American Cinematographer - June 2013 - 65
Top: Mr. Freezy
(Chris Evans), a
killer who
operates out of an
ice-cream truck,
becomes
Kuklinski’s partner
in crime. Bottom:
Following a minor
traffic accident,
the tension
mounts as
Kuklinski’s family
experiences his
frightening
temper.
In other scenes, he continues, “If
I was trying to make the light warm, I’d
bounce a wide-angle Leko into muslin
on the floor. If it was supposed to be
cool, I’d use bleached muslin with an
HMI, and between the bounce and the
actor there would be a 4-by-4 muslin or
a 4-by-4 216 softening the light and
making the source bigger.”
Adapting to the Alexa, Bukowski
might even use a double bounce. “With
film, bouncing off a source and putting
it through diffusion is enough, but with
the Alexa, I sometimes like to put a light
into a bounce card, and then direct that
light to another bounce card that sends
the light through a diffusion. The more
indirect the light is with the Alexa, the
more pleasing it is to me.”
In the alleyway outside the pool
hall, Bukowski took his lighting cues
from the location. “To me, reality is a
good place to start,” he says. In this case,
it was a single streetlight at the end of
the alley. To illuminate the action in the
car, his crew hung fluorescents in an
adjacent parking garage to create sidelight. On the alley’s brick walls, bare
household bulbs in sockets created little
pockets of light, while smoke (motiwww.theasc.com
vated by the bar’s kitchen) provided
enough atmosphere to create a strong
silhouette of Kuklinski’s escaping figure.
The high-contrast look comes
into full bloom in the office of Mob boss
Roy Demeo (Ray Liotta), Kuklinski’s
employer. Ostensibly set on the upper
floor of a bar, the space features a rich
chiaroscuro, with sunlight filtering
through drawn Levolor blinds into an
otherwise dark room. The location was
in fact a ground-floor anteroom to a bar,
and the art department built a wall with
windows. “We were actually lighting
from the bar, as if it were an exterior,”
June 2013
65
http://www.theasc.com
American Cinematographer - June 2013
Table of Contents for the Digital Edition of American Cinematographer - June 2013
American Cinematographer - June 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “The Volt Plasma Challenge”
Production Slate: Frances Ha • Spring Breakers
Boldly Captured
Living Large
A Killer with 2 Faces
Utopian Dreams
Filmmakers’ Forum: Edgar Burcksen, ACE
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Shelly Johnson
American Cinematographer - June 2013 - American Cinematographer - June 2013
American Cinematographer - June 2013 - Cover2
American Cinematographer - June 2013 - Contents
American Cinematographer - June 2013 - 2
American Cinematographer - June 2013 - 3
American Cinematographer - June 2013 - 4
American Cinematographer - June 2013 - 5
American Cinematographer - June 2013 - 6
American Cinematographer - June 2013 - 7
American Cinematographer - June 2013 - 8
American Cinematographer - June 2013 - 9
American Cinematographer - June 2013 - Editor’s Note
American Cinematographer - June 2013 - 11
American Cinematographer - June 2013 - President’s Desk
American Cinematographer - June 2013 - 13
American Cinematographer - June 2013 - Short Takes: “The Volt Plasma Challenge”
American Cinematographer - June 2013 - 15
American Cinematographer - June 2013 - 16
American Cinematographer - June 2013 - 17
American Cinematographer - June 2013 - 18
American Cinematographer - June 2013 - 19
American Cinematographer - June 2013 - Production Slate: Frances Ha • Spring Breakers
American Cinematographer - June 2013 - 21
American Cinematographer - June 2013 - 22
American Cinematographer - June 2013 - 23
American Cinematographer - June 2013 - 24
American Cinematographer - June 2013 - 25
American Cinematographer - June 2013 - 26
American Cinematographer - June 2013 - 27
American Cinematographer - June 2013 - 28
American Cinematographer - June 2013 - 29
American Cinematographer - June 2013 - 30
American Cinematographer - June 2013 - 31
American Cinematographer - June 2013 - 32
