American Cinematographer - July 2015 - 61

right angle, I didn't feel the need to fill
the shadow side very much. It's a
comedy, but the lighting isn't like a
comedy - it's dramatic. We light it
like a drama because we're going for
the truth."
Smallwood says it wasn't
uncommon for Fierberg to use a large
wall of white on the key side of the
actor and an 8'x8' negative on the fill
side. "In order to facilitate that," he
says, "Steven and I worked together to
devise a lighting system that was quite
a time-saver." For interior lighting in
particular, Smallwood made Wag
Flags with unbleached muslin that
were 8' wide and unrolled to 12' tall. "I
took the concept further and made
more Wag Flag frames that had Full,
Half and Quarter Grid Cloth," he
continues. "We used these 8-foot
[wide] roll-ups to create a big bounce
and put a diffusion in front of that to
create very natural light - a sizable
"book light" - like standing next to a
sliding glass door with sheer curtains.
That turned out to be a light source
that Steven really enjoyed."
Using large, soft sources could be
"difficult to achieve in the average
living room," says Rao. "Luckily,
Steven was already aware of the potential of the K5600 Alpha units, so we
made use of their amazingly wide
spread. We'd fill a 12-by-12 Full Grid
Cloth or bleached muslin with an
Alpha 4K, and/or we'd cover half a
room with bleached muslin and
bounce an Alpha 1600 for fill."
When a space was especially
tight, or when the crew was limited to
working with wall outlets or a 3,000watt putt-putt, they opted for a Kino
Flo VistaBeam 600 or 300.
A number of LED units were
tested during preproduction - more
than a year prior to this writing - "but
generally," Rao recalls, "Steven didn't
like the way they looked on skin tones
for this project." Nonetheless, they
were occasionally rigged overhead in
hallways where nothing else would fit.
Fierberg notes that LED color has
since improved and he is using them


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Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
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American Cinematographer - July 2015 - 33
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American Cinematographer - July 2015 - 36
American Cinematographer - July 2015 - 37
American Cinematographer - July 2015 - 38
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American Cinematographer - July 2015 - 40
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American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
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American Cinematographer - July 2015 - 45
American Cinematographer - July 2015 - 46
American Cinematographer - July 2015 - 47
American Cinematographer - July 2015 - 48
American Cinematographer - July 2015 - 49
American Cinematographer - July 2015 - 50
American Cinematographer - July 2015 - 51
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American Cinematographer - July 2015 - 53
American Cinematographer - July 2015 - 54
American Cinematographer - July 2015 - 55
American Cinematographer - July 2015 - 56
American Cinematographer - July 2015 - 57
American Cinematographer - July 2015 - 58
American Cinematographer - July 2015 - 59
American Cinematographer - July 2015 - 60
American Cinematographer - July 2015 - 61
American Cinematographer - July 2015 - 62
American Cinematographer - July 2015 - 63
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American Cinematographer - July 2015 - 65
American Cinematographer - July 2015 - 66
American Cinematographer - July 2015 - 67
American Cinematographer - July 2015 - 68
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American Cinematographer - July 2015 - Cover3
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