American Cinematographer - April 2012 - 28

Cisco and Skye seek solace in one another’s company inside the loft that served as the production’s primary location.

When night falls, Cisco and Skye walk around in the dark, wading through shallow pools of light cast by the overhead Kinos and gravitating toward dim computer and TV screens like moths. “Abel is the original ‘Turn that light off’ guy!” remarks Kelsch. “In the darkness is the imagination,” observes Ferrara. “If you hold up a film negative, there’s black between the frames.

In a two-hour movie, the audience is literally sitting in the dark half the time. I think that’s where the film is made.” The run-and-gun nature of the production — a 15-day schedule with a sixperson grip-and-electric team and a threeperson camera crew — was further complicated by Ferrara’s freestyle approach, which required Kelsch, Gartner and key grip Bryan Landes to keep their equipment out of the

actors’ paths. “With Abel, you can’t put a light on a stand, because as soon as you do, you’re going to be shooting in that direction,” the cinematographer says. He therefore backlit most of the night interiors with the ceiling-mounted Kinos and used a Litepanels Ringlite Mini to add a small amount of fill. “At first, Abel was horrified by the Ringlite — he thought I was going to frontlight Willem and Shanyn,” Kelsch recalls. “But when he realized I could use it for just a tiny bit of eyelight, he loved it.” Once the set was lit, Kelsch found himself operating the camera (assisted by 1st AC Franziska Schirmer Lewis) and trying to keep up with the actors. “I love it when Kenny operates the camera,” says Ferrara. “It’s a grind on him because he’s lighting, too, but it’s great for me because I can have one conversation with the camera department.” “I’ve suffered holding the camera for hours on end, but I like to operate,” says Kelsch. “You develop close relationships with the actors.” There’s little to suggest that even if he

28


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American Cinematographer - April 2012

Table of Contents for the Digital Edition of American Cinematographer - April 2012

American Cinematographer - April 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Polaris campaign
Production Slate: Footnote4:44 Last Day on Earth
Vice at the Vatican
Back to School
Sundance Standouts
Filmmakers’ Forum: Haskell Wexler, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - American Cinematographer - April 2012
American Cinematographer - April 2012 - Cover2
American Cinematographer - April 2012 - 1
American Cinematographer - April 2012 - 2
American Cinematographer - April 2012 - Contents
American Cinematographer - April 2012 - 4
American Cinematographer - April 2012 - 5
American Cinematographer - April 2012 - 6
American Cinematographer - April 2012 - 7
American Cinematographer - April 2012 - Editor’s Note
American Cinematographer - April 2012 - 9
American Cinematographer - April 2012 - President’s Desk
American Cinematographer - April 2012 - 11
American Cinematographer - April 2012 - Short Takes: Polaris campaign
American Cinematographer - April 2012 - 13
American Cinematographer - April 2012 - 14
American Cinematographer - April 2012 - 15
American Cinematographer - April 2012 - 16
American Cinematographer - April 2012 - 17
American Cinematographer - April 2012 - Production Slate: Footnote4:44 Last Day on Earth
American Cinematographer - April 2012 - 19
American Cinematographer - April 2012 - 20
American Cinematographer - April 2012 - 21
American Cinematographer - April 2012 - 22
American Cinematographer - April 2012 - 23
American Cinematographer - April 2012 - 24
American Cinematographer - April 2012 - 25
American Cinematographer - April 2012 - 26
American Cinematographer - April 2012 - 27
American Cinematographer - April 2012 - 28
American Cinematographer - April 2012 - 29
American Cinematographer - April 2012 - 30
American Cinematographer - April 2012 - 31
American Cinematographer - April 2012 - Vice at the Vatican
American Cinematographer - April 2012 - 33
American Cinematographer - April 2012 - 34
American Cinematographer - April 2012 - 35
American Cinematographer - April 2012 - 36
American Cinematographer - April 2012 - 37
American Cinematographer - April 2012 - 38
American Cinematographer - April 2012 - 39
American Cinematographer - April 2012 - 40
American Cinematographer - April 2012 - 41
American Cinematographer - April 2012 - 42
American Cinematographer - April 2012 - 43
American Cinematographer - April 2012 - Back to School
American Cinematographer - April 2012 - 45
American Cinematographer - April 2012 - 46
American Cinematographer - April 2012 - 47
American Cinematographer - April 2012 - 48
American Cinematographer - April 2012 - 49
American Cinematographer - April 2012 - 50
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American Cinematographer - April 2012 - 59
American Cinematographer - April 2012 - 60
American Cinematographer - April 2012 - 61
American Cinematographer - April 2012 - 62
American Cinematographer - April 2012 - 63
American Cinematographer - April 2012 - Sundance Standouts
American Cinematographer - April 2012 - 65
American Cinematographer - April 2012 - 66
American Cinematographer - April 2012 - 67
American Cinematographer - April 2012 - 68
American Cinematographer - April 2012 - 69
American Cinematographer - April 2012 - 70
American Cinematographer - April 2012 - 71
American Cinematographer - April 2012 - 72
American Cinematographer - April 2012 - 73
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American Cinematographer - April 2012 - 77
American Cinematographer - April 2012 - 78
American Cinematographer - April 2012 - 79
American Cinematographer - April 2012 - 80
American Cinematographer - April 2012 - 81
American Cinematographer - April 2012 - Filmmakers’ Forum: Haskell Wexler, ASC
American Cinematographer - April 2012 - 83
American Cinematographer - April 2012 - 84
American Cinematographer - April 2012 - 85
American Cinematographer - April 2012 - 86
American Cinematographer - April 2012 - 87
American Cinematographer - April 2012 - New Products & Services
American Cinematographer - April 2012 - 89
American Cinematographer - April 2012 - 90
American Cinematographer - April 2012 - 91
American Cinematographer - April 2012 - 92
American Cinematographer - April 2012 - 93
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American Cinematographer - April 2012 - 97
American Cinematographer - April 2012 - 98
American Cinematographer - April 2012 - 99
American Cinematographer - April 2012 - 100
American Cinematographer - April 2012 - 101
American Cinematographer - April 2012 - International Marketplace
American Cinematographer - April 2012 - Classified Ads
American Cinematographer - April 2012 - Ad Index
American Cinematographer - April 2012 - 105
American Cinematographer - April 2012 - Clubhouse News
American Cinematographer - April 2012 - 107
American Cinematographer - April 2012 - ASC Close-Up: Alar Kivilo
American Cinematographer - April 2012 - Cover3
American Cinematographer - April 2012 - Cover4
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