American Cinematographer - June 2013 - 33
American Cinematographer - June 2013 - Boldly Captured
American Cinematographer - June 2013 - 35
American Cinematographer - June 2013 - 36
American Cinematographer - June 2013 - 37
American Cinematographer - June 2013 - 38
American Cinematographer - June 2013 - 39
American Cinematographer - June 2013 - 40
American Cinematographer - June 2013 - 41
American Cinematographer - June 2013 - 42
American Cinematographer - June 2013 - 43
American Cinematographer - June 2013 - 44
American Cinematographer - June 2013 - 45
American Cinematographer - June 2013 - 46
American Cinematographer - June 2013 - 47
American Cinematographer - June 2013 - Living Large
American Cinematographer - June 2013 - 49
American Cinematographer - June 2013 - 50
American Cinematographer - June 2013 - 51
American Cinematographer - June 2013 - 52
American Cinematographer - June 2013 - 53
American Cinematographer - June 2013 - 54
American Cinematographer - June 2013 - 55
American Cinematographer - June 2013 - 56
American Cinematographer - June 2013 - 57
American Cinematographer - June 2013 - 58
American Cinematographer - June 2013 - 59
American Cinematographer - June 2013 - A Killer with 2 Faces
American Cinematographer - June 2013 - 61
American Cinematographer - June 2013 - 62
American Cinematographer - June 2013 - 63
American Cinematographer - June 2013 - 64
American Cinematographer - June 2013 - I1
American Cinematographer - June 2013 - I2
American Cinematographer - June 2013 - I3
American Cinematographer - June 2013 - I4
American Cinematographer - June 2013 - I5
American Cinematographer - June 2013 - I6
American Cinematographer - June 2013 - I7
American Cinematographer - June 2013 - I8
American Cinematographer - June 2013 - I9
American Cinematographer - June 2013 - I10
American Cinematographer - June 2013 - I11
American Cinematographer - June 2013 - I12
American Cinematographer - June 2013 - 65
American Cinematographer - June 2013 - 66
American Cinematographer - June 2013 - 67
American Cinematographer - June 2013 - Utopian Dreams
American Cinematographer - June 2013 - 69
American Cinematographer - June 2013 - 70
American Cinematographer - June 2013 - 71
American Cinematographer - June 2013 - 72
American Cinematographer - June 2013 - 73
American Cinematographer - June 2013 - 74
American Cinematographer - June 2013 - 75
American Cinematographer - June 2013 - 76
American Cinematographer - June 2013 - 77
American Cinematographer - June 2013 - 78
American Cinematographer - June 2013 - 79
American Cinematographer - June 2013 - 80
American Cinematographer - June 2013 - 81
American Cinematographer - June 2013 - Filmmakers’ Forum: Edgar Burcksen, ACE
American Cinematographer - June 2013 - 83
American Cinematographer - June 2013 - 84
American Cinematographer - June 2013 - 85
American Cinematographer - June 2013 - New Products & Services
American Cinematographer - June 2013 - 87
American Cinematographer - June 2013 - 88
American Cinematographer - June 2013 - 89
American Cinematographer - June 2013 - 90
American Cinematographer - June 2013 - 91
American Cinematographer - June 2013 - 92
American Cinematographer - June 2013 - 93
American Cinematographer - June 2013 - 94
American Cinematographer - June 2013 - 95
American Cinematographer - June 2013 - 96
American Cinematographer - June 2013 - 97
American Cinematographer - June 2013 - 98
American Cinematographer - June 2013 - 99
American Cinematographer - June 2013 - International Marketplace
American Cinematographer - June 2013 - Classified Ads
American Cinematographer - June 2013 - Ad Index
American Cinematographer - June 2013 - 103
American Cinematographer - June 2013 - ASC Membership Roster
American Cinematographer - June 2013 - 105
American Cinematographer - June 2013 - Clubhouse News
American Cinematographer - June 2013 - 107
American Cinematographer - June 2013 - ASC Close-Up: Shelly Johnson
American Cinematographer - June 2013 - Cover3
American Cinematographer - June 2013 - Cover4
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