American Cinematographer - July 2010 - 16

Production Slate
When a finalist in the World Series of Poker goes missing, Dr. Cal Lightman (Tim Roth) travels to Sin City to put his deceptiondetecting prowess to the test in the Lie to Me episode “Fold Equity.” The series’ second season has introduced considerably more color and longer lenses than were employed in season one.

When the Fox television series Lie to Me was renewed for its latest season, the show’s second, the network asked the creative team to make some changes. A switch from film to digital capture was mandated, and director of photography Sidney Sidell was brought aboard to share the workload with Joe Gallagher, who had worked on the first season. Season one had established a monochromatic look. The camera favored wide-angle lenses and was almost always handheld; dollies were seldom used and Steadicam was virtually banned. For the second season, more stylized visuals were the goal. The first installments of the recent BBC miniseries Wallander (shot by Anthony Dod Mantle, BSC, DFF) became a reference for composition and use of color, and, accordingly, Lie to Me’s team replaced white with color and handheld with dollies and Steadicam. Longer lenses were also employed, and to introduce more of a naturallight feel, windows were installed where walls had previously stood. The series revolves around Dr. Cal Lightman (Tim Roth), a
16 July 2010

American Cinematographer

Lie to Me photos by Isabella Vosmikova, courtesy of Fox Broadcasting Co.

I

Telltale Tics By Jean Oppenheimer

psychologist and “deception expert” who studies facial expressions and body language to determine whether a person is lying. His firm, The Lightman Group, frequently assists law-enforcement and government agencies. In a soundstage at Fox Studios, The Lightman Group offices occupy some 3,000 square feet. In addition to adding more windows in the set, the production has incorporated skylights along the offices’ central hallway, the site of many walk-and-talks. “We placed 20Ks outside the windows and hung 12Ks above the skylights,” reports Sidell, whose previous credits include the series Life and Lyon’s Den. Perhaps the biggest adjustment for the camera department was the switch to digital acquisition. After testing a number of cameras, Sidell lobbied for the Arri D-21. “It delivers a more filmlike image,” he attests. “It has softer edges; it can hold detail in the whites; overexposure does not clip as quickly; and it has an optical viewfinder, which I much prefer to an electronic one because I like to light through the camera, and operators can get an accurate image for framing and focus. “Arri has worked out all the kinks from the [D-20],” he continues. “The D-21 runs cooler, has an adjustable shutter and is capable of variable frame rates. Furthermore, I don’t like using a



American Cinematographer - July 2010

Table of Contents for the Digital Edition of American Cinematographer - July 2010

The International Journal of Motion Imaging - July 2010 Vol. 91 No. 7
Features
Dream Thieves (Inception)
Elements of Power (The Last Airbender)
An Emotional Rebirth (I Am Love)
Crowning Achievements (The Tudors)
Departments
Editor’s Note
President’s Desk
Short Takes: “Telephone”
Production Slate: Lie to Me • The Killer Inside Me
Post Focus: Enhancing Frozen
Filmmakers’ Forum: Gale Tattersall
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoria: Karl Malkames, ASC • Vincent Martinelli, ASC
Clubhouse News
ASC Close-Up: Thomas A. Del Ruth
American Cinematographer - July 2010 - The International Journal of Motion Imaging - July 2010 Vol. 91 No. 7
American Cinematographer - July 2010 - Cover2
American Cinematographer - July 2010 - 1
American Cinematographer - July 2010 - 2
American Cinematographer - July 2010 - 3
American Cinematographer - July 2010 - 4
American Cinematographer - July 2010 - 5
American Cinematographer - July 2010 - 6
American Cinematographer - July 2010 - 7
American Cinematographer - July 2010 - Editor’s Note
American Cinematographer - July 2010 - 9
American Cinematographer - July 2010 - President’s Desk
American Cinematographer - July 2010 - 11
American Cinematographer - July 2010 - Short Takes: “Telephone”
American Cinematographer - July 2010 - 13
American Cinematographer - July 2010 - 14
American Cinematographer - July 2010 - 15
American Cinematographer - July 2010 - Production Slate: Lie to Me • The Killer Inside Me
American Cinematographer - July 2010 - 17
American Cinematographer - July 2010 - 18
American Cinematographer - July 2010 - 19
American Cinematographer - July 2010 - 20
American Cinematographer - July 2010 - 21
American Cinematographer - July 2010 - 22
American Cinematographer - July 2010 - 23
American Cinematographer - July 2010 - 24
American Cinematographer - July 2010 - 25
American Cinematographer - July 2010 - Dream Thieves (Inception)
American Cinematographer - July 2010 - 27
American Cinematographer - July 2010 - 28
American Cinematographer - July 2010 - 29
American Cinematographer - July 2010 - 30
American Cinematographer - July 2010 - 31
American Cinematographer - July 2010 - 32
American Cinematographer - July 2010 - 33
American Cinematographer - July 2010 - 34
American Cinematographer - July 2010 - 35
American Cinematographer - July 2010 - 36
American Cinematographer - July 2010 - 37
American Cinematographer - July 2010 - 38
American Cinematographer - July 2010 - 39
American Cinematographer - July 2010 - Elements of Power (The Last Airbender)
American Cinematographer - July 2010 - 41
American Cinematographer - July 2010 - 42
American Cinematographer - July 2010 - 43
American Cinematographer - July 2010 - 44
American Cinematographer - July 2010 - 45
American Cinematographer - July 2010 - 46
American Cinematographer - July 2010 - 47
American Cinematographer - July 2010 - 48
American Cinematographer - July 2010 - 49
American Cinematographer - July 2010 - An Emotional Rebirth (I Am Love)
American Cinematographer - July 2010 - 51
American Cinematographer - July 2010 - 52
American Cinematographer - July 2010 - 53
American Cinematographer - July 2010 - 54
American Cinematographer - July 2010 - 55
American Cinematographer - July 2010 - 56
American Cinematographer - July 2010 - 57
American Cinematographer - July 2010 - Crowning Achievements (The Tudors)
American Cinematographer - July 2010 - 59
American Cinematographer - July 2010 - 60
American Cinematographer - July 2010 - 61
American Cinematographer - July 2010 - 62
American Cinematographer - July 2010 - 63
American Cinematographer - July 2010 - 64
American Cinematographer - July 2010 - 65
American Cinematographer - July 2010 - 66
American Cinematographer - July 2010 - 67
American Cinematographer - July 2010 - Post Focus: Enhancing Frozen
American Cinematographer - July 2010 - 69
American Cinematographer - July 2010 - 70
American Cinematographer - July 2010 - 71
American Cinematographer - July 2010 - Filmmakers’ Forum: Gale Tattersall
American Cinematographer - July 2010 - 73
American Cinematographer - July 2010 - New Products & Services
American Cinematographer - July 2010 - 75
American Cinematographer - July 2010 - 76
American Cinematographer - July 2010 - 77
American Cinematographer - July 2010 - 78
American Cinematographer - July 2010 - 79
American Cinematographer - July 2010 - 80
American Cinematographer - July 2010 - 81
American Cinematographer - July 2010 - International Marketplace
American Cinematographer - July 2010 - Classified Ads
American Cinematographer - July 2010 - Ad Index
American Cinematographer - July 2010 - 85
American Cinematographer - July 2010 - In Memoria: Karl Malkames, ASC • Vincent Martinelli, ASC
American Cinematographer - July 2010 - Clubhouse News
American Cinematographer - July 2010 - ASC Close-Up: Thomas A. Del Ruth
American Cinematographer - July 2010 - Cover3
American Cinematographer - July 2010 - Cover4
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