American Cinematographer - May 2016 - 53
windows on new houses have a gel that,
combined with the polarizer, creates a
rainbow effect."
Bélanger also employed an
Angenieux Optimo 24-290mm (T2.8)
zoom for a slow-motion shot, taken
from a distance, in which Davis walks
on a busy New York sidewalk while
wearing headphones and listening to
classic rock; the surrounding pedestrians
appear to walk backwards while Davis
moves forward. The sequence harks
back to Bélanger's music-video days.
With the Alexa on a tripod - a rare use
of sticks on the production - and
shooting at 120 fps, the director had
Gyllenhaal walk backwards against the
flow, and the footage was reversed in
post.
Although movie lights were
rarely employed, gaffer Jason Velez and
his electrical team showed up at locations a day or two in advance to put all
the practicals on DMX dimmers that
were wirelessly controlled via the
Luminair iPad app. Velez had not previously used the system, so he reached out
to somebody who had: Montreal gaffer
Eames Gagnon, who worked with
Bélanger on Brooklyn.
Velez's crew built a wireless local
network with the Ethernet signal transferred into DMX via an Enttec Open
DMX Ethernet (ODE) box. Once the
signal was translated, an RC4 RF transmitter could communicate with palmsized transceivers located at dimmers all
around the location. "I could roam
around with an iPad and tweak practicals and any lights we had hidden," says
the New York-based Velez.
In crafting Davis' modern, openconcept house, Paino built an extension
onto the front of an existing home in
the Long Island, New York, town of
Roslyn. The interior's focal point is the
kitchen's center island and range hood.
For a night scene in which Davis first
brings Karen to his home, the island's
light-gray granite countertop was illuminated from underneath by LiteGear's
soft VHO Pro LED 60-X1 Hybrid
LiteRibbon, which allowed the crew to
switch between cool and warm bulbs.
The range hood held eight recessed 12volt, 20-watt halogen bi-pin bulbs
pointing directly down and wired into a
dimmer system; the counter surface
provided ideal reflection.
As Bélanger picked up various
shots, Velez performed live dimming of
the halogen bulbs, lowering levels in
wide shots where they would be in
frame and otherwise overexposed, and
raising them for close-ups. "Everywhere
Naomi moved as she roamed around
the island and had her exchange with
Jake, she looked phenomenal," Velez
recalls. The room also had several coolwhite practicals, including the original
house's overhead recessed lights, which
the crew used occasionally. Four 1K
nook lights provided accent outside in
the garden.
To maintain consistency with the
natural light that came through the
http://www.mactechled.com
American Cinematographer - May 2016
Table of Contents for the Digital Edition of American Cinematographer - May 2016
Contents
American Cinematographer - May 2016 - Cover1
American Cinematographer - May 2016 - Cover2
American Cinematographer - May 2016 - 1
American Cinematographer - May 2016 - 2
American Cinematographer - May 2016 - Contents
American Cinematographer - May 2016 - 4
American Cinematographer - May 2016 - 5
American Cinematographer - May 2016 - 6
American Cinematographer - May 2016 - 7
American Cinematographer - May 2016 - 8
American Cinematographer - May 2016 - 9
American Cinematographer - May 2016 - 10
American Cinematographer - May 2016 - 11
American Cinematographer - May 2016 - 12
American Cinematographer - May 2016 - 13
American Cinematographer - May 2016 - 14
American Cinematographer - May 2016 - 15
American Cinematographer - May 2016 - 16
American Cinematographer - May 2016 - 17
American Cinematographer - May 2016 - 18
American Cinematographer - May 2016 - 19
American Cinematographer - May 2016 - 20
American Cinematographer - May 2016 - 21
American Cinematographer - May 2016 - 22
American Cinematographer - May 2016 - 23
American Cinematographer - May 2016 - 24
American Cinematographer - May 2016 - 25
American Cinematographer - May 2016 - 26
American Cinematographer - May 2016 - 27
American Cinematographer - May 2016 - 28
American Cinematographer - May 2016 - 29
American Cinematographer - May 2016 - 30
American Cinematographer - May 2016 - 31
American Cinematographer - May 2016 - 32
American Cinematographer - May 2016 - 33
American Cinematographer - May 2016 - 34
American Cinematographer - May 2016 - 35
American Cinematographer - May 2016 - 36
American Cinematographer - May 2016 - 37
American Cinematographer - May 2016 - 38
American Cinematographer - May 2016 - 39
American Cinematographer - May 2016 - 40
American Cinematographer - May 2016 - 41
American Cinematographer - May 2016 - 42
American Cinematographer - May 2016 - 43
American Cinematographer - May 2016 - 44
American Cinematographer - May 2016 - 45
American Cinematographer - May 2016 - 46
American Cinematographer - May 2016 - 47
American Cinematographer - May 2016 - 48
American Cinematographer - May 2016 - 49
American Cinematographer - May 2016 - 50
American Cinematographer - May 2016 - 51
American Cinematographer - May 2016 - 52
American Cinematographer - May 2016 - 53
American Cinematographer - May 2016 - 54
American Cinematographer - May 2016 - 55
American Cinematographer - May 2016 - 56
American Cinematographer - May 2016 - 57
American Cinematographer - May 2016 - 58
American Cinematographer - May 2016 - 59
American Cinematographer - May 2016 - 60
American Cinematographer - May 2016 - 61
American Cinematographer - May 2016 - 62
American Cinematographer - May 2016 - 63
American Cinematographer - May 2016 - 64
American Cinematographer - May 2016 - 65
American Cinematographer - May 2016 - 66
American Cinematographer - May 2016 - 67
American Cinematographer - May 2016 - 68
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American Cinematographer - May 2016 - 70
American Cinematographer - May 2016 - 71
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American Cinematographer - May 2016 - 85
American Cinematographer - May 2016 - 86
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American Cinematographer - May 2016 - Cover3
American Cinematographer - May 2016 - Cover4
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