American Cinematographer - April 2013 - K10

New Mobile Aspect
Ratio App Available
on iTunes®
A new Aspect Ratio app is now available
as part of the KODAK Cinema Tools
application. This suite of apps from Kodak
can be downloaded for free from iTunes.
The Aspect Ratio App lets filmmakers
see how different aspect ratios affect a
shot. The app allows you to select a photo
from your device and overlay it with 2-perf,
3-perf, 4-perf and 16mm motion picture
film formats and popular aspect ratios.

The KODAK Cinema Tools App also
includes:
Lab Locator: Find a lab or transfer
house while on the go! Using a current
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needed, the Lab Locator tool will find
a service provider nearby and provide
contact information as well as a map.
Sun Calculator: Helps filmmakers take
the guesswork out of capturing sunrise
and sunset scenes.
Film Calculator: Information can be
entered into fields where data is known:
format, length, run time and frame rate.
The app then calculates and supplies
the other variables. Film length can be
measured in feet or meters.
Depth of Field Calculator: Assists
filmmakers in determining the settings
they need to get the focus they want. The
app is designed to be used with any film
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mm. F-stops range from F1.4 – F22, with
1/3 stops included.
InCamera: Our mobile-friendly
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Film Products: Lets filmmakers
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Glossary of Motion Picture Terms:
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How To Read A Film Can: All the letters
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Guides & References: Kodak
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Director Michael Haussman
and cinematographer
Paolo Roberto Caimi have
collaborated on a collection
of commercials for the Italian
jeweler and luxury goods
retailer BVLGARI. Their latest
effort is a black-and-white
spot that takes place in Rome.
The audience follows a young,
beautiful couple spending
a romantic weekend in the
eternal city.
“When Michael called me
to explain the storyline of the
commercial, I was pleased to
hear that the final result would
be in black and white,” says
Caimi. “We chose to shoot on
film stock because we wanted
the look to be very classical,
and everlasting like Rome.”
Caimi explains they decided
to shoot in color to have a
wider choice of stocks, and
given their schedule, they
needed to take advantage
of every single minute of
the daylight. They chose
KODAK VISION3 500T Color
Negative Film 5219 for the
speed and the latitude, and
KODAK VISION3 250D Color
Negative Film 5207 for the
fine grain and balance needed
for exteriors and daylight
interiors.
“While I was shooting, I
was aware of the fact that
the film would eventually

be transferred in black and
white,” notes Caimi, “but
I felt more comfortable
knowing that my negative was
balanced in terms of color
temperature.”
Panalight in Rome provided
an ARRI 435 Xtreme and
a set of COOKE S3 lenses
that Caimi describes as
“perfect” to reproduce a
black-and-white look that was
contemporary and classic at
the same time.
A STEADICAM captured
the perspective for audiences,
and takes the viewers on
an intimate tour of Rome.
Instead of visiting the city’s
hallmark sites, they visit
small cafes and hotels, and

the trip ends with a BVLGARI
engagement ring.
“Every shot for the
commercial was with either
a STEADICAM or on a
dolly,” Caimi says. “We
didn’t want anything to be
static, but for our couple
to be constantly moving
through time and places.
“Elegance was really our
mandate for this spot, and
everything needed to fall into
a place of style and class,
which made film the perfect
choice,” he adds.

Photos – Top: Paolo Roberto Caimi.
Bottom: Caimi and his crew. (Photos courtesy
of Paolo Roberto Caimi)



American Cinematographer - April 2013

Table of Contents for the Digital Edition of American Cinematographer - April 2013

