American Cinematographer - May 2013 - 30

or Quarter Grid Cloth or a Half Soft Frost
rag over the whole opening, effectively
double diffusing the source.”
To suggest a beam of direct sunlight,
a 12K Par with a narrow lens was aimed
into a custom-built 5'x5' mirror on a stand
atop a concrete catwalk that encircled the
roof. Gels varied the color of the sunlight.
For the actors’ keylight, says Quinn,
“we used a 12-by-8-foot piece of clay-coat
[UltraBounce] or muslin in a frame and
bounced small HMIs or even Kino Flos into
it. I wanted the light around the actors to be
really soft and natural, so we often would
diffuse it again with a loose rag of Half Soft
Frost really close to the actors, smearing the
light just a bit more. Highlights in the eyes
become much punchier on digital than they
do on film. It can look almost vampire-like,
and the layer of Half Soft Frost helps to
create a much softer, more natural-looking
glow in the eyes.”
Quinn was especially pleased with
the Alexa Studio’s internal 1.5ND filter. “It
doesn’t get in the way of the viewing
system, and when you look through the
optical viewfinder, you still get all the light
that’s coming through the lens,” he says.
“Occasionally we had to also add NDs. We
always tried to shoot close to wide open,
somewhere between an f2.8 and an f4.5.”
In prep, Quinn shot tests comparing
ProRes 4:2:2 to ArriRaw. “We couldn’t
really afford to shoot ArriRaw, but I wanted
to see if I could get away with shooting
4:2:2 for a 2.40:1 aspect ratio without
losing too much image quality. ArriRaw
looked slightly better, but it wasn’t a huge
difference. I knew we would feel it on a few
wide landscape shots, though, so we
brought three ArriRaw Codex mags and
used them for those shots.”
Quinn shot most of the picture
handheld or on a bungee rig he created. “I
like the camera to float and move around
and react, and for years I have been using
this simple rig that’s basically a long
bungee. I use long lengths of latex surgical
tubing and hang it from the highest point
possible, using webbing and carabiners to
attach the camera and fine-tune its hang
point. If the camera hovers about 3 feet off
the ground, I can move it 5 or 6 feet in any
direction with almost no effort. If your arms
aren’t used to it, though, the camera can

Top and middle:
Changez speaks
with Bobby (Liev
Shreiber), a
journalist/covert
CIA operative, in
a teahouse.
Bottom:
Musicians play at
a backyard party
in Pakistan.

30

May 2013

American Cinematographer



American Cinematographer - May 2013

Table of Contents for the Digital Edition of American Cinematographer - May 2013

American Cinematographer - May 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “Suit & Tie”
Production Slate: Trance • The Reluctant Fundamentalist
Surviving the Future
A Trailblazer’s Tale
Conjuring Hope
The ABCs of DMX
Star Tech
Hot Shots
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - American Cinematographer - May 2013
American Cinematographer - May 2013 - Cover2
American Cinematographer - May 2013 - 1
American Cinematographer - May 2013 - 2
American Cinematographer - May 2013 - Contents
American Cinematographer - May 2013 - 4
American Cinematographer - May 2013 - 5
American Cinematographer - May 2013 - 6
American Cinematographer - May 2013 - 7
American Cinematographer - May 2013 - 8
American Cinematographer - May 2013 - 9
American Cinematographer - May 2013 - Editor’s Note
American Cinematographer - May 2013 - 11
American Cinematographer - May 2013 - President’s Desk
American Cinematographer - May 2013 - 13
American Cinematographer - May 2013 - Short Takes: “Suit & Tie”
American Cinematographer - May 2013 - 15
American Cinematographer - May 2013 - 16
American Cinematographer - May 2013 - 17
American Cinematographer - May 2013 - 18
American Cinematographer - May 2013 - 19
American Cinematographer - May 2013 - Production Slate: Trance • The Reluctant Fundamentalist
American Cinematographer - May 2013 - 21
American Cinematographer - May 2013 - 22
American Cinematographer - May 2013 - 23
American Cinematographer - May 2013 - 24
American Cinematographer - May 2013 - 25
American Cinematographer - May 2013 - 26
American Cinematographer - May 2013 - 27
American Cinematographer - May 2013 - 28
American Cinematographer - May 2013 - 29
American Cinematographer - May 2013 - 30
American Cinematographer - May 2013 - 31
American Cinematographer - May 2013 - 32
American Cinematographer - May 2013 - 33
American Cinematographer - May 2013 - Surviving the Future
American Cinematographer - May 2013 - 35
American Cinematographer - May 2013 - 36
American Cinematographer - May 2013 - 37
American Cinematographer - May 2013 - 38
American Cinematographer - May 2013 - 39
American Cinematographer - May 2013 - 40
American Cinematographer - May 2013 - 41
American Cinematographer - May 2013 - 42
American Cinematographer - May 2013 - 43
American Cinematographer - May 2013 - 44
American Cinematographer - May 2013 - 45
American Cinematographer - May 2013 - 46
American Cinematographer - May 2013 - 47
American Cinematographer - May 2013 - A Trailblazer’s Tale
American Cinematographer - May 2013 - 49
American Cinematographer - May 2013 - 50
American Cinematographer - May 2013 - 51
American Cinematographer - May 2013 - 52
American Cinematographer - May 2013 - 53
American Cinematographer - May 2013 - 54
American Cinematographer - May 2013 - 55
American Cinematographer - May 2013 - Conjuring Hope
American Cinematographer - May 2013 - 57
American Cinematographer - May 2013 - 58
American Cinematographer - May 2013 - 59
American Cinematographer - May 2013 - 60
American Cinematographer - May 2013 - 61
American Cinematographer - May 2013 - 62
American Cinematographer - May 2013 - 63
American Cinematographer - May 2013 - 64
American Cinematographer - May 2013 - 65
American Cinematographer - May 2013 - The ABCs of DMX
American Cinematographer - May 2013 - 67
American Cinematographer - May 2013 - 68
American Cinematographer - May 2013 - 69
American Cinematographer - May 2013 - 70
American Cinematographer - May 2013 - 71
American Cinematographer - May 2013 - Star Tech
American Cinematographer - May 2013 - 73
American Cinematographer - May 2013 - 74
American Cinematographer - May 2013 - 75
American Cinematographer - May 2013 - 76
American Cinematographer - May 2013 - Hot Shots
American Cinematographer - May 2013 - 78
American Cinematographer - May 2013 - 79
American Cinematographer - May 2013 - 80
American Cinematographer - May 2013 - 81
American Cinematographer - May 2013 - 82
American Cinematographer - May 2013 - 83
American Cinematographer - May 2013 - 84
American Cinematographer - May 2013 - 85
American Cinematographer - May 2013 - 86
American Cinematographer - May 2013 - 87
American Cinematographer - May 2013 - 88
American Cinematographer - May 2013 - 89
American Cinematographer - May 2013 - New Products & Services
American Cinematographer - May 2013 - 91
American Cinematographer - May 2013 - 92
American Cinematographer - May 2013 - 93
American Cinematographer - May 2013 - International Marketplace
American Cinematographer - May 2013 - Classified Ads
American Cinematographer - May 2013 - Ad Index
American Cinematographer - May 2013 - 97
American Cinematographer - May 2013 - Clubhouse News
American Cinematographer - May 2013 - 99
American Cinematographer - May 2013 - ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - Cover3
American Cinematographer - May 2013 - Cover4
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