American Cinematographer - October 2012 - 61
Zavala rushes to help his fallen partner after Taylor catches a bullet.
covered. Outside the windows, Culliton positioned 12K HMI Pars, but inside, he merely taped 4' sections of his LiteRibbon LED fixtures (along with their battery power supply) to the ceiling and dimmed them down. “Roman was interested in using a lot of toplight throughout this movie, not just so we could shoot 360 degrees, which David wanted to do, but also because he really liked that look,” says Culliton. “He liked them a little green, so to warm them up a bit we often added 1⁄4 Plus Green along with, at times, 1⁄4 CTO.” “I didn’t want a really contrasty image,” says the cinematographer. “Instead, I liked milky blacks and keeping the feel gritty and raw.” Vasyanov liked to put his camera in the middle of the action — literally. For the fistfight between Zavala and the gangster, the cinematographer taped an SI-2K Nano to the end of a microphone boom pole and thrust the camera between the actors while they brawled. “I’d just twist it one way and then the other to get the shot,” he recalls. “We did that quite a bit in action sequences, actually. I liked to get the camera in very close, sometimes too close, as I think I
must have smacked into Jake or Michael at least a dozen times during the course of shooting! But they were both very cool about it.” For the sequences that show Taylor and Zavala in their patrol car, Ayer wanted the car to be free driving, with no towing or process trailer involved. This posed a fairly significant challenge for Vasyanov and his crew, given that the actors often had to drive through South Central neighborhoods that were not well lit. The filmmakers needed a lighting scheme that would roll with the car, be self-contained, and still allow the actors full freedom to drive the vehicle. “Given the low ISO of the camera systems and the frenetic visual style of the film, one of the biggest challenges was how to light these nightinterior police-car sequences,” recalls Culliton. “As it turns out, we used a process/tow trailer for most of the coverage. We used a series of LiteGear RGB LED strips attached to small coroplast cards rigged off the top of the car roof and running down both sides of the police car; this allowed us to chase the light from the front of the car to the back, sometimes at the same time,
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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 Ice • Arbitrage
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 Ice • Arbitrage
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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