American Cinematographer - December 2015 - 16

Top: Scribner
captured footage
while in flight
with John-Curtiss
Paul for the
documentary
short Warbird
Pilot: Behind the
Visor. Bottom:
Scribner lines up a
shot as his son
Gavin takes the
controls in the
cockpit and Paul
looks on.

film in Adobe Premiere Pro CC on his
MacBook Pro. The final deliverable was
"1080p H.264 at 24p - basically Webready," he says. "My main goal for this film
was to get a 'Vimeo Staff Pick,' which I did
right after releasing the film, so before I
started shooting I planned everything to be
delivered on the Web.
"Basically, I had little to no budget to
make this film, so I had to use what was
available to me at that time of my life,"
Scribner says. Scrappiness and focus saw
him through. "No retakes," he notes about
the airborne shots. "As long as I was
focused on what I was doing, I was okay."
pointed at the sunset, I had to kick it up to
3,200." He also used the FS100 for b-roll,
nearly all of which was shot at 60 fps "to
create more emotion for the viewer," Scribner explains. On a few occasions he shot at
1080p and 60 fps with audio, in order to
capture the sound of the engines starting
up for use in post. "Even though the
FS100's S&Q [mode] is a better quality, it has
no audio capabilities," he says.
For the time-lapse 7D work, the
camera recorded Raw to 8 and 64GB CF
cards, and the resolution was scaled down
to 1080p in post. "Each time-lapse
sequence was set with 144 frames, so at 24
fps it would be a six-second duration in post
when put together," Scribner notes. "I also
used .3, .6 and .9 Tiffen ND filters. I stacked
them together so I could expose the shot
longer to get that nice, streaky look when
things were moving in the shot. It was
about five-second exposures with about
seven-second intervals."
The 7D and 60D interview footage
were both shot in 1080p/24p. The 60D
16

December 2015

time-lapse footage was shot nearly identically to that of the 7D, other than the use of
16GB SD cards. Both Canon cameras shot
at 160 ISO for time-lapse footage and 320
ISO for interviews.
With the camera in motion throughout the film, Scribner made use of "my
homemade slider that I built about five
years ago," he says. "It's a very simple
design - lightweight and easy to move
around in a hurry."
Scribner's lighting package consisted
of five 500-watt Britek lights - all 3,200K
and fitted with soft boxes - one boom
stand, five daylight gels and one 100-watt
Britek cone light. "For the interview, I used
an overhead 500-watt Britek light with a
soft box, and another 500-watt Britek way
back on camera right to help create a nice
rim light for the profile shot." In the background, he used two 500-watt units with
daylight gel to give more light and separation between Paul and the vintage P-51
Mustang.
Scribner edited and color-graded the
American Cinematographer

The Defeat (x3)
Director: Steven Holloway
Cinematographer:
Steven Holloway
While enrolled in a theory class for
his Master of Fine Arts degree at American
University, Steven Holloway and his classmates were assigned a team project related
to the class focus on different film genres.
Holloway took over sole creative authorship
of The Defeat (x3) when his teammate had
a work conflict and dropped out. The result
is a quirky and satisfying paean to three
distinctive film eras. In the scenario, two
men hunch over a board game; one of
them, briefly interrupted by a phone call,
finally throws the dice, makes his move, and
cackles with glee when he sees that he's
won. A cut then reveals that the winner is
in fact the loser's daughter - and the game
is Chutes and Ladders. The Defeat plays
that scenario three times, in three different
styles: German Expressionism, French New



Table of Contents for the Digital Edition of American Cinematographer - December 2015

