American Cinematographer - April 2012 - 54
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Back to School
Top: Catty cheerleaders Ione (Spencer Locke, left) and Alexis (Lindsey Morgan) align against Riley during the school football game. Middle: Relegated to team mascot, Riley dons the costume and weathers the ridicule. Bottom: In the men’s locker room, Riley confronts Billy about his terrible secret.
detail. I asked the art department to place dark burgundy curtains and some Art Deco sconces on the walls in the backgrounds of our shots. We created a general toplight ambience with two scrimmed-down Arri T12s gelled with 1⁄ CTB bouncing off the auditorium’s 2 ceiling. For the projector’s beam, we mounted a 400-watt HMI Joker to a
54 April 2012
19° Source Four Leko that was fitted with a motorized gobo spinner holding a slash-pattern gobo. The Joker was sporadically dimmed up and down on its ballast to provide fluctuation in the beam’s intensity, and the gobo spinner was set to barely create a rotational movement in the broken-beam pattern. Keylight on the actors was provided by
American Cinematographer
8'x8' Full Grid frames diffusing Image 80s gelled with 216 and ¼ CTB. The movie’s look gets darker and its tone more aggressive as the story progresses, and all of the final scenes take place at night. Lighting night exteriors for anamorphic on a low budget presented its own set of challenges, but I approached all of them in a similar fashion. Setting the Red to EI 640 at 4,200°K and using a ¼ CTB filter, I began with a toppy “moonlight” ambience that would be several stops under exposure. This source was mainly achieved by bouncing 18K Arrimax HMIs gelled with ¼ Plus Green into a 20'x20' “Flyswatter” UltraBounce rigged from 80' or 120' Condors. Next, a Condor carrying an 18K Fresnel HMI was used as a backlight source to edge out the scene and provide a more obvious moonlight feel. Then, some additional landscape lighting, glows in windows, and practical streetlights were placed in shot to add out-of-focus points of interest to the frame. Finally, 12'x12' ¾- or half-light sources (¼ CTB-gelled Image 80s) were used to create slightly underexposed, wrapping keylight on the characters. This nightexterior look was utilized for several sequences shot on the Downey Studios backlot, which provided many of the suburban neighborhoods for our night scenes, and for a high-school football game shot at Birmingham High in Van Nuys. For the football game, Joseph and
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: Footnote • 4:44 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: Footnote • 4:44 Last Day on Earth
American Cinematographer - April 2012 - 19
American Cinematographer - April 2012 - 20
American Cinematographer - April 2012 - 21
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American Cinematographer - April 2012 - 30
American Cinematographer - April 2012 - 31
American Cinematographer - April 2012 - Vice at the Vatican
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American Cinematographer - April 2012 - 43
American Cinematographer - April 2012 - Back to School
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American Cinematographer - April 2012 - 63
American Cinematographer - April 2012 - Sundance Standouts
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American Cinematographer - April 2012 - Filmmakers’ Forum: Haskell Wexler, ASC
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American Cinematographer - April 2012 - 84
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American Cinematographer - April 2012 - 86
American Cinematographer - April 2012 - 87
American Cinematographer - April 2012 - New Products & Services
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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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