American Cinematographer - April 2012 - 48
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Back to School
Top: Billy scorches his hand in a fight with Clapton. Middle: Clapton gazes at Riley’s house. Bottom: Downey Studios’ backlot provided most of Grizzly Lake’s suburban streets. This shot shows Probst’s typical nightlighting scenario: large underexposed half-light sources and low uplight keys on the actors.
sition of all of the other characters aligned against her,” says Kahn. “Even though it’s a complex camera move, it’s all rooted in Riley’s struggle. You can literally feel all the characters moving away from her.” When such a move is driven by the narrative and done well, it disguises
48 April 2012
itself, and the audience barely notices its complexity. It all just feels right for the scene. “It’s really about bringing forth the drama of the scene in a way that’s not overly dramatic,” says the director. “It’s a very thin tightrope to walk on, and a tricky way of achieving comedy. It’s very hard to edit around an intricate
American Cinematographer
move like that, so those laughs have to work in-camera as blocked. But I felt it was an interesting way to give the comedy a tone that we haven’t seen in a long time.” We elected to shoot Detention in the Red’s 4K anamorphic mode (which crops the sensor to 2816x2304 pixels) and use Redcode 42 compression, the least amount of compression available on Red Ones. Our camera package came from Camtec of Burbank, Calif., and also included Hawk V-series and vintage Kowa anamorphic prime lenses, as well as anamorphosized Cooke 40120mm T4.5 and Angenieux HR 50500mm T5.6 zooms. We had two A-camera first assistants. Tony Martin covered the first half of the shoot, and Jason Zakrzewski stepped in when Tony had to leave because of a prior commitment. Detention was not an easy job for them because Joseph and I were keen to shoot everything as wide open as possible. (The Hawks and the Kowas ranged from T2.3-T3.) Dan Ming served as camera operator and second-unit director of photography until he, too, had to depart. Darrin Nim then took up the second-unit duties. For most sequences, I began with the Red set to its native color temperature of 5,000°K. I then either balanced my lighting to that temperature, or added various strengths of CTB filters to the lens to give as full a range of color information as possible to all three RGB
American Cinematographer - April 2012
Table of Contents for the Digital Edition of American Cinematographer - April 2012
American Cinematographer - April 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Polaris campaign
Production Slate: Footnote • 4:44 Last Day on Earth
Vice at the Vatican
Back to School
Sundance Standouts
Filmmakers’ Forum: Haskell Wexler, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - American Cinematographer - April 2012
American Cinematographer - April 2012 - Cover2
American Cinematographer - April 2012 - 1
American Cinematographer - April 2012 - 2
American Cinematographer - April 2012 - Contents
American Cinematographer - April 2012 - 4
American Cinematographer - April 2012 - 5
American Cinematographer - April 2012 - 6
American Cinematographer - April 2012 - 7
American Cinematographer - April 2012 - Editor’s Note
American Cinematographer - April 2012 - 9
American Cinematographer - April 2012 - President’s Desk
American Cinematographer - April 2012 - 11
American Cinematographer - April 2012 - Short Takes: Polaris campaign
American Cinematographer - April 2012 - 13
American Cinematographer - April 2012 - 14
American Cinematographer - April 2012 - 15
American Cinematographer - April 2012 - 16
American Cinematographer - April 2012 - 17
American Cinematographer - April 2012 - Production Slate: Footnote • 4:44 Last Day on Earth
American Cinematographer - April 2012 - 19
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American Cinematographer - April 2012 - 31
American Cinematographer - April 2012 - Vice at the Vatican
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American Cinematographer - April 2012 - 43
American Cinematographer - April 2012 - Back to School
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American Cinematographer - April 2012 - 63
American Cinematographer - April 2012 - Sundance Standouts
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American Cinematographer - April 2012 - Filmmakers’ Forum: Haskell Wexler, ASC
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American Cinematographer - April 2012 - 86
American Cinematographer - April 2012 - 87
American Cinematographer - April 2012 - New Products & Services
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American Cinematographer - April 2012 - 100
American Cinematographer - April 2012 - 101
American Cinematographer - April 2012 - International Marketplace
American Cinematographer - April 2012 - Classified Ads
American Cinematographer - April 2012 - Ad Index
American Cinematographer - April 2012 - 105
American Cinematographer - April 2012 - Clubhouse News
American Cinematographer - April 2012 - 107
American Cinematographer - April 2012 - ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - Cover3
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