American Cinematographer - December 2008 - (Page 43)

photographic flood light,” he explains. “The inside is painted silver, and you can screw in any bulb you want. I think we used mushroom bulbs or Photofloods. I rode on the buggy, handholding that along with a variac, which I would raise and lower or sometimes even wave. The scene has a non-uniform look, which is exactly what Harris was after. The marchers seem to be going in and out of light sources.” Extra crew was needed to man the lights on the rooftops. “We just leapfrogged down the street,” Condiotti recalls. “As soon as one crew finished a section, they raced down to the street, hopped in a van and drove a mile to the next building. I think we had eight generators that night, and we moved them from setup to setup.” Scenes set in City Hall were filmed at the actual location, and the offices of Milk, White and the mayor were constructed in a vacant federal building nearby. The domed ceiling of City Hall turned out to be a natural reflector that was perfect for lighting the rotunda. The building’s upper levels are visible from the ground, and lighting units, mainly 12K Pars, were placed on the different levels and bounced into the dome, producing a soft toplight. The office sets were built on the fourth floor of the federal building, and to light those spaces, pre-rigged ceiling lights were added to existing fluorescents and Condors were positioned outside windows. Both Milk and Moscone were shot in their respective offices. There were no cameras in City Hall at that time, so there is no recording of the murders. For the re-enactment, Arnot and his Steadicam followed White as he walked past desks into Moscone’s office and then Milk’s. All of the production’s footage was pull-processed 1 stop at Technicolor in Los Angeles, and Savides carried out the digital intermediate, his first, at EFilm with colorist Mike Hatzer. “Doing a DI enabled us to shoot 3-perf and save some money on film stock,” notes Savides. “Also, I’d never done a DI for a project that originated on film, and I thought it was time to try it — post seems to be going that way.” I TECHNICAL SPECS Super 1.85:1 Super 35mm (3-perf) and 16mm Arricam Studio, Lite; Canon Scoopic Cooke and Angenieux lenses Kodak Vision 500T 5279/7279 Digital Intermediate Printed on Kodak Vision 2383 Samy’s DV & Edit WE ACCEPT MASTERCARD, VISA, AMERICAN EXPRESS & DISCOVER. SCHOOL, UNIVERSITY & CORPORATE P.O.’S WELCOME BEFORE YOU BUY YOUR DIGITAL CINEMA EQUIPMENT, TALK TO US! A Division of Samy’s Camera WE’VE MOVED - NEW ADDRESS! 12636 Beatrice St. Los Angeles, CA 90066 www.samysdv.com (310) 450-4365 FAX (310) 450-3079 PMW-EX3 XDCAMEX SEMI SHOULDER CAMCORDER • 1⁄2-inch interchangeable lens system •1/2” imagers with 1920x1080 pixels • Genlock in • Time Code in/out • 8-pin remote control for studio operation New! Three 2/3”CCD P2 HD Camcorder • Utilizes interchangeable lenses • Can shoot everything from 1080i to 720p variable frame rates •Features four XLR inputs, a chromaticaberration compensation function, and eight gamma modes AG-HPX500 AJ-HDX900 • Adds on support for 1080i and 720p • Three 2/3" 1 million pixels Progressive CCD imagers • 24P/30P/60i recording capability • Captures film-like 24-frame images using CineGamma Affordable Professional Hi-Definition Camera PMW-EX1 Flash Memory Capabilities 1/2” HD Camera • Record to ExpressCard high-speed flash media • Switchable between 1080/60i and 720/60P • Capable of recording 1080/50i/30P/25P/24P and 720/50P • MPEG-2 compression technology with three, 1/2” imagers Interchangeable Lens Professional HDV Camera New! Sony HVR-Z7U AJ-SDX900 Also Available PRODUCTION PACKAGE PROMOTIONS! Please call for our • Switch between 1080p, 1080i in the HDV format, DVCAM™, and DV recording • Down-convert material from HD to SD New! Sony Interchangeable Lens Pro Shoulder Mount HDV Camera • Native progressive recording • Increased sensitivity for low-light • Hybrid solid-state recording • 3 ClearVid CMOS Sensor system SONY IS A REGISTERED TRADEMARK Sony HVR-S270U Digital Camcorder Sony XDCAM HD PDW-F355 PDW-700 2/3” XDCAM HD Camcorder • Three 2/3-inch progressive CCD sensors, each with full 1920 x 1080 resolution • HD recording at a data rate of up to 50 Mb/s using the MPEG-2 4:2:2P@HL compression technology,“MPEG HD422” AG-HVX200A Longer record times are available by supporting the new dual-layer 50GB Professional Disc. XDCAM HD PDW-F335 ALSO AVAILABLE 1/3" 3-CCD 16:9 HD/DVCPRO/DV The next generation of P2 cameras • Solid-state handheld camcorder enables high definition and standard definition recording • Widest zoom lens in its class • HD-SDI interface • Lightweight 4.2-pound body AG-HPX170 New! • Cinema P2 Camera with CineSwitch™ • Technology, CineGamma™ Software and IEEE 1394 Interface PDW-F355 & PDW-F330 ALSO AVAILABLE AJ-SD93 Also Available NOT RESPONSIBLE FOR TYPOGRAPHICAL ERRORS. PRICES SUBJECT TO CHANGE WITHOUT NOTICE. 43 http://www.samysdv.com

Table of Contents Feed for the Digital Edition of American Cinematographer - December 2008

American Cinematographer - December 2008 Contents Editor’s Note Short Takes: True Blood Titles Tomorrow’s Technology Production Slate: Closer to Truth A High Price for Progress Rags to Riches 1-Man Riot Squad The State of the Art: An Update Post Focus: Deluxe New York New Products & Services International Marketplace Classified Ads Ad Index 2008 AC Index ASC Membership Roster Clubhouse News ASC Close-Up: Donald McAlpine

American Cinematographer - December 2008

For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.