American Cinematographer - September 2011 - 70
◗ Tips On Location Scouting
Top left: While scouting for a soft-drink commercial in Los Angeles, photographer and location scout Barbara J. Miller (pictured at right) snapped this view from the roof of the old May Company building on Broadway south of 8th Street. Bottom left: Miller took this shot while working on a car commercial. She notes that the director asked her to crop to approximate the 16:9 aspect ratio, and to include a silver car to suggest his preferred color to the ad agency.
who are very, very good at both,” she notes. “Generally people are either better managers or better scouts, better with the logistics or better with the creative side.” After working as an actor for 20 years, Tony Salome got into location managing around 1989. He is currently a location manager on NCIS: Los Angeles for CBS, and he is also the first vice president of the LMGA. He describes what he considers important abilities for a good location manager or scout: “Obviously, you need to have photography skills [and] a good eye [so you can] look at a place and photograph it in a manner that is representative of what
70 September 2011
you see. You also have to have computer skills and editing skills so you can present those photos to other people. You have to be a salesman. You have to have knowledge of geography, architecture and design. You have to be a detective, because many times you’re looking for something that no one else has found.” Salome notes that although he doesn’t choose locations, he has influence over the decisions. “I know that if I don’t show a certain location, [it] will never get used. On the other hand, if I show a location, there’s a chance they’re going to use it.” He observes that location
American Cinematographer
managing for a TV series as opposed to a feature film “is the same process, but done much faster. We do a new episode every eight days — action, adventure, car chases, explosions, gun battles, all on the streets of L.A.” The show’s locations, he adds, “are really postcards for Southern California. We shoot a lot of iconic locations, such as the Griffith Observatory, the Santa Monica Pier and the Hollywood Bowl. The city is our backdrop.” As a former actor, Salome compares casting directors to location scouts and managers. “Casting directors [work] to find just the right actor, and location managers work to find a location that can play an integral role in the story.” Regarding cinematographers, he adds, “locations are a lot like actors: a good director of photography can make them all look better. There’s a nice relationship between what our cinematographer does [and] what we do.”
Photos by Barbara J. Miller (top and bottom left) and Kevin Burke.
American Cinematographer - September 2011
Table of Contents for the Digital Edition of American Cinematographer - September 2011
American Cinematographer - September 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Sleep Forever”
Production Slate: Circumstance • Brighton Rock
A Mighty Pen
Immersive Dance
Airing Dirty Laundry
Tips on Location Scouting
Post Focus: Cinelicious
Filmmakers’ Forum: 24-Frame Video Playback
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Dante Spinotti, ASC, AIC
American Cinematographer - September 2011 - American Cinematographer - September 2011
American Cinematographer - September 2011 - Cover2
American Cinematographer - September 2011 - 1
American Cinematographer - September 2011 - 2
American Cinematographer - September 2011 - Contents
American Cinematographer - September 2011 - 4
American Cinematographer - September 2011 - 5
American Cinematographer - September 2011 - 6
American Cinematographer - September 2011 - 7
American Cinematographer - September 2011 - Editor’s Note
American Cinematographer - September 2011 - 9
American Cinematographer - September 2011 - President’s Desk
American Cinematographer - September 2011 - 11
American Cinematographer - September 2011 - Short Takes: “Sleep Forever”
American Cinematographer - September 2011 - 13
American Cinematographer - September 2011 - 14
American Cinematographer - September 2011 - 15
American Cinematographer - September 2011 - Production Slate: Circumstance • Brighton Rock
American Cinematographer - September 2011 - 17
American Cinematographer - September 2011 - 18
American Cinematographer - September 2011 - 19
American Cinematographer - September 2011 - 20
American Cinematographer - September 2011 - 21
American Cinematographer - September 2011 - 22
American Cinematographer - September 2011 - 23
American Cinematographer - September 2011 - 24
American Cinematographer - September 2011 - 25
American Cinematographer - September 2011 - 26
American Cinematographer - September 2011 - 27
American Cinematographer - September 2011 - A Mighty Pen
American Cinematographer - September 2011 - 29
American Cinematographer - September 2011 - 30
American Cinematographer - September 2011 - 31
American Cinematographer - September 2011 - 32
American Cinematographer - September 2011 - 33
American Cinematographer - September 2011 - 34
American Cinematographer - September 2011 - 35
American Cinematographer - September 2011 - 36
American Cinematographer - September 2011 - 37
American Cinematographer - September 2011 - 38
American Cinematographer - September 2011 - 39
American Cinematographer - September 2011 - 40
American Cinematographer - September 2011 - 41
American Cinematographer - September 2011 - 42
American Cinematographer - September 2011 - 43
American Cinematographer - September 2011 - Immersive Dance
American Cinematographer - September 2011 - 45
American Cinematographer - September 2011 - 46
American Cinematographer - September 2011 - 47
American Cinematographer - September 2011 - 48
American Cinematographer - September 2011 - 49
American Cinematographer - September 2011 - 50
American Cinematographer - September 2011 - 51
American Cinematographer - September 2011 - 52
American Cinematographer - September 2011 - 53
American Cinematographer - September 2011 - 54
American Cinematographer - September 2011 - 55
American Cinematographer - September 2011 - Airing Dirty Laundry
American Cinematographer - September 2011 - 57
American Cinematographer - September 2011 - 58
American Cinematographer - September 2011 - 59
American Cinematographer - September 2011 - 60
American Cinematographer - September 2011 - 61
American Cinematographer - September 2011 - 62
American Cinematographer - September 2011 - 63
American Cinematographer - September 2011 - 64
American Cinematographer - September 2011 - 65
American Cinematographer - September 2011 - 66
American Cinematographer - September 2011 - 67
American Cinematographer - September 2011 - Tips on Location Scouting
American Cinematographer - September 2011 - 69
American Cinematographer - September 2011 - 70
American Cinematographer - September 2011 - 71
American Cinematographer - September 2011 - 72
American Cinematographer - September 2011 - 73
American Cinematographer - September 2011 - 74
American Cinematographer - September 2011 - 75
American Cinematographer - September 2011 - 76
American Cinematographer - September 2011 - 77
American Cinematographer - September 2011 - Post Focus: Cinelicious
American Cinematographer - September 2011 - 79
American Cinematographer - September 2011 - 80
American Cinematographer - September 2011 - 81
American Cinematographer - September 2011 - 82
American Cinematographer - September 2011 - 83
American Cinematographer - September 2011 - Filmmakers’ Forum: 24-Frame Video Playback
American Cinematographer - September 2011 - 85
American Cinematographer - September 2011 - 86
American Cinematographer - September 2011 - 87
American Cinematographer - September 2011 - New Products & Services
American Cinematographer - September 2011 - 89
American Cinematographer - September 2011 - 90
American Cinematographer - September 2011 - 91
American Cinematographer - September 2011 - 92
American Cinematographer - September 2011 - 93
American Cinematographer - September 2011 - 94
American Cinematographer - September 2011 - 95
American Cinematographer - September 2011 - International Marketplace
American Cinematographer - September 2011 - Classified Ads
American Cinematographer - September 2011 - Ad Index
American Cinematographer - September 2011 - 99
American Cinematographer - September 2011 - ASC Membership Roster
American Cinematographer - September 2011 - 101
American Cinematographer - September 2011 - Clubhouse News
American Cinematographer - September 2011 - 103
American Cinematographer - September 2011 - ASC Close-Up: Dante Spinotti, ASC, AIC
American Cinematographer - September 2011 - Cover3
American Cinematographer - September 2011 - Cover4
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