American Cinematographer - July 2009 - 10

Short Takes Shooting Puppy Love With the Red One by Iain Stasukevich of Sex and the City by portraying New York in a romanticized way: everything and everyone is beautiful, and colors are bright and saturated. Although the show was conceived for the Web, Harris and Naughton planned to enter individual episodes in festivals as stand-alone short films, so they wanted images that would also look good on the big screen. Jarnagin decided the Red One camera would be ideal; it offered the “cinematic” look of 35mm depth-of-field and an extended dynamic range, could yield high-quality deliverables in a variety of formats, and would work well with Jarnagin’s personal set of Cooke S4 prime lenses. In the first episode, a woman (Famke Janssen) finds her romantic exploits thwarted by her loyal canine companion. “That episode gave us the opportunity to do moody lighting, whereas a lot of the other episodes have normal day interiors,” says Jarnagin. “The first episode has a lot of date scenes and romantic interiors. And Famke is a joy to light.” The cinematographer notes that there are just a few basic differences when it comes to lighting men and women. “People stress the importance of lighting women more carefully because female beauty is so important in our culture,” she says. “Of course, actors are generally conscious of how they look because that’s directly related to their employability. The secret to making someone look his or her best is to really study the face — the way shadows penetrate the face, the way light wraps around the nose, and so on — and notice how those things change when the person moves.” For day interiors, if it was a broadly lit scene, Jarnagin used a “book light,” bouncing a light (often a 1.2K HMI) 10 July 2009 Photos by Meg Schrock, Jason Reilly and Jendra Jarnagin. Photos and frame grabs courtesy of Jarnagin. Above: In the first episode of Puppy Love, Famke Janssen portrays a woman whose romantic exploits are thwarted by her canine companion. Below: Cinematographer Jendra Jarnagin shoots the Web series with the Red One camera. T here’s no relationship like the relationship between a dog and its master, a point made by Puppy Love, a comedy series on LStudio.com, an online channel sponsored by Lexus. “The show is about dog lovers and the people who love them,” explains cinematographer Jendra Jarnagin. Each episode of the show, which is set in New York, follows a different cast of characters. The series was created by writer/producer Amy B. Harris and produced by Grace Naughton, who met Jarnagin on the set of the HBO series Sex and the City, where Jarnagin was working as an electrician. Because she was shooting projects on the side at the time, Jarnagin tried to shadow the cinematographers with whom she worked. “I talked to them about their work whenever I could find an appropriate opportunity,” she says. Despite Puppy Love’s low budget, the producers wanted to evoke the look
http://www.LStudio.com

American Cinematographer - July 2009

Table of Contents for the Digital Edition of American Cinematographer - July 2009

American Cinematographer - July 2009
Contents
Editor’s Note
Short Takes: Puppy Love
Production Slate: Moon and Séraphine
Big Guns
Impressionistic Cinema
Risk and Valor
Terror on the Tracks
Post Focus: Mega Playground’s DP Dailies
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Jack Cardiff, BSC
Clubhouse News
ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - American Cinematographer - July 2009
American Cinematographer - July 2009 - Cover2
American Cinematographer - July 2009 - 1
American Cinematographer - July 2009 - 2
American Cinematographer - July 2009 - Contents
American Cinematographer - July 2009 - 4
American Cinematographer - July 2009 - 5
American Cinematographer - July 2009 - 6
American Cinematographer - July 2009 - 7
American Cinematographer - July 2009 - Editor’s Note
American Cinematographer - July 2009 - 9
American Cinematographer - July 2009 - Short Takes: Puppy Love
American Cinematographer - July 2009 - 11
American Cinematographer - July 2009 - 12
American Cinematographer - July 2009 - 13
American Cinematographer - July 2009 - Production Slate: Moon and Séraphine
American Cinematographer - July 2009 - 15
American Cinematographer - July 2009 - 16
American Cinematographer - July 2009 - 17
American Cinematographer - July 2009 - 18
American Cinematographer - July 2009 - 19
American Cinematographer - July 2009 - 20
American Cinematographer - July 2009 - 21
American Cinematographer - July 2009 - 22
American Cinematographer - July 2009 - 23
American Cinematographer - July 2009 - Big Guns
American Cinematographer - July 2009 - 25
American Cinematographer - July 2009 - 26
American Cinematographer - July 2009 - 27
American Cinematographer - July 2009 - 28
American Cinematographer - July 2009 - 29
American Cinematographer - July 2009 - 30
American Cinematographer - July 2009 - 31
American Cinematographer - July 2009 - 32
American Cinematographer - July 2009 - 33
American Cinematographer - July 2009 - Impressionistic Cinema
American Cinematographer - July 2009 - 35
American Cinematographer - July 2009 - 36
American Cinematographer - July 2009 - 37
American Cinematographer - July 2009 - 38
American Cinematographer - July 2009 - 39
American Cinematographer - July 2009 - 40
American Cinematographer - July 2009 - 41
American Cinematographer - July 2009 - 42
American Cinematographer - July 2009 - 43
American Cinematographer - July 2009 - Risk and Valor
American Cinematographer - July 2009 - 45
American Cinematographer - July 2009 - 46
American Cinematographer - July 2009 - 47
American Cinematographer - July 2009 - 48
American Cinematographer - July 2009 - 49
American Cinematographer - July 2009 - 50
American Cinematographer - July 2009 - 51
American Cinematographer - July 2009 - Terror on the Tracks
American Cinematographer - July 2009 - 53
American Cinematographer - July 2009 - 54
American Cinematographer - July 2009 - 55
American Cinematographer - July 2009 - 56
American Cinematographer - July 2009 - 57
American Cinematographer - July 2009 - 58
American Cinematographer - July 2009 - 59
American Cinematographer - July 2009 - Post Focus: Mega Playground’s DP Dailies
American Cinematographer - July 2009 - 61
American Cinematographer - July 2009 - 62
American Cinematographer - July 2009 - 63
American Cinematographer - July 2009 - New Products & Services
American Cinematographer - July 2009 - 65
American Cinematographer - July 2009 - 66
American Cinematographer - July 2009 - 67
American Cinematographer - July 2009 - International Marketplace
American Cinematographer - July 2009 - Classified Ads
American Cinematographer - July 2009 - Ad Index
American Cinematographer - July 2009 - 71
American Cinematographer - July 2009 - In Memoriam: Jack Cardiff, BSC
American Cinematographer - July 2009 - 73
American Cinematographer - July 2009 - Clubhouse News
American Cinematographer - July 2009 - 75
American Cinematographer - July 2009 - ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - Cover3
American Cinematographer - July 2009 - Cover4
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