American Cinematographer - November 2008 - (Page 73)

positing is performed in Shake. Otherwise, says Wilson, “It’s a bit by the seat of our pants. They kind of shoot whatever they want, and we try to keep up with it.” Geddes says he finds the greenscreen work liberating. “The freedom is amazing. Not only do we leave flags and lights in the shot, but we also leave the boom man in the shot! I can put a light exactly where I want it, and if the actor crosses in front of it, all we have to do is green out the stand and make sure the lamp is just high enough so the actor doesn’t interact with it. To be able to put a light exactly where you want it is wonderful. “Virtual-reality shows like 300 or Sin City turned to a desaturated, graphic-novel look, but I’ve given Sanctuary a feel that’s more like the real world, with a little more color saturation and density,” continues the cinematographer. “With that in mind, I’ve decided to use soft sources. For the key sources, I use 6K Barger [Baglite GT-6] lights and utilize the Chimera cloths, and in front of those I use 60-degree hard grids. That combination creates a very soft quality of light that’s very directional. To round that out, I use different shallow Chimera banks, all with hard grids, too. The greenscreen is lit with [Kino Flo] Image 80s. My gaffer, Corey Hodson, and key grip, David Ferreira, put together Mole Coops that all have the same diffusion material and hard grids so we have the same quality of light throughout.” Not every set is green, however. There are some standing practical sets, such as Magnus’ office, which still incorporates greenscreen elements. Beyond the office window is greenscreen, as is the entranceway. But Geddes’ fluid approach to lighting virtual and practical sets is the same. “It works in both worlds,” he says. For all the effort that goes into greenscreen work, Geddes summarizes shooting virtual scenes rather simply: “You light as though something is there even if it doesn’t exist, making it easy for someone to add it later.” I TECHNICAL SPECS 16x9 High-Definition Video Red One Cooke and Angenieux lenses LOAD CAPACITY: 18 kg (40 lbs) lbs) lbs) WEIGHT: 8,5 kg (18.5 lbs) g PAN RANGE: 360° TILT RANGE: 360° SPIN RANGE: 360° FLUID DRAG: countinuous inuous X CARTONI USA 10663 Burbank Blvd. vd. 604 N. Hollywood, CA 91604 8-760-8805 5 Ph. 818-760-8240 - Fax 818-760-8805 www.cartoni.com www.cartoni.com 73 http://www.cartoni.com http://www.cartoni.com

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American Cinematographer - November 2008 Contents Editor’s Note Letters Short Takes Production Slate Forging a Bond The Making of a President Thunder Down Under Habitat for Inhumanity Saluting Television’s Top Talents Post Focus New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up

American Cinematographer - November 2008

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