American Cinematographer - April 2012 - 58
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Back to School
forest and comes to rest right in front of Billy. We created interactive lighting for the meteor in flight by swinging a small Z-boom stage crane overhead with a red-gelled Image 80 pointing straight down. The lighting effect that implies the off-screen explosion was created with a series of orange-gelled, red-gelled and yellow-gelled 2Ks running through Magic Gadgets flicker boxes and aimed into 4'x4' silver bounces. Another key set in the film is the location where the central characters all find themselves in detention on the day of their prom: Grizzly Lake High’s library. This was a practical location at Santa Monica High, and it featured an impressive ceiling grid of large, square fluorescent fixtures fitted with Cool White tubes. Although Cool Whites exhibit a fair amount of green in their output spectrum, they almost fit the movie’s color scheme, which frequently had me adding a cyan toplight fill. Keeping the existing bulbs saved hours of labor, but it also necessitated balancing any additional lighting to match a certain degree of the green. I then removed much of the green in the image via color-temp and tint controls on the Red camera. To help create a color contrast in the library, we added small practical lamps with orange lampshades to desks and countertops. These units were fitted with standard candelabra tungsten bulbs and not gelled to match the fluorescents. Consequently, when we pulled the green out of the image, these sources picked up a few points of magenta, but we found the effect negligible in that color range. The detention scenes called for several students to deliver long passages of exposition while seated, presenting us with a new blocking and editorial challenge. “Those scenes are a good example of the next level of my geometric-editing theory: using vectors,” explains Kahn. “Vectors deal with movement within the frame and movement of the camera. If I move the camera from leftto-right in one shot, and then move from left-to-right again in the next shot,
American Cinematographer
Top: In a nod to “torture-porn” horror movies, garish lighting and mixed color temps were used for the fictitious Cinderhella series. Bottom: Frames from Cinderhella. The final image is a greenscreen composite showing Cinderhella’s victim having her head detonated by a weird contraption as the characters watch in a movie theater. A locked-off camera allowed the actress’s head to be replaced with a watermelon loaded with fake blood for the head burst.
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April 2012
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
American Cinematographer - April 2012 - 22
American Cinematographer - April 2012 - 23
American Cinematographer - April 2012 - 24
American Cinematographer - April 2012 - 25
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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
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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
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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
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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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