American Cinematographer - January 2009 - 38

Close Focus Right: Following a particularly savage argument, Frank pensively awaits his wife’s return. Below: April retreats to the woods behind the house to escape her husband. gaffer. “For fill, we usually bounced Tweenies off 4-by-4 muslins, and the lamps and bounce material were often hung from the ceiling to leave the floor clear for the actors and the camera.” Deakins and O’Leary used a similar strategy at another location that called for a consistent daylight feel, Frank’s office, a large, open space subdivided by a sea of cubicles. The location was the fifth floor of a municipal building in Lower Manhattan. “I initially thought we could position cranes to send light through the windows, but the city refused to shut any portion of the street below,” recalls Deakins. “The sound department had to put ¾inch Plexiglas on all the windows to create a sound baffle, and we had to add on to a scaffold that was in place on the first floor for a construction project. We ended up with a platform outside the windows that ran the length of the building.” On the platform, O’Leary’s crew rigged about a dozen 12K Arri Compacts bounced off 12'x12' muslins to send even daylight into the office. “It was the only way we could work,” notes Deakins. “There wasn’t enough natural daylight in the morning, and there was too much of it in the afternoon.” A location that posed a different sort of lighting conundrum was a stretch of highway in Connecticut that served as the setting for one of the film’s earliest scenes, an argument between Frank and April that starts in the car and continues on the side of the road after Frank pulls over and follows his wife out of the car. The scene takes place at night and, given that highways were not well lit in 1955, potential sources were limited. “The most important choice 38 January 2009

American Cinematographer - January 2009

Table of Contents for the Digital Edition of American Cinematographer - January 2009

American Cinematographer - January 2009
Contents
Editor’s Note
Short Takes: Triangle of Need
Production Slate: Frost/Nixon, The Wrestler
Close Focus
An Old Soul
Brothers in Arms
A Cut Above
Post Focus: HPA Awards, Still Me
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Robert C. Jessup, ASC
Clubhouse News
ASC Close-Up: Gabriel Beristain
American Cinematographer - January 2009 - American Cinematographer - January 2009
American Cinematographer - January 2009 - Cover2
American Cinematographer - January 2009 - 1
American Cinematographer - January 2009 - 2
American Cinematographer - January 2009 - Contents
American Cinematographer - January 2009 - 4
American Cinematographer - January 2009 - 5
American Cinematographer - January 2009 - 6
American Cinematographer - January 2009 - 7
American Cinematographer - January 2009 - Editor’s Note
American Cinematographer - January 2009 - 9
American Cinematographer - January 2009 - Short Takes: Triangle of Need
American Cinematographer - January 2009 - 11
American Cinematographer - January 2009 - 12
American Cinematographer - January 2009 - 13
American Cinematographer - January 2009 - 14
American Cinematographer - January 2009 - 15
American Cinematographer - January 2009 - Production Slate: Frost/Nixon, The Wrestler
American Cinematographer - January 2009 - 17
American Cinematographer - January 2009 - 18
American Cinematographer - January 2009 - 19
American Cinematographer - January 2009 - 20
American Cinematographer - January 2009 - 21
American Cinematographer - January 2009 - 22
American Cinematographer - January 2009 - 23
American Cinematographer - January 2009 - 24
American Cinematographer - January 2009 - 25
American Cinematographer - January 2009 - 26
American Cinematographer - January 2009 - 27
American Cinematographer - January 2009 - Close Focus
American Cinematographer - January 2009 - 29
American Cinematographer - January 2009 - 30
American Cinematographer - January 2009 - 31
American Cinematographer - January 2009 - 32
American Cinematographer - January 2009 - 33
American Cinematographer - January 2009 - 34
American Cinematographer - January 2009 - 35
American Cinematographer - January 2009 - 36
American Cinematographer - January 2009 - 37
American Cinematographer - January 2009 - 38
American Cinematographer - January 2009 - 39
American Cinematographer - January 2009 - 40
American Cinematographer - January 2009 - 41
American Cinematographer - January 2009 - An Old Soul
American Cinematographer - January 2009 - 43
American Cinematographer - January 2009 - 44
American Cinematographer - January 2009 - 45
American Cinematographer - January 2009 - 46
American Cinematographer - January 2009 - 47
American Cinematographer - January 2009 - 48
American Cinematographer - January 2009 - 49
American Cinematographer - January 2009 - 50
American Cinematographer - January 2009 - 51
American Cinematographer - January 2009 - 52
American Cinematographer - January 2009 - 53
American Cinematographer - January 2009 - 54
American Cinematographer - January 2009 - 55
American Cinematographer - January 2009 - 56
American Cinematographer - January 2009 - 57
American Cinematographer - January 2009 - Brothers in Arms
American Cinematographer - January 2009 - 59
American Cinematographer - January 2009 - 60
American Cinematographer - January 2009 - 61
American Cinematographer - January 2009 - 62
American Cinematographer - January 2009 - 63
American Cinematographer - January 2009 - 64
American Cinematographer - January 2009 - 65
American Cinematographer - January 2009 - 66
American Cinematographer - January 2009 - 67
American Cinematographer - January 2009 - 68
American Cinematographer - January 2009 - 69
American Cinematographer - January 2009 - A Cut Above
American Cinematographer - January 2009 - 71
American Cinematographer - January 2009 - 72
American Cinematographer - January 2009 - 73
American Cinematographer - January 2009 - 74
American Cinematographer - January 2009 - 75
American Cinematographer - January 2009 - 76
American Cinematographer - January 2009 - 77
American Cinematographer - January 2009 - 78
American Cinematographer - January 2009 - 79
American Cinematographer - January 2009 - Post Focus: HPA Awards, Still Me
American Cinematographer - January 2009 - 81
American Cinematographer - January 2009 - 82
American Cinematographer - January 2009 - 83
American Cinematographer - January 2009 - New Products & Services
American Cinematographer - January 2009 - 85
American Cinematographer - January 2009 - 86
American Cinematographer - January 2009 - 87
American Cinematographer - January 2009 - International Marketplace
American Cinematographer - January 2009 - Classified Ads
American Cinematographer - January 2009 - Ad Index
American Cinematographer - January 2009 - 91
American Cinematographer - January 2009 - In Memoriam: Robert C. Jessup, ASC
American Cinematographer - January 2009 - 93
American Cinematographer - January 2009 - Clubhouse News
American Cinematographer - January 2009 - 95
American Cinematographer - January 2009 - ASC Close-Up: Gabriel Beristain
American Cinematographer - January 2009 - Cover3
American Cinematographer - January 2009 - Cover4
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