American Cinematographer - October 2012 - 44

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Dead Man’s Hand

Top: LED DogPads are rigged to key a free-driving car scene featuring Pitt and McNairy. Bottom: Fraser films another of Jackie’s hits as gaffer Jay Kemp holds the 1'x18" pad of LiteRibbon LEDs that will be actuated by the firing of the gun. Fraser’s crew worked closely with LiteGear to engineer the LED gunshot effect.

there and let the characters do the work. I had so many really good actors on this movie that it was kind of pointless to direct. I mean, you could, but they knew who those characters were and what they were doing.” Fraser’s treatment of night exteriors in the film is notable for the absence of strong visible sources. Instead, a distinctive, low-contrast pall is sprinkled with bright glints of light. “I love sourceless night,” he says.
44 October 2012

“When you go out in the middle of nowhere, you don’t see backlights and frontlights. Ever since I started shooting, it’s been my passion to create sourceless nights. I wanted the nights in this film to have an enveloping ambience.” “Greig’s night lighting is transparent,” affirms Kemp. “He gives the scene a coating of toplight, but without you feeling the source. Sometimes I’ll want to add another light, and he’ll say,
American Cinematographer

‘No, it’s about putting one light in the right place.’ Sometimes that one light is a Condor with a huge softbox, and we’ll make 2-foot incremental moves with it until we find the sweet spot — and Greig is pretty masterful at finding the sweet spot that doesn’t give the source away. Then he might add an LED eyelight and fortify the background with on-camera practical industrial fluorescents and metalhalide or high-pressure sodium-vapor light fixtures. All of that combines to create a very realistic look.” The toplight coating in Killing Them Softly was provided by two types of softboxes suspended from Condor cranes. One comprised Arri X HMIs, the other Kino Flo Image 85s, and both were modified with Diving Bells, tall cones of Full Black Grid and Duvetyn with a wide base that can accommodate gels or diffusion. (Created by Kornemann, Diving Bells were also used extensively by the team on Let Me In.) The HMI configuration included four 4Ks in a grid “pointing through a 12-by with controllable siders,” says Kemp. “We added blue and green gels to them to match metalhalide, and we used DMX ballasts so



American Cinematographer - October 2012

Table of Contents for the Digital Edition of American Cinematographer - October 2012

American Cinematographer - October 2012
Contents
Editor’s Note
President’s Desk
Short Takes: ASC Andrew Laszlo Heritage Awards
Production Slate: Chasing IceArbitrage
Dead Man’s Hand
A Very Tough Beat
Payback Time
Hitchcock Blonde
Post Focus: Blinding
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Robert Primes
American Cinematographer - October 2012 - American Cinematographer - October 2012
American Cinematographer - October 2012 - Cover2
American Cinematographer - October 2012 - 1
American Cinematographer - October 2012 - 2
American Cinematographer - October 2012 - Contents
American Cinematographer - October 2012 - 4
American Cinematographer - October 2012 - 5
American Cinematographer - October 2012 - 6
American Cinematographer - October 2012 - 7
American Cinematographer - October 2012 - Editor’s Note
American Cinematographer - October 2012 - 9
American Cinematographer - October 2012 - President’s Desk
American Cinematographer - October 2012 - 11
American Cinematographer - October 2012 - Short Takes: ASC Andrew Laszlo Heritage Awards
American Cinematographer - October 2012 - 13
American Cinematographer - October 2012 - 14
American Cinematographer - October 2012 - 15
American Cinematographer - October 2012 - 16
American Cinematographer - October 2012 - 17
American Cinematographer - October 2012 - 18
American Cinematographer - October 2012 - 19
American Cinematographer - October 2012 - Production Slate: Chasing IceArbitrage
American Cinematographer - October 2012 - 21
American Cinematographer - October 2012 - 22
American Cinematographer - October 2012 - 23
American Cinematographer - October 2012 - 24
American Cinematographer - October 2012 - 25
American Cinematographer - October 2012 - 26
American Cinematographer - October 2012 - 27
American Cinematographer - October 2012 - 28
American Cinematographer - October 2012 - 29
American Cinematographer - October 2012 - 30
American Cinematographer - October 2012 - 31
American Cinematographer - October 2012 - 32
American Cinematographer - October 2012 - 33
American Cinematographer - October 2012 - Dead Man’s Hand
American Cinematographer - October 2012 - 35
American Cinematographer - October 2012 - 36
American Cinematographer - October 2012 - 37
American Cinematographer - October 2012 - 38
American Cinematographer - October 2012 - 39
American Cinematographer - October 2012 - 40
American Cinematographer - October 2012 - 41
American Cinematographer - October 2012 - 42
American Cinematographer - October 2012 - 43
American Cinematographer - October 2012 - 44
American Cinematographer - October 2012 - 45
American Cinematographer - October 2012 - 46
American Cinematographer - October 2012 - 47
American Cinematographer - October 2012 - 48
American Cinematographer - October 2012 - 49
American Cinematographer - October 2012 - A Very Tough Beat
American Cinematographer - October 2012 - 51
American Cinematographer - October 2012 - 52
American Cinematographer - October 2012 - 53
American Cinematographer - October 2012 - 54
American Cinematographer - October 2012 - 55
American Cinematographer - October 2012 - 56
American Cinematographer - October 2012 - 57
American Cinematographer - October 2012 - 58
American Cinematographer - October 2012 - 59
American Cinematographer - October 2012 - 60
American Cinematographer - October 2012 - 61
American Cinematographer - October 2012 - 62
American Cinematographer - October 2012 - 63
American Cinematographer - October 2012 - Payback Time
American Cinematographer - October 2012 - 65
American Cinematographer - October 2012 - 66
American Cinematographer - October 2012 - 67
American Cinematographer - October 2012 - 68
American Cinematographer - October 2012 - 69
American Cinematographer - October 2012 - 70
American Cinematographer - October 2012 - 71
American Cinematographer - October 2012 - 72
American Cinematographer - October 2012 - 73
American Cinematographer - October 2012 - 74
American Cinematographer - October 2012 - 75
American Cinematographer - October 2012 - Hitchcock Blonde
American Cinematographer - October 2012 - 77
American Cinematographer - October 2012 - 78
American Cinematographer - October 2012 - 79
American Cinematographer - October 2012 - 80
American Cinematographer - October 2012 - 81
American Cinematographer - October 2012 - 82
American Cinematographer - October 2012 - 83
American Cinematographer - October 2012 - 84
American Cinematographer - October 2012 - 85
American Cinematographer - October 2012 - Post Focus: Blinding
American Cinematographer - October 2012 - 87
American Cinematographer - October 2012 - 88
American Cinematographer - October 2012 - 89
American Cinematographer - October 2012 - New Products & Services
American Cinematographer - October 2012 - 91
American Cinematographer - October 2012 - 92
American Cinematographer - October 2012 - 93
American Cinematographer - October 2012 - International Marketplace
American Cinematographer - October 2012 - Classified Ads
American Cinematographer - October 2012 - Ad Index
American Cinematographer - October 2012 - 97
American Cinematographer - October 2012 - Clubhouse News
American Cinematographer - October 2012 - 99
American Cinematographer - October 2012 - ASC Close-Up: Robert Primes
American Cinematographer - October 2012 - Cover3
American Cinematographer - October 2012 - Cover4
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