American Cinematographer - May 2008 - (Page 59) Left: Filming McGregor on location at a Manhattan bar with the Genesis, Spinotti employs a large frame of Christmas lights to bolster available light and add ambience to the scene. The cinematographer used Christmas lights in this way at a number of practical locations. Below: Spinotti fine-tunes McGregor’s lighting using the actor’s stand-in. with Spinotti many times before, explains, “At the start of every job, Dante comes up with something that makes me think he’s crazy; then it always looks gorgeous, and I have to tell him he was right.” This time, Spinotti wanted to use a large number of white Christmas lights to bolster existing practicals. Fortune subsequently wrapped 60 strands (each with 150 tiny bulbs) into a 12'x12' frame and then wired them to a dimmer. “They were jam-packed into the frame, and there were something like 8,000 of them altogether,” says Fortune. “The light was entirely shadowless because it came from all those tiny pinpoints. Even with diffusion, a soft source like a Kino Flo is going to have some shadow, but this light could really be coming from anywhere. Whenever we were shooting in restaurants or hotel rooms, Dante would say, ‘Bring in Christmas.’” Spinotti adds, “We always put the existing lights on dimmers so we could control them. I was working at a fairly wide stop, a T2 or T2.8, and it worked very nicely.” On other occasions, Spinotti used the Genesis to achieve the opposite of glamour, according to Langenegger. “In scenes between Jonathan and Wyatt, Dante often used harsh key light and let it burn out somewhat, creating a harsh spectrum of light and shadow,” he recalls. When Spinotti lists the pros and cons of shooting HD, one very significant aspect in the “pro” column is the ability it affords him to light to a monitor and immediately see how subtle changes affect the image. For the Genesis portions of the Deception shoot, neither Spinotti nor Fortune reached for his light and color-temperature meters very often. “The large Sony CRT monitor American Cinematographer 59
Table of Contents Feed for the Digital Edition of American Cinematographer - May 2008 American Cinematographer - May 2008 Contents Editor’s Note Global Village: The Fall Short Takes: ASC Laszlo Kovacs Short Takes: Heritage Award Winners Production Slate: Anamorph Production Slate: Fugitive Pieces Heavy-Metal Hero A Need for Speed Kink and the City Beautiful Minds A Hollywood Homecoming Post Focus: Paramount Restores The Godfather Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Antonio Calvache American Cinematographer - May 2008 American Cinematographer - May 2008 - American Cinematographer - May 2008 (Page Cover1) American Cinematographer - May 2008 - American Cinematographer - May 2008 (Page Cover2) American Cinematographer - May 2008 - American Cinematographer - May 2008 (Page 1) American Cinematographer - May 2008 - American Cinematographer - May 2008 (Page 2) American Cinematographer - May 2008 - Contents (Page 3) American Cinematographer - May 2008 - Contents (Page 4) American Cinematographer - May 2008 - Contents (Page 5) American Cinematographer - May 2008 - Contents (Page 6) American Cinematographer - May 2008 - Contents (Page 7) American Cinematographer - May 2008 - Editor’s Note (Page 8) American Cinematographer - May 2008 - Editor’s Note (Page 9) American Cinematographer - May 2008 - Global Village: The Fall (Page 10) American Cinematographer - May 2008 - Global Village: The Fall (Page 11) American Cinematographer - May 2008 - Global Village: The Fall (Page 12) American Cinematographer - May 2008 - Global Village: The Fall (Page 13) American Cinematographer - May 2008 - Global Village: The Fall (Page 14) American Cinematographer - May 2008 - Global Village: The Fall (Page 15) American Cinematographer - May 2008 - Short Takes: Heritage Award Winners (Page 16) American Cinematographer - May 2008 - Short Takes: Heritage Award Winners (Page 17) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 18) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 19) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 20) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 21) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 22) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 23) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 24) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 25) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 26) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 27) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 28) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 29) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 30) American Cinematographer - May 2008 - Production Slate: Fugitive Pieces (Page 31) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 32) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 33) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 34) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 35) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 36) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 37) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 38) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 39) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 40) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 41) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 42) American Cinematographer - May 2008 - Heavy-Metal Hero (Page 43) American Cinematographer - May 2008 - A Need for Speed (Page 44) American Cinematographer - May 2008 - A Need for Speed (Page 45) American Cinematographer - May 2008 - A Need for Speed (Page 46) American Cinematographer - May 2008 - A Need for Speed (Page 47) American Cinematographer - May 2008 - A Need for Speed (Page 48) American Cinematographer - May 2008 - A Need for Speed (Page 49) American Cinematographer - May 2008 - A Need for Speed (Page 50) American Cinematographer - May 2008 - A Need for Speed (Page 51) American Cinematographer - May 2008 - A Need for Speed (Page 52) American Cinematographer - May 2008 - A Need for Speed (Page 53) American Cinematographer - May 2008 - A Need for Speed (Page 54) American Cinematographer - May 2008 - A Need for Speed (Page 55) American Cinematographer - May 2008 - Kink and the City (Page 56) American Cinematographer - May 2008 - Kink and the City (Page 57) American Cinematographer - May 2008 - Kink and the City (Page 58) American Cinematographer - May 2008 - Kink and the City (Page 59) American Cinematographer - May 2008 - Kink and the City (Page 60) American Cinematographer - May 2008 - Kink and the City (Page 61) American Cinematographer - May 2008 - Kink and the City (Page 62) American Cinematographer - May 2008 - Kink and the City (Page 63) American Cinematographer - May 2008 - Beautiful Minds (Page 64) American Cinematographer - May 2008 - Beautiful Minds (Page 65) American Cinematographer - May 2008 - Beautiful Minds (Page 66) American Cinematographer - May 2008 - Beautiful Minds (Page 67) American Cinematographer - May 2008 - Beautiful Minds (Page 68) American Cinematographer - May 2008 - A Hollywood Homecoming (Page 69) American Cinematographer - May 2008 - A Hollywood Homecoming (Page 70) American Cinematographer - May 2008 - A Hollywood Homecoming (Page 71) American Cinematographer - May 2008 - A Hollywood Homecoming (Page 72) American Cinematographer - May 2008 - A Hollywood Homecoming (Page 73) American Cinematographer - May 2008 - A Hollywood Homecoming (Page 74) American Cinematographer - May 2008 - A Hollywood Homecoming (Page 75) American Cinematographer - May 2008 - A Hollywood Homecoming (Page 76) American Cinematographer - May 2008 - A Hollywood Homecoming (Page 77) American Cinematographer - May 2008 - Post Focus: Paramount Restores The Godfather (Page 78) American Cinematographer - May 2008 - Post Focus: Paramount Restores The Godfather (Page 79) American Cinematographer - May 2008 - Post Focus: Paramount Restores The Godfather (Page 80) American Cinematographer - May 2008 - Post Focus: Paramount Restores The Godfather (Page 81) American Cinematographer - May 2008 - Post Focus: Paramount Restores The Godfather (Page 82) American Cinematographer - May 2008 - Post Focus: Paramount Restores The Godfather (Page 83) American Cinematographer - May 2008 - Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies (Page 84) American Cinematographer - May 2008 - Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies (Page 85) American Cinematographer - May 2008 - Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies (Page 86) American Cinematographer - May 2008 - Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies (Page 87) American Cinematographer - May 2008 - New Products & Services (Page 88) American Cinematographer - May 2008 - New Products & Services (Page 89) American Cinematographer - May 2008 - New Products & Services (Page 90) American Cinematographer - May 2008 - New Products & Services (Page 91) American Cinematographer - May 2008 - International Marketplace (Page 92) American Cinematographer - May 2008 - Classified Ads (Page 93) American Cinematographer - May 2008 - Ad Index (Page 94) American Cinematographer - May 2008 - Clubhouse News (Page 95) American Cinematographer - May 2008 - ASC Close-Up: Antonio Calvache (Page 96) American Cinematographer - May 2008 - ASC Close-Up: Antonio Calvache (Page Cover3) American Cinematographer - May 2008 - ASC Close-Up: Antonio Calvache (Page Cover4)
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