American Cinematographer - July 2008 - (Page 53)

globes and four 1.2K HMI globes; striking the globes in various combinations allows the user to dial in the desired color temperature. “The Airstars took care of the area up above the street level,” explains the gaffer. “We never really got up in the air with a meter; we just had to go by eye and see what looked good. We put a 20K on the roof of the Times building, positioned four 15-6K BeBees around the area, scattered other Condors with 20Ks, and put one Condor with a couple of 24light Dinos deep down the street. “We partially corrected all the HMI fixtures with 1⁄2 CTO and let the tungsten lighting stay clean to get a little mix of color,” Krattiger continues. “We had seven generators placed throughout downtown to power the whole setup, which was quite large.” Schliessler notes that the scene required about five days of pre-rigging, and when the night of the shoot arrived, there were more than 30 electricians on location. “When it gets that big, I’m really in the hands of my gaffer and rigging gaffer, and I just have to hope that everything is in place,” says the cinematographer. “We show up, turn everything on, make a few adjustments and shoot!” During the production, the filmmakers screened hi-def DVD dailies, and Schliessler was often able to view select print dailies at Technicolor with colorist Mark Sachen before heading to work in the morning. “DVD dailies are just silly — you can’t judge anything off them,” he notes. “I like to go straight to the colorist. He can bring up the negative and I can see exactly what I have on film, and then I can help dial in the look we want for the dailies.” Despite the challenges posed by the production, Schliessler describes the experience as “great fun. We had a great cast, I had a great crew, and we had great support from Ian Bryce, a producer who is very knowledgeable and always has the picture’s best interest in mind. And I love working with Peter Berg; he’s a great director and gives you a lot of freedom. This was just one of those films that everyone had a great time making.” I TECHNICAL SPECS 2.40:1 Super 35mm Panaflex Platinum Primo lenses Kodak Vision2 50D 5201, 200T 5217, 500T 5218 Digital Intermediate Printed on Kodak Vision 2383 53

Table of Contents Feed for the Digital Edition of American Cinematographer - July 2008

American Cinematographer - July 2008 Contents Editor's Note Global Village: Torn from the Flag Short Takes: On a Tuesday Production Slate: Before the Rains WALL-E Batman Looms Larger A Not-So-Super Hero Spy vs. Spy Laugh Factory Post Focus: CineSynce Streamlines Dark Knight Effects New Products & Services International Marketplace Classified Ads Ad Index In Memoriam: Burton "Bud" Stone, Honorary ASC Clubhouse News ASC Close-Up: Bill Taylor

American Cinematographer - July 2008

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