Boston, he confronts Rosa at his house during a faculty reception. “That scene was my homage to [Vittorio] Storaro [ASC, AIC],” laughs Carpenter. “It was snowing outside, but we made it a lush, warm afternoon. We pushed hard light through the windows, Maxi-Brutes and Par cans, and I shot with a daylight-balance setting in the camera so the tungsten light would go very warm.” Carpenter discovered a relatively new tool while in Boston, the LRX light, which was provided to the show by Available Light in New York. “Many people don’t know about the LRX, which is similar to the Bebee Night Light,” says the cinematographer. “My gaffer, Len Levine, who is constantly saving me from myself, introduced me to them when we were shooting in an enormous gymnasium that was completely surrounded by windows. I was on the fence about whether to bring in any lighting, and Len said, ‘Why don’t we just shut off the inside mercury-halide lights and go from outside in?’ We weren’t able to get a Bebee unit into Boston, but our unit production manager, Bryan Thomas, found the LRX fixtures in New York. They’re remotely controlled swiveling and focusing units that can be hung in different configurations from a garden-variety Condor. From inside the gym, Len was able to completely control the lighting [outside]. The Bosworth admires the Vegas cityscape from a stage-bound hotel room. “Our ‘studio’ was a drafty, freezing, mattress warehouse,” says Carpenter. “We had to build the sets around the pillars. It was nasty, but we made it work.” images onto the stripper’s bodies. We got hold of some computerized lights from High-End Systems, DL2s, that can project whatever imagery you feed them via a computer. You can also animate the lights, like VariLites, and we ganged a number of them together to move around the dancers. I put a few fixtures we had left over into the background and aimed them back at the camera. The BUNDLED or SEPARATE. ™ 40 http://www.birnsandsawyer.com http://www.birnsandsawyer.com

Table of Contents Feed for the Digital Edition of American Cinematographer - April 2008

American Cinematographer - April 2008 Contents Editor's Note Global Village: The Counterfeiters Short Takes: Milia Production Slate: Paranoid Park Production Slate: All the Boys Love Mandy Lane Card Sharks Temple of Doom 3-D Cinematography Sundance 2008: Mining for Movies Post Focus: Digital Film Tree Gets into Peyote Post Focus: FotoKem’s 3-D Workflow Post Focus: Technicolor Digs in at Pinewood Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0 New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Rodney Taylor

American Cinematographer - April 2008

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