American Cinematographer - May 2013 - 32

On location in India, Quinn prepares to use the Arri Alexa Studio with his own vintage
Cooke zoom and his homemade bungee rig. Next to him is key grip Sanjay Sami, and at far
left (wearing hat) is gaffer Mulchand Dedhia.

wobble a bit! It just takes practice.”
The rig was perfect for filming
Changez and Bobby talking at the table.
Bending over a long eyepiece, Quinn could
do an over-the-shoulder, push into a single
or just improvise as the actors played the
scene.
Quinn used dollies for the long opening sequence, which takes place at night
and cuts back-and-forth among various
characters and locations, generating a sense
of foreboding. The montage starts at a
backyard party in Lahore, where guests are
seated on the ground listening to music, and
it ends with kidnappers grabbing the American professor off the street, throwing him
into a car and speeding off.
“Mira wanted to capture the musicians’ performance live,” says Quinn. “Our
main take was [facing] the singers for the
entire length of their 20-minute song. We
spent the rest of the evening doing coverage, using two cameras and shooting wide
open.” The A camera, rigged with the
vintage Cooke zoom and operated by
Quinn, was on a bungee rig hanging off a
dolly. The B camera, an Alexa Studio
equipped with the Optimo, was operated by
Indian cinematographer Shanker Raman,
who improvised from a dolly and 40' of
track.
“We shot everything from one direction the first night, and from the opposite
direction the second,” says Quinn. “Shoot32

May 2013

ing wide open on longer lenses gave us very
shallow depth-of-field. Your eye falls on one
spot in the frame, and the rest is kind of
smeared, so the image has a slightly mysterious quality.”
The sequence was shot on location
in an upscale neighborhood of New Delhi.
Quinn kept the key characters wrapped in
soft sidelight by bouncing into clay-coats
placed as far back as possible, or using
direct Arri T12s double diffused through
muslin and/or Grid Cloth. To illuminate the
large yard, his crew placed small Fay bulbs
or nook lights to uplight trees and foliage to
create depth. The minimal fill was created
by small fixtures, candles and torches scattered around the space.
New York exteriors were shot in
Manhattan, while interiors were filmed in
Atlanta, Ga. For these scenes, “Mira
wanted crisp daylight, blue skies and cool
light,” Quinn recalls. “It’s a noticeable
contrast to the Pakistan scenes, where the
light has a kind of dusty warmth.”
A key set in America is Erica’s Brooklyn apartment, and most of the scenes there
take place at night. In one scene, Quinn had
to do a tracking shot down the length of
the loft as Erica and Changez enter the
apartment and move through patches of
light and shadow. He recalls, “There were
two long walls of windows at a right angle
to one another, and we positioned Arri T12s
on Condors about 250 feet away, out in the
American Cinematographer

street. It gave a sense of streetlight coming
in and projected the window frames onto
the walls. We used Lee 013 [Straw Tint] gels
in front of the lights as our streetlight color.”
In the bedroom, Erica moves
between shadows and crisp light — what
Quinn calls “that old-Hollywood, hard
beauty light” — whereas Changez has no
direct light on him. He is lit solely by the
bounce off Erica’s face and body. “He is in
that kind of murky place, just as their relationship is,” says Quinn.
The cinematographer has high
praise for 1st AC Stanley Fernandez Jr., 2nd
AC Braden Belmonte, Indian gaffer Mulchand Dedhia, Indian key grip Sanjay Sami,
digital-imaging technician Bjorn G. Jackson,
and all of his Atlanta and New York
crewmembers.
Quinn credits colorist Joe Gawler at
Harbor Pictures with “pulling the very best
out of the ProRes and ArriRaw data in the
DI. I find that with digital cameras, the color
information from middle gray to black is
weak; the amount of chroma data seems to
correlate directly with luminance data, so in
the darker areas of the image, there is very
little color information to work with. Joe
and I worked to build color contrast in the
shadows to give the image more film-like
depth.”
For Quinn, one of the most unexpected joys of working with Nair has been
learning yoga. “Starting with Monsoon
Wedding, Mira brought serious yoga teachers aboard each production. Every morning
for an hour or so, they lead the crew in
yoga. The benefit is energy, health and flexibility. Filmmaking is hard on people — the
long hours can beat you down. Yoga
bolsters your spirit and gives you extra
strength when that 12th or 13th hour
comes along. Thanks to Mira, yoga has
become an important part of my life.”

TECHNICAL SPECS
2.40:1
Digital Capture and 35mm
Arri Alexa Studio; Arricam Lite
Cooke, Angenieux, Zeiss
Kodak Vision2 250D 5205
Digital Intermediate
●



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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