Contents
American Cinematographer - December 2015 - Cover1
American Cinematographer - December 2015 - Cover2
American Cinematographer - December 2015 - 1
American Cinematographer - December 2015 - 2
American Cinematographer - December 2015 - Contents
American Cinematographer - December 2015 - 4
American Cinematographer - December 2015 - 5
American Cinematographer - December 2015 - 6
American Cinematographer - December 2015 - 7
American Cinematographer - December 2015 - 8
American Cinematographer - December 2015 - 9
American Cinematographer - December 2015 - 10
American Cinematographer - December 2015 - 11
American Cinematographer - December 2015 - 12
American Cinematographer - December 2015 - 13
American Cinematographer - December 2015 - 14
American Cinematographer - December 2015 - 15
American Cinematographer - December 2015 - 16
American Cinematographer - December 2015 - 17
American Cinematographer - December 2015 - 18
American Cinematographer - December 2015 - 19
American Cinematographer - December 2015 - 20
American Cinematographer - December 2015 - 21
American Cinematographer - December 2015 - 22
American Cinematographer - December 2015 - 23
American Cinematographer - December 2015 - 24
American Cinematographer - December 2015 - 25
American Cinematographer - December 2015 - 26
American Cinematographer - December 2015 - 27
American Cinematographer - December 2015 - 28
American Cinematographer - December 2015 - 29
American Cinematographer - December 2015 - 30
American Cinematographer - December 2015 - 31
American Cinematographer - December 2015 - 32
American Cinematographer - December 2015 - 33
American Cinematographer - December 2015 - 34
American Cinematographer - December 2015 - 35
American Cinematographer - December 2015 - 36
American Cinematographer - December 2015 - 37
American Cinematographer - December 2015 - 38
American Cinematographer - December 2015 - 39
American Cinematographer - December 2015 - 40
American Cinematographer - December 2015 - 41
American Cinematographer - December 2015 - 42
American Cinematographer - December 2015 - 43
American Cinematographer - December 2015 - 44
American Cinematographer - December 2015 - 45
American Cinematographer - December 2015 - 46
American Cinematographer - December 2015 - 47
American Cinematographer - December 2015 - 48
American Cinematographer - December 2015 - 49
American Cinematographer - December 2015 - 50
American Cinematographer - December 2015 - 51
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American Cinematographer - December 2015 - 53
American Cinematographer - December 2015 - 54
American Cinematographer - December 2015 - 55
American Cinematographer - December 2015 - 56
American Cinematographer - December 2015 - 57
American Cinematographer - December 2015 - 58
American Cinematographer - December 2015 - 59
American Cinematographer - December 2015 - 60
American Cinematographer - December 2015 - 61
American Cinematographer - December 2015 - 62
American Cinematographer - December 2015 - 63
American Cinematographer - December 2015 - 64
American Cinematographer - December 2015 - 65
American Cinematographer - December 2015 - 66
American Cinematographer - December 2015 - 67
American Cinematographer - December 2015 - 68
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American Cinematographer - December 2015 - 70
American Cinematographer - December 2015 - 71
American Cinematographer - December 2015 - 72
American Cinematographer - December 2015 - 73
American Cinematographer - December 2015 - 74
American Cinematographer - December 2015 - 75
American Cinematographer - December 2015 - 76
American Cinematographer - December 2015 - 77
American Cinematographer - December 2015 - 78
American Cinematographer - December 2015 - 79
American Cinematographer - December 2015 - 80
American Cinematographer - December 2015 - 81
American Cinematographer - December 2015 - 82
American Cinematographer - December 2015 - 83
American Cinematographer - December 2015 - 84
American Cinematographer - December 2015 - 85
American Cinematographer - December 2015 - 86
American Cinematographer - December 2015 - 87
American Cinematographer - December 2015 - 88
American Cinematographer - December 2015 - 89
American Cinematographer - December 2015 - 90
American Cinematographer - December 2015 - 91
American Cinematographer - December 2015 - 92
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American Cinematographer - December 2015 - 94
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American Cinematographer - December 2015 - 96
American Cinematographer - December 2015 - 97
American Cinematographer - December 2015 - 98
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American Cinematographer - December 2015 - 100
American Cinematographer - December 2015 - 101
American Cinematographer - December 2015 - 102
American Cinematographer - December 2015 - 103
American Cinematographer - December 2015 - 104
American Cinematographer - December 2015 - 105
American Cinematographer - December 2015 - 106
American Cinematographer - December 2015 - 107
American Cinematographer - December 2015 - 108
American Cinematographer - December 2015 - 109
American Cinematographer - December 2015 - 110
American Cinematographer - December 2015 - 111
American Cinematographer - December 2015 - 112
American Cinematographer - December 2015 - Cover3
American Cinematographer - December 2015 - Cover4
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