American Cinematographer - June 2011 - 24

A remote head captures a close-up of Bell in action.

He lit many scenes set in Abby’s home with just three China balls, all wired to dimmers. One was placed below the actor, tilting up. “I’ve always been fascinated with Renoir’s paintings, and how the characters in them seem to be lit from within,” he notes. “I’ve always mixed my main key light with a

little light from below as well. It seems to make the objects glow.” One China ball inevitably wound up on the end of a fishing pole that was held by an electrician, who would swing it to follow the subject. This allowed the actors to move freely and also obviated the need to

constantly relight. Bernstein also made use of dappled light. In one night scene, Abby carries a telephone outside and plugs it into a secret jack on the side of the garage. A couple of 12K HMIs gelled with ½ CTO were set up, “and we attached 20 or 30 branches to stands in front of the lights so that Abby was constantly moving in and out of shadow,” says the cinematographer. “The light seems to have life and texture. It’s also a great trick, especially for TV lighting, in that you can light to a fairly high key so the audience can see every detail, but because the actor is moving through shadows, the scene looks darker than it actually is.” LED ribbon lights were a favorite source, especially on cars’ dashboards, where they could be dimmed 50 percent and still light the actor at the wheel. At one point, Abby has to shake several police cars that are pursuing her SUV. The nighttime chase ends in a large parking lot, where she outmaneuvers the police, eventually forcing them to crash. The scene was keyed with 12Ks atop two Condors, and HMI Pars on

24



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American Cinematographer - June 2011

Table of Contents for the Digital Edition of American Cinematographer - June 2011

American Cinematographer - June 2011
Contents
Editor’s Note
President’s Desk
Short Takes: TV on the Radio’s “Will Do”
Production Slate: The Mill & The Cross • Last Man Standing
Scalawags in Stereo
Hammer of the Gods
Tortured Souls
Decoding Digital Imagers: Part 2
Post Focus: Highlights from NAB
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Dean Semler
American Cinematographer - June 2011 - American Cinematographer - June 2011
American Cinematographer - June 2011 - Cover2
American Cinematographer - June 2011 - 1
American Cinematographer - June 2011 - 2
American Cinematographer - June 2011 - Contents
American Cinematographer - June 2011 - 4
American Cinematographer - June 2011 - 5
American Cinematographer - June 2011 - 6
American Cinematographer - June 2011 - 7
American Cinematographer - June 2011 - Editor’s Note
American Cinematographer - June 2011 - 9
American Cinematographer - June 2011 - President’s Desk
American Cinematographer - June 2011 - 11
American Cinematographer - June 2011 - Short Takes: TV on the Radio’s “Will Do”
American Cinematographer - June 2011 - 13
American Cinematographer - June 2011 - 14
American Cinematographer - June 2011 - 15
American Cinematographer - June 2011 - Production Slate: The Mill & The Cross • Last Man Standing
American Cinematographer - June 2011 - 17
American Cinematographer - June 2011 - 18
American Cinematographer - June 2011 - 19
American Cinematographer - June 2011 - 20
American Cinematographer - June 2011 - 21
American Cinematographer - June 2011 - 22
American Cinematographer - June 2011 - 23
American Cinematographer - June 2011 - 24
American Cinematographer - June 2011 - 25
American Cinematographer - June 2011 - Scalawags in Stereo
American Cinematographer - June 2011 - 27
American Cinematographer - June 2011 - 28
American Cinematographer - June 2011 - 29
American Cinematographer - June 2011 - 30
American Cinematographer - June 2011 - 31
American Cinematographer - June 2011 - 32
American Cinematographer - June 2011 - 33
American Cinematographer - June 2011 - 34
American Cinematographer - June 2011 - 35
American Cinematographer - June 2011 - 36
American Cinematographer - June 2011 - 37
American Cinematographer - June 2011 - 38
American Cinematographer - June 2011 - 39
American Cinematographer - June 2011 - Hammer of the Gods
American Cinematographer - June 2011 - 41
American Cinematographer - June 2011 - 42
American Cinematographer - June 2011 - 43
American Cinematographer - June 2011 - 44
American Cinematographer - June 2011 - 45
American Cinematographer - June 2011 - 46
American Cinematographer - June 2011 - 47
American Cinematographer - June 2011 - 48
American Cinematographer - June 2011 - 49
American Cinematographer - June 2011 - 50
American Cinematographer - June 2011 - 51
American Cinematographer - June 2011 - 52
American Cinematographer - June 2011 - 53
American Cinematographer - June 2011 - 54
American Cinematographer - June 2011 - 55
American Cinematographer - June 2011 - Tortured Souls
American Cinematographer - June 2011 - 57
American Cinematographer - June 2011 - 58
American Cinematographer - June 2011 - 59
American Cinematographer - June 2011 - 60
American Cinematographer - June 2011 - 61
American Cinematographer - June 2011 - 62
American Cinematographer - June 2011 - 63
American Cinematographer - June 2011 - 64
American Cinematographer - June 2011 - 65
American Cinematographer - June 2011 - 66
American Cinematographer - June 2011 - 67
American Cinematographer - June 2011 - Decoding Digital Imagers: Part 2
American Cinematographer - June 2011 - 69
American Cinematographer - June 2011 - 70
American Cinematographer - June 2011 - 71
American Cinematographer - June 2011 - 72
American Cinematographer - June 2011 - 73
American Cinematographer - June 2011 - 74
American Cinematographer - June 2011 - 75
American Cinematographer - June 2011 - 76
American Cinematographer - June 2011 - 77
American Cinematographer - June 2011 - 78
American Cinematographer - June 2011 - 79
American Cinematographer - June 2011 - Post Focus: Highlights from NAB
American Cinematographer - June 2011 - 81
American Cinematographer - June 2011 - 82
American Cinematographer - June 2011 - 83
American Cinematographer - June 2011 - 84
American Cinematographer - June 2011 - 85
American Cinematographer - June 2011 - 86
American Cinematographer - June 2011 - 87
American Cinematographer - June 2011 - New Products & Services
American Cinematographer - June 2011 - 89
American Cinematographer - June 2011 - 90
American Cinematographer - June 2011 - 91
American Cinematographer - June 2011 - 92
American Cinematographer - June 2011 - 93
American Cinematographer - June 2011 - 94
American Cinematographer - June 2011 - 95
American Cinematographer - June 2011 - 96
American Cinematographer - June 2011 - 97
American Cinematographer - June 2011 - 98
American Cinematographer - June 2011 - 99
American Cinematographer - June 2011 - International Marketplace
American Cinematographer - June 2011 - Classified Ads
American Cinematographer - June 2011 - Ad Index
American Cinematographer - June 2011 - 103
American Cinematographer - June 2011 - ASC Membership Roster
American Cinematographer - June 2011 - 105
American Cinematographer - June 2011 - Clubhouse News
American Cinematographer - June 2011 - 107
American Cinematographer - June 2011 - ASC Close-Up: Dean Semler
American Cinematographer - June 2011 - Cover3
American Cinematographer - June 2011 - Cover4
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