American Cinematographer - April 2012 - 63

High in Santa Monica. The location featured white walls and little production value, so our challenge became creating a prom look that would add scope to the location yet also feel like a credible high-school function. I began by breaking the lighting requirements into layers. First, I envisioned some sort of toplight ambience that could modulate in color temperature and lend an underexposed dynamic to the scene. For this we aimed two 18K HMIs into the ceiling and had three different-colored gels — Medium Orange/Red, Primary Green and Deep Blue — randomly swung into place to alter the bounce’s color. I then needed to create some interactive lighting for the dance floor and stage, where a band would be playing. We began by hanging a large mirror ball from the ceiling and aiming several Joker-mounted Source Four Lekos into it to cast shards of moving light on the students. To add to the setting’s “rock ’n’

roll” quality, we hung four Mac 5000 moving lights from trusses dropped down at the four corners of the dance floor; these would provide interesting light patterns and other colored beams. Finally, racks of Par cans gelled in different colors were placed on truss towers at the sides of the stage and immediately behind the band. With the prom’s general environmental lighting established, I turned to lighting the foreground action. Using a double-keylight strategy, I brought in a 12'x12' Full Grid frame and directed a 5K gelled with ½ CTB to create an underexposed wrap light. In keeping with the uplight motif necessitated by our camera moves, a brighter-level 4' 4-bank Kino was laid on the floor from the same lighting angle. Because of its ambition, Detention is probably the most difficult project I’ve worked on in the last 17 years. With Joseph at the helm, however, we all knew we were getting

something special and unique, and I’m very happy with what we were able to pull off. Detention certainly doesn’t look like the amount of money we had, but good photography comes down to taste, composition, production design and how you move the camera. Telling a story well doesn’t necessarily require a lot of money; it just takes creativity. Detention premiered at last year’s South by Southwest Film Festival and will be released by Samuel Goldwyn Films on April 13. ●

TECHNICAL SPECS
2.40:1 Digital Capture Red One MX Hawk V-Series, Kowa, Cooke, Angenieux

63


http://www.kinoflo.com

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
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American Cinematographer - April 2012 - 24
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American Cinematographer - April 2012 - 29
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 - 34
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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 - 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
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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
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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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