American Cinematographer - July 2012 - 68
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Shooting J.R.
chasing people around like we did on 24. Dallas is more formal than that.” The camera was usually on a dolly, but so many directors wanted to use the Steadicam that, in the end, about 30 percent of the season was shot with it. Charters considers the Steadicam “more of an observer’s position. It can [seem] too fluid, too floaty, and it can take you out of the moment.” When the Steadicam was used, he tended to incorporate it into walk-and-talks or tight interior locations. Robert Gorelick, SOC, the show’s A-camera/Steadicam operator, observes, “We never used it as a stylistic approach, as it was used on ER and The West Wing.” Perhaps the biggest kick Charters got on Dallas was shooting the eruption of an oil well. “It has always been my desire to shoot a gusher!” he confesses with a laugh. He explains that his father, a professional photographer, spent 20 years shooting offshore oil rigs after oil was discovered off the coast of New Zealand. The senior Charters ran his own photography shop, and Rodney grew up carrying camera bags and working in darkrooms. “There is nothing quite as magical as seeing an image come up in a tray,” he says. For the oil well in Dallas, “we wanted a rig that could be hidden in a grove of trees, where we could find it in a helicopter shot, and we needed it to go down 3,000 feet or so,” says Charters. “Well, oil rigs are $20 million apiece, and they don’t move easily. A rig for drilling water wells turned out to be perfect for our needs.” The “oil” in the scene was actually soy sauce, which was just sticky enough to cling to faces and clothes. When the well erupts for the first time, it’s a day scene. It was a one-off shot, although it was run again for close-ups. To get extra angles, Charters added a couple of Canon EOS 5D and 60D DSLR cameras to the mix. “The Canons can get all sorts of awkward shots that bigger cameras can’t,” he reflects. “They fit in refrigerators and other unusual spaces.” An 85' Strada crane towered over
American Cinematographer
Southfork’s interior sets were constructed inside a former industrial building south of Dallas.
68
July 2012
American Cinematographer - July 2012
Table of Contents for the Digital Edition of American Cinematographer - July 2012
American Cinematographer - July 2012
Contents
Editor’s Note
Short Takes: Keane’s “Silenced by the Night”
Production Slate: Trishna • Two and a Half Men
Ancient Aliens
High Anxiety
Hair-Metal Heroes
Shooting J.R.
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - American Cinematographer - July 2012
American Cinematographer - July 2012 - Cover2
American Cinematographer - July 2012 - 1
American Cinematographer - July 2012 - 2
American Cinematographer - July 2012 - Contents
American Cinematographer - July 2012 - 4
American Cinematographer - July 2012 - 5
American Cinematographer - July 2012 - 6
American Cinematographer - July 2012 - 7
American Cinematographer - July 2012 - Editor’s Note
American Cinematographer - July 2012 - 9
American Cinematographer - July 2012 - Short Takes: Keane’s “Silenced by the Night”
American Cinematographer - July 2012 - 11
American Cinematographer - July 2012 - 12
American Cinematographer - July 2012 - 13
American Cinematographer - July 2012 - 14
American Cinematographer - July 2012 - 15
American Cinematographer - July 2012 - Production Slate: Trishna • Two and a Half Men
American Cinematographer - July 2012 - 17
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American Cinematographer - July 2012 - 28
American Cinematographer - July 2012 - 29
American Cinematographer - July 2012 - Ancient Aliens
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American Cinematographer - July 2012 - 41
American Cinematographer - July 2012 - High Anxiety
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American Cinematographer - July 2012 - 53
American Cinematographer - July 2012 - Hair-Metal Heroes
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American Cinematographer - July 2012 - 63
American Cinematographer - July 2012 - Shooting J.R.
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American Cinematographer - July 2012 - 68
American Cinematographer - July 2012 - 69
American Cinematographer - July 2012 - 70
American Cinematographer - July 2012 - 71
American Cinematographer - July 2012 - New Products & Services
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American Cinematographer - July 2012 - 79
American Cinematographer - July 2012 - 80
American Cinematographer - July 2012 - 81
American Cinematographer - July 2012 - International Marketplace
American Cinematographer - July 2012 - Classified Ads
American Cinematographer - July 2012 - Ad Index
American Cinematographer - July 2012 - 85
American Cinematographer - July 2012 - Clubhouse News
American Cinematographer - July 2012 - 87
American Cinematographer - July 2012 - ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - Cover3
American Cinematographer - July 2012 - Cover4
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