American Cinematographer - April 2013
Table of Contents
Editor's Note
President's Desk
Short Takes: 7x6x2
Production Slate: War Witch • The Darkest Day
Hello, Yellow Brick Road
Hell on Wheels
All In
6 Sundance Standouts
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Christopher Baffa
American Cinematographer - April 2013 - American Cinematographer - April 2013
American Cinematographer - April 2013 - Cover2
American Cinematographer - April 2013 - 1
American Cinematographer - April 2013 - 2
American Cinematographer - April 2013 - Table of Contents
American Cinematographer - April 2013 - 4
American Cinematographer - April 2013 - 5
American Cinematographer - April 2013 - 6
American Cinematographer - April 2013 - 7
American Cinematographer - April 2013 - 8
American Cinematographer - April 2013 - 9
American Cinematographer - April 2013 - Editor's Note
American Cinematographer - April 2013 - 11
American Cinematographer - April 2013 - President's Desk
American Cinematographer - April 2013 - 13
American Cinematographer - April 2013 - Short Takes: 7x6x2
American Cinematographer - April 2013 - 15
American Cinematographer - April 2013 - 16
American Cinematographer - April 2013 - 17
American Cinematographer - April 2013 - 18
American Cinematographer - April 2013 - 19
American Cinematographer - April 2013 - Production Slate: War Witch • The Darkest Day
American Cinematographer - April 2013 - 21
American Cinematographer - April 2013 - 22
American Cinematographer - April 2013 - 23
American Cinematographer - April 2013 - 24
American Cinematographer - April 2013 - 25
American Cinematographer - April 2013 - 26
American Cinematographer - April 2013 - 27
American Cinematographer - April 2013 - 28
American Cinematographer - April 2013 - 29
American Cinematographer - April 2013 - 30
American Cinematographer - April 2013 - 31
American Cinematographer - April 2013 - 32
American Cinematographer - April 2013 - 33
American Cinematographer - April 2013 - 34
American Cinematographer - April 2013 - 35
American Cinematographer - April 2013 - Hello, Yellow Brick Road
American Cinematographer - April 2013 - 37
American Cinematographer - April 2013 - 38
American Cinematographer - April 2013 - 39
American Cinematographer - April 2013 - 40
American Cinematographer - April 2013 - 41
American Cinematographer - April 2013 - 42
American Cinematographer - April 2013 - 43
American Cinematographer - April 2013 - 44
American Cinematographer - April 2013 - 45
American Cinematographer - April 2013 - 46
American Cinematographer - April 2013 - 47
American Cinematographer - April 2013 - 48
American Cinematographer - April 2013 - 49
American Cinematographer - April 2013 - 50
American Cinematographer - April 2013 - 51
American Cinematographer - April 2013 - Hell on Wheels
American Cinematographer - April 2013 - 53
American Cinematographer - April 2013 - 54
American Cinematographer - April 2013 - 55
American Cinematographer - April 2013 - 56
American Cinematographer - April 2013 - 57
American Cinematographer - April 2013 - 58
American Cinematographer - April 2013 - 59
American Cinematographer - April 2013 - 60
American Cinematographer - April 2013 - 61
American Cinematographer - April 2013 - 62
American Cinematographer - April 2013 - 63
American Cinematographer - April 2013 - All In
American Cinematographer - April 2013 - 65
American Cinematographer - April 2013 - 66
American Cinematographer - April 2013 - 67
American Cinematographer - April 2013 - 68
American Cinematographer - April 2013 - 69
American Cinematographer - April 2013 - 70
American Cinematographer - April 2013 - 71
American Cinematographer - April 2013 - 72
American Cinematographer - April 2013 - 73
American Cinematographer - April 2013 - 74
American Cinematographer - April 2013 - 75
American Cinematographer - April 2013 - 76
American Cinematographer - April 2013 - 77
American Cinematographer - April 2013 - 78
American Cinematographer - April 2013 - 79
American Cinematographer - April 2013 - 6 Sundance Standouts
American Cinematographer - April 2013 - K1
American Cinematographer - April 2013 - K2
American Cinematographer - April 2013 - K3
American Cinematographer - April 2013 - K4
American Cinematographer - April 2013 - K5
American Cinematographer - April 2013 - K6
American Cinematographer - April 2013 - K7
American Cinematographer - April 2013 - K8
American Cinematographer - April 2013 - K9
American Cinematographer - April 2013 - K10
American Cinematographer - April 2013 - K11
American Cinematographer - April 2013 - K12
American Cinematographer - April 2013 - 81
American Cinematographer - April 2013 - 82
American Cinematographer - April 2013 - 83
American Cinematographer - April 2013 - 84
American Cinematographer - April 2013 - 85
American Cinematographer - April 2013 - 86
American Cinematographer - April 2013 - 87
American Cinematographer - April 2013 - 88
American Cinematographer - April 2013 - 89
American Cinematographer - April 2013 - 90
American Cinematographer - April 2013 - 91
American Cinematographer - April 2013 - 92
American Cinematographer - April 2013 - 93
American Cinematographer - April 2013 - 94
American Cinematographer - April 2013 - 95
American Cinematographer - April 2013 - 96
American Cinematographer - April 2013 - 97
American Cinematographer - April 2013 - 98
American Cinematographer - April 2013 - 99
American Cinematographer - April 2013 - 100
American Cinematographer - April 2013 - 101
American Cinematographer - April 2013 - 102
American Cinematographer - April 2013 - 103
American Cinematographer - April 2013 - New Products & Services
American Cinematographer - April 2013 - 105
American Cinematographer - April 2013 - 106
American Cinematographer - April 2013 - 107
American Cinematographer - April 2013 - 108
American Cinematographer - April 2013 - 109
American Cinematographer - April 2013 - 110
American Cinematographer - April 2013 - 111
American Cinematographer - April 2013 - 112
American Cinematographer - April 2013 - 113
American Cinematographer - April 2013 - International Marketplace
American Cinematographer - April 2013 - Classified Ads
American Cinematographer - April 2013 - Ad Index
American Cinematographer - April 2013 - 117
American Cinematographer - April 2013 - Clubhouse News
American Cinematographer - April 2013 - 119
American Cinematographer - April 2013 - ASC Close-Up: Christopher Baffa
American Cinematographer - April 2013 - Cover3
American Cinematographer - April 2013 - Cover4
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