American Cinematographer - June 2010 - 26
Right: Cast and crew prepare to shoot one of the film’s many low-light scenes. This one, featuring Brown’s interrogation of another young miscreant, was lit with a single 100-watt bulb (visible at right). Below: In a shot from the scene, Brown gets tough.
Martin that we should try to be dirty with it. Often cinematographers try to keep a look consistent, but the nature of the location and the story meant we didn’t have to worry too much about consistency. “Originally, we thought of using normal fixtures, like Arri X lights,” continues White. “But cost was an issue, and there were also concerns about how we’d rig and hide everything. When we did the camera tests, we brought in two lamps: a 400-watt sodium-vapor Atlas and a 400-watt mercury-vapor floodlight. They’re fairly
26 June 2010
brutal, but they do the job, and you can even have them in shot. A tungsten lamp with Full CTO would almost match the sodium, so if we did use tungsten, we didn’t stress about tweaking things or changing gels all the time. For the low light levels we wanted, the output of the Arri X lights was actually far too much, so we ended up turning those off and using the sodium-vapor and mercury-vapor lights. Daniel wanted to see all the streetlights in the backgrounds, so we had to try and keep everything around the camera quite low. We were kind
American Cinematographer
of testing as we went along, but it worked very well.” This gritty look was continued into many interior scenes, including one in which Brown interrogates a gang member in the burned-out apartment of his dead friend. “I wanted that to be as raw as possible,” says Ruhe. “I considered what might actually be in a burned-out apartment, and thought there could be one lamp with a broken shade — essentially a naked bulb. It wouldn’t be enough to let you see everything in the room, and there would only be a little bit of light coming in from outside. I suggested that to Daniel, and he was daring enough to go with it.” One of the few scenes to be shot on a studio set, the interrogation was lit with a single 100-watt domestic light bulb dimmed down to about 80 percent. Outside the windows, a mixture of fluorescents and sodium-vapor units provided a slight glow and the suggestion of streetlight. Repeating a technique they successfully used on Control, Ruhe and White positioned the bare tubes and bulbs behind the window and diffused them with bubble wrap; the bubble wrap broke up and softened the light, making the sources look much farther away. For focus puller Tim Battersby, this was one of many scenes shot at T1.3 that
American Cinematographer - June 2010
Table of Contents for the Digital Edition of American Cinematographer - June 2010
The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
Features
Slings and Arrows (Robin Hood)
Desert Storm (Prince of Persia)
Very French Revenge (Micmacs)
Painting Towns White (The White Stripes)
Departments
Editor’s Note
President’s Desk
Short Takes: Land and Bread
Production Slate: Winter’s Bone • Harry Brown
Post Focus: Enhancing Frozen
Tricks of the Trade: Using Red’s False Color
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover1
American Cinematographer - June 2010 - Cover2
American Cinematographer - June 2010 - The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
American Cinematographer - June 2010 - 2
American Cinematographer - June 2010 - 3
American Cinematographer - June 2010 - 4
American Cinematographer - June 2010 - 5
American Cinematographer - June 2010 - 6
American Cinematographer - June 2010 - 7
American Cinematographer - June 2010 - Editor’s Note
American Cinematographer - June 2010 - 9
American Cinematographer - June 2010 - President’s Desk
American Cinematographer - June 2010 - 11
American Cinematographer - June 2010 - Short Takes: Land and Bread
American Cinematographer - June 2010 - 13
American Cinematographer - June 2010 - 14
American Cinematographer - June 2010 - 15
American Cinematographer - June 2010 - Production Slate: Winter’s Bone • Harry Brown
American Cinematographer - June 2010 - 17
American Cinematographer - June 2010 - 18
American Cinematographer - June 2010 - 19
American Cinematographer - June 2010 - 20
American Cinematographer - June 2010 - 21
American Cinematographer - June 2010 - 22
American Cinematographer - June 2010 - 23
American Cinematographer - June 2010 - 24
American Cinematographer - June 2010 - 25
American Cinematographer - June 2010 - 26
American Cinematographer - June 2010 - 27
American Cinematographer - June 2010 - 28
American Cinematographer - June 2010 - 29
American Cinematographer - June 2010 - Slings and Arrows (Robin Hood)
American Cinematographer - June 2010 - 31
American Cinematographer - June 2010 - 32
American Cinematographer - June 2010 - 33
American Cinematographer - June 2010 - 34
American Cinematographer - June 2010 - 35
American Cinematographer - June 2010 - 36
American Cinematographer - June 2010 - 37
American Cinematographer - June 2010 - 38
American Cinematographer - June 2010 - 39
American Cinematographer - June 2010 - 40
American Cinematographer - June 2010 - 41
American Cinematographer - June 2010 - Desert Storm (Prince of Persia)
American Cinematographer - June 2010 - 43
American Cinematographer - June 2010 - 44
American Cinematographer - June 2010 - 45
American Cinematographer - June 2010 - 46
American Cinematographer - June 2010 - 47
American Cinematographer - June 2010 - 48
American Cinematographer - June 2010 - 49
American Cinematographer - June 2010 - 50
American Cinematographer - June 2010 - 51
American Cinematographer - June 2010 - Very French Revenge (Micmacs)
American Cinematographer - June 2010 - 53
American Cinematographer - June 2010 - 54
American Cinematographer - June 2010 - 55
American Cinematographer - June 2010 - 56
American Cinematographer - June 2010 - 57
American Cinematographer - June 2010 - 58
American Cinematographer - June 2010 - 59
American Cinematographer - June 2010 - 60
American Cinematographer - June 2010 - 61
American Cinematographer - June 2010 - 62
American Cinematographer - June 2010 - 63
American Cinematographer - June 2010 - Painting Towns White (The White Stripes)
American Cinematographer - June 2010 - 65
American Cinematographer - June 2010 - 66
American Cinematographer - June 2010 - 67
American Cinematographer - June 2010 - 68
American Cinematographer - June 2010 - 69
American Cinematographer - June 2010 - 70
American Cinematographer - June 2010 - 71
American Cinematographer - June 2010 - Post Focus: Enhancing Frozen
American Cinematographer - June 2010 - 73
American Cinematographer - June 2010 - 74
American Cinematographer - June 2010 - 75
American Cinematographer - June 2010 - 76
American Cinematographer - June 2010 - 77
American Cinematographer - June 2010 - Tricks of the Trade: Using Red’s False Color
American Cinematographer - June 2010 - 79
American Cinematographer - June 2010 - New Products & Services
American Cinematographer - June 2010 - 81
American Cinematographer - June 2010 - 82
American Cinematographer - June 2010 - 83
American Cinematographer - June 2010 - 84
American Cinematographer - June 2010 - 85
American Cinematographer - June 2010 - 86
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American Cinematographer - June 2010 - 89
American Cinematographer - June 2010 - 90
American Cinematographer - June 2010 - 91
American Cinematographer - June 2010 - International Marketplace
American Cinematographer - June 2010 - 93
American Cinematographer - June 2010 - Classified Ads/Ad Index
American Cinematographer - June 2010 - 95
American Cinematographer - June 2010 - ASC Membership Roster
American Cinematographer - June 2010 - 97
American Cinematographer - June 2010 - Clubhouse News
American Cinematographer - June 2010 - 99
American Cinematographer - June 2010 - ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover3
American Cinematographer - June 2010 - Cover4
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