American Cinematographer - February 2014 - 72

◗

Distinguished Service
dimming panel," Rawlings explains.
"There was one person just devoted to
the panel. We made all the practical
lights in the hallway look like Cool
White fluorescents, and all the overhead
practicals in the classrooms and offices
warm tungsten.
"We would hide lamps so that if
the characters stopped, the Steadicam
operator could do a 360 around them,
and we could have special lighting for
that," he continues. "I would light all the
walking parts, and the gaffer would
light the areas where they stopped. By
doing that, we could get a four- or fivepage scene and have the whole thing lit
in 20 to 30 minutes!"
Rawlings says he always loved
working in television, partly because it
enabled him to stay in Los Angeles and
spend time with his family. He is grateful for every moment he was able to
spend with his wife, Diane; son, Matt;
and daughter, Kami. "My wife and
wonderful kids were my inspiration," he
notes.
Although he is retired, Rawlings
continues to share his knowledge of the
craft with others. He recently taught
cinematography as part of a 16-week
course for wounded veterans at the
Wounded Marine Career Foundation
at Camp Pendleton, and he says he
hopes to do more of that. The value of
such programs, he explains, is not
merely to assist with career placement,
although many of those he has trained
have found work in related fields. "I'm
not a psychologist, but I think it helps
people with post-traumatic stress disorder when you open up the artistic side of
their brains," he says. "I was lucky to be
able to explore that part of myself at a
young age, and I think it made an enormous difference."
When asked what advice he
might give budding cinematographers
today, Rawlings offers a bit of wisdom
his father once shared with him: "If
you've got the time, experiment. Keep
trying to find a different artistic way to
make light work, and always trust your
eye, not your light meter."
●

Top: Rawlings
frames up a shot.
Middle: Rawlings
grew to love
horses while
growing up
around them on
his father's
Western sets, and
says he knows
how to "horse
whisper." Bottom:
This early photo
of Rawlings and
his wife, Diane,
is the
cinematographer's
favorite picture.

72

February 2014

American Cinematographer



American Cinematographer - February 2014

Table of Contents for the Digital Edition of American Cinematographer - February 2014

Table of Contents
American Cinematographer - February 2014 - Cover1
American Cinematographer - February 2014 - Cover2
American Cinematographer - February 2014 - 1
American Cinematographer - February 2014 - 2
American Cinematographer - February 2014 - Table of Contents
American Cinematographer - February 2014 - 4
American Cinematographer - February 2014 - 5
American Cinematographer - February 2014 - 6
American Cinematographer - February 2014 - 7
American Cinematographer - February 2014 - 8
American Cinematographer - February 2014 - 9
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American Cinematographer - February 2014 - 20
American Cinematographer - February 2014 - 21
American Cinematographer - February 2014 - 22
American Cinematographer - February 2014 - 23
American Cinematographer - February 2014 - 24
American Cinematographer - February 2014 - 25
American Cinematographer - February 2014 - 26
American Cinematographer - February 2014 - 27
American Cinematographer - February 2014 - 28
American Cinematographer - February 2014 - 29
American Cinematographer - February 2014 - 30
American Cinematographer - February 2014 - 31
American Cinematographer - February 2014 - 32
American Cinematographer - February 2014 - 33
American Cinematographer - February 2014 - 34
American Cinematographer - February 2014 - 35
American Cinematographer - February 2014 - 36
American Cinematographer - February 2014 - 37
American Cinematographer - February 2014 - 38
American Cinematographer - February 2014 - 39
American Cinematographer - February 2014 - 40
American Cinematographer - February 2014 - 41
American Cinematographer - February 2014 - 42
American Cinematographer - February 2014 - 43
American Cinematographer - February 2014 - 44
American Cinematographer - February 2014 - 45
American Cinematographer - February 2014 - 46
American Cinematographer - February 2014 - 47
American Cinematographer - February 2014 - 48
American Cinematographer - February 2014 - 49
American Cinematographer - February 2014 - 50
American Cinematographer - February 2014 - 51
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American Cinematographer - February 2014 - 53
American Cinematographer - February 2014 - 54
American Cinematographer - February 2014 - 55
American Cinematographer - February 2014 - 56
American Cinematographer - February 2014 - 57
American Cinematographer - February 2014 - 58
American Cinematographer - February 2014 - 59
American Cinematographer - February 2014 - 60
American Cinematographer - February 2014 - 61
American Cinematographer - February 2014 - 62
American Cinematographer - February 2014 - 63
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American Cinematographer - February 2014 - 71
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American Cinematographer - February 2014 - 73
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American Cinematographer - February 2014 - Cover3
American Cinematographer - February 2014 - Cover4
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