American Cinematographer - July 2014 - 16

Haas frequently operated the camera
while Roberts interviewed subjects, recording sound externally. Roberts explains, "The
sound in this camera is pretty good, but we
did dual-system sound with a recorder so I
wouldn't be tethered to [Haas]." Haas and
Roberts also used an external battery pack,
which added a couple of pounds to the
camera's weight.
Lighting, of course, was another
major consideration during the shoot, which
was split across two days this past February.
"We were familiar with the space, having
come here so much," Haas says. "But when
you go somewhere to get a cup of coffee it's
very different from thinking about where all
the light is coming from."
With a large window to the street
fronting the tiny counter, balancing the light
was especially difficult. Haas recalls, "It had
snowed the day before and it was snowing
[while we were shooting]. It was already a
19-stop split between outside and inside. On
top of that, there's all this light bouncing off
the snow. And even though we were shooting at f1.9, the camera's highest ASA was
400. If possible, I would have shot at 500 or
800." (A proposed firmware update should
soon allow the D16 to offer ISO settings of
100, 200, 400 and 800.)
One solution was to use a daylightbalanced 12"x12" Rosco LitePad Axiom
LED, which could be easily positioned for fill;
this was sometimes augmented with a
4"x3" CN-LUX560 LED mounted on the
camera and diffused with Rosco Tough
White for eyelight. In many instances,

Top: Peter Pan
Donut and Pastry
Shop has been
serving the
residents of
Greenpoint,
Brooklyn for
more than 60
years. Middle
and bottom:
Roberts (left) and
Haas used a
vintage 16mm
Schneider lens
on the Digital
Bolex for a
softer image.

16

July 2014

American Cinematographer



American Cinematographer - July 2014

Table of Contents for the Digital Edition of American Cinematographer - July 2014

Contents
American Cinematographer - July 2014 - Cover1
American Cinematographer - July 2014 - Cover2
American Cinematographer - July 2014 - 1
American Cinematographer - July 2014 - 2
American Cinematographer - July 2014 - Contents
American Cinematographer - July 2014 - 4
American Cinematographer - July 2014 - 5
American Cinematographer - July 2014 - 6
American Cinematographer - July 2014 - 7
American Cinematographer - July 2014 - 8
American Cinematographer - July 2014 - 9
American Cinematographer - July 2014 - 10
American Cinematographer - July 2014 - 11
American Cinematographer - July 2014 - 12
American Cinematographer - July 2014 - 13
American Cinematographer - July 2014 - 14
American Cinematographer - July 2014 - 15
American Cinematographer - July 2014 - 16
American Cinematographer - July 2014 - 17
American Cinematographer - July 2014 - 18
American Cinematographer - July 2014 - 19
American Cinematographer - July 2014 - 20
American Cinematographer - July 2014 - 21
American Cinematographer - July 2014 - 22
American Cinematographer - July 2014 - 23
American Cinematographer - July 2014 - 24
American Cinematographer - July 2014 - 25
American Cinematographer - July 2014 - 26
American Cinematographer - July 2014 - 27
American Cinematographer - July 2014 - 28
American Cinematographer - July 2014 - 29
American Cinematographer - July 2014 - 30
American Cinematographer - July 2014 - 31
American Cinematographer - July 2014 - 32
American Cinematographer - July 2014 - 33
American Cinematographer - July 2014 - 34
American Cinematographer - July 2014 - 35
American Cinematographer - July 2014 - 36
American Cinematographer - July 2014 - 37
American Cinematographer - July 2014 - 38
American Cinematographer - July 2014 - 39
American Cinematographer - July 2014 - 40
American Cinematographer - July 2014 - 41
American Cinematographer - July 2014 - 42
American Cinematographer - July 2014 - 43
American Cinematographer - July 2014 - 44
American Cinematographer - July 2014 - 45
American Cinematographer - July 2014 - 46
American Cinematographer - July 2014 - 47
American Cinematographer - July 2014 - 48
American Cinematographer - July 2014 - 49
American Cinematographer - July 2014 - 50
American Cinematographer - July 2014 - 51
American Cinematographer - July 2014 - 52
American Cinematographer - July 2014 - 53
American Cinematographer - July 2014 - 54
American Cinematographer - July 2014 - 55
American Cinematographer - July 2014 - 56
American Cinematographer - July 2014 - 57
American Cinematographer - July 2014 - 58
American Cinematographer - July 2014 - 59
American Cinematographer - July 2014 - 60
American Cinematographer - July 2014 - 61
American Cinematographer - July 2014 - 62
American Cinematographer - July 2014 - 63
American Cinematographer - July 2014 - 64
American Cinematographer - July 2014 - 65
American Cinematographer - July 2014 - 66
American Cinematographer - July 2014 - 67
American Cinematographer - July 2014 - 68
American Cinematographer - July 2014 - 69
American Cinematographer - July 2014 - 70
American Cinematographer - July 2014 - 71
American Cinematographer - July 2014 - 72
American Cinematographer - July 2014 - 73
American Cinematographer - July 2014 - 74
American Cinematographer - July 2014 - 75
American Cinematographer - July 2014 - 76
American Cinematographer - July 2014 - 77
American Cinematographer - July 2014 - 78
American Cinematographer - July 2014 - 79
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American Cinematographer - July 2014 - 81
American Cinematographer - July 2014 - 82
American Cinematographer - July 2014 - 83
American Cinematographer - July 2014 - 84
American Cinematographer - July 2014 - 85
American Cinematographer - July 2014 - 86
American Cinematographer - July 2014 - 87
American Cinematographer - July 2014 - 88
American Cinematographer - July 2014 - 89
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American Cinematographer - July 2014 - 91
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American Cinematographer - July 2014 - Cover3
American Cinematographer - July 2014 - Cover4
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