American Cinematographer - April 2017 - 87
'home,' we used large soft sources
through windows and tried to create a
soft wrap around backlight without
being afraid of the dark. I used JokerLeko bounces and Kino Celeb LEDs to
augment the windows and/or practical
sources. I mostly use LEDs now near
actors because of the speed, versatility
and lack of heat."
Klein adds, "I like being on the
shadow side of the line, and in Six I
pushed that a little further than I have in
the past. I felt like a little more color and
contrast in the lighting was appropriate
for this story, and the LED, fluorescent
and quartz that were all over production
designer Erik Carlson's Navy FOB
[forward-operating base] sets helped
sculpt this into what it became. It's
always an organic process, and I'll allow
the sets and built-in lights to mold the
aesthetic. I let these 'work lights' do a lot
of the heavy lifting, so to speak.
Sometimes the color of a cool-white
fluorescent, for example, became the fill
color in an otherwise quartz environment. When you remain open to these
happy accidents, the lighting in certain
environments can surprise you and feel
genuine and simple when we've probably done a huge amount of work to
create a singular look."
Like Klein, Salas worked closely
with Carlson to fully integrate production design and cinematography on the
show. Referring to the aforementioned
storyline involving Rip and his young
charges, Salas recalls, "Rip and the other
hostages are sold to a militant group
that's based in an abandoned cement
factory. Here it was crucial for the practical sources to be part of the character
of that location, and different enough
from the practical lighting of our
forward-operating bases. Gaffer Matt
Malloy set up a 'practical show-and-tell'
with our amazing art department, where
we picked out several work lights for
that location, including hundreds of
flat-disc [standard industrial] LED
string lights that hung from tangles of
cables strung along the ceiling of every
hallway, as well as portable 4-foot vertical florescent tubes with a tripod base
http://nila.com
http://www.koernercamera.com
http://www.g-f-m.net
Table of Contents for the Digital Edition of American Cinematographer - April 2017
Contents
American Cinematographer - April 2017 - Intro
American Cinematographer - April 2017 - Cover1
American Cinematographer - April 2017 - Cover2
American Cinematographer - April 2017 - 1
American Cinematographer - April 2017 - 2
American Cinematographer - April 2017 - Contents
American Cinematographer - April 2017 - 4
American Cinematographer - April 2017 - 5
American Cinematographer - April 2017 - 6
American Cinematographer - April 2017 - 7
American Cinematographer - April 2017 - 8
American Cinematographer - April 2017 - 9
American Cinematographer - April 2017 - 10
American Cinematographer - April 2017 - 11
American Cinematographer - April 2017 - 12
American Cinematographer - April 2017 - 13
American Cinematographer - April 2017 - 14
American Cinematographer - April 2017 - 15
American Cinematographer - April 2017 - 16
American Cinematographer - April 2017 - 17
American Cinematographer - April 2017 - 18
American Cinematographer - April 2017 - 19
American Cinematographer - April 2017 - 20
American Cinematographer - April 2017 - 21
American Cinematographer - April 2017 - 22
American Cinematographer - April 2017 - 23
American Cinematographer - April 2017 - 24
American Cinematographer - April 2017 - 25
American Cinematographer - April 2017 - 26
American Cinematographer - April 2017 - 27
American Cinematographer - April 2017 - 28
American Cinematographer - April 2017 - 29
American Cinematographer - April 2017 - 30
American Cinematographer - April 2017 - 31
American Cinematographer - April 2017 - 32
American Cinematographer - April 2017 - 33
American Cinematographer - April 2017 - 34
American Cinematographer - April 2017 - 35
American Cinematographer - April 2017 - 35A
American Cinematographer - April 2017 - 35B
American Cinematographer - April 2017 - 36
American Cinematographer - April 2017 - 37
American Cinematographer - April 2017 - 38
American Cinematographer - April 2017 - 39
American Cinematographer - April 2017 - 40
American Cinematographer - April 2017 - 41
American Cinematographer - April 2017 - 42
American Cinematographer - April 2017 - 43
American Cinematographer - April 2017 - 44
American Cinematographer - April 2017 - 45
American Cinematographer - April 2017 - 46
American Cinematographer - April 2017 - 47
American Cinematographer - April 2017 - 48
American Cinematographer - April 2017 - 49
American Cinematographer - April 2017 - 50
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American Cinematographer - April 2017 - 60
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American Cinematographer - April 2017 - 65
American Cinematographer - April 2017 - 66
American Cinematographer - April 2017 - 67
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American Cinematographer - April 2017 - 70
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American Cinematographer - April 2017 - 90
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American Cinematographer - April 2017 - 107
American Cinematographer - April 2017 - 108
American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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