American Cinematographer - July 2007 - 41
5k N for a variety of purposes.” Duggan found LEDs well suited to the terrorists’ mobile command center. “Gabriel has a command center in the trailer of a semi, and it’s basically a series of booths with a computer in each one. For reasons of practicality, I used the LEDs almost exclusively on this set, with some Kinos in the ceiling to create ambience. We were able to hide the LED panels in all sorts of places on this set, because the directional quality of the light is quite amazing. Once they are off-axis to the lens, there’s no spill at all.“ The LEDs also proved to be very useful as eyelights. “I always make sure the actor has detail in his eyes, because that’s where a lot of the performance is,” notes Duggan. “It’s one of the main reasons I tend not to use a lot of toplight on actors. There’s a scene in the power station where Bruce is leaning over a computer console, and we had three moving cameras on him: a Technocrane circling the action, a Steadicam on a longer lens following in the shadow of the crane, and another camera hidden behind a 5k 5k A rig dubbed “The Commutator” (a wooden mockup of rotor blades) and old-fashioned whirly-barrels (vertical, cylindrical versions of the rotor blades) were used to creative believable lighting for a nighttime helicopter sequence. The A camera was equipped with a 65mm lens; the B camera with a 75mm lens; and the C camera with a 27mm lens. Diagram and photo courtesy of Simon Duggan. box. The only way I could light Bruce was by using the LEDs from a low angle. He had some initial concerns, but when he realized the angle of the lighting provided a strong eyelight, he was more than happy. I rarely use eyelights mounted on cameras, but given these types of shots, I had a 2by-6-inch LED Mini Litepanel mounted on the Steadicam, just to give that reflection to Bruce’s eyes.” The use of soft fluorescent light paid off for the film’s female stars as well. “There’s not much you have to do for Maggie Q and Mary Elizabeth Winstead, but fluorescents are a reflective light source that fills out imperfections in the skin,” says Duggan. “Using them as my key lights meant I didn’t need to use any softening filters throughout the film.” At the other end of the spectrum, the BeBee Night Light proved to be a favorite for lighting large exteriors and interiors.“The BeBee saved American Cinematographer 41
American Cinematographer - July 2007
Table of Contents for the Digital Edition of American Cinematographer - July 2007
Contents
Editor’s Note
DVD Playback
Production Slate
One-Man Riot Squad
Laws of the Jungle
A Hollywood Whodunit
Pièce de Résistance
Short Takes
Post Focus
Filmmakers’ Forum
New Products & Services
Points East
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up
American Cinematographer - July 2007 - Cover1
American Cinematographer - July 2007 - Cover2
American Cinematographer - July 2007 - 1
American Cinematographer - July 2007 - 2
American Cinematographer - July 2007 - Contents
American Cinematographer - July 2007 - 4
American Cinematographer - July 2007 - 5
American Cinematographer - July 2007 - 6
American Cinematographer - July 2007 - 7
American Cinematographer - July 2007 - Editor’s Note
American Cinematographer - July 2007 - 9
American Cinematographer - July 2007 - 10
American Cinematographer - July 2007 - 11
American Cinematographer - July 2007 - DVD Playback
American Cinematographer - July 2007 - 13
American Cinematographer - July 2007 - 14
American Cinematographer - July 2007 - 15
American Cinematographer - July 2007 - 16
American Cinematographer - July 2007 - 17
American Cinematographer - July 2007 - Production Slate
American Cinematographer - July 2007 - 19
American Cinematographer - July 2007 - 20
American Cinematographer - July 2007 - 21
American Cinematographer - July 2007 - 22
American Cinematographer - July 2007 - 23
American Cinematographer - July 2007 - 24
American Cinematographer - July 2007 - 25
American Cinematographer - July 2007 - 26
American Cinematographer - July 2007 - 27
American Cinematographer - July 2007 - 28
American Cinematographer - July 2007 - 29
American Cinematographer - July 2007 - 30
American Cinematographer - July 2007 - 31
American Cinematographer - July 2007 - One-Man Riot Squad
American Cinematographer - July 2007 - 33
American Cinematographer - July 2007 - 34
American Cinematographer - July 2007 - 35
American Cinematographer - July 2007 - 36
American Cinematographer - July 2007 - 37
American Cinematographer - July 2007 - 38
American Cinematographer - July 2007 - 39
American Cinematographer - July 2007 - 40
American Cinematographer - July 2007 - 41
American Cinematographer - July 2007 - 42
American Cinematographer - July 2007 - 43
American Cinematographer - July 2007 - Laws of the Jungle
American Cinematographer - July 2007 - 45
American Cinematographer - July 2007 - 46
American Cinematographer - July 2007 - 47
American Cinematographer - July 2007 - 48
American Cinematographer - July 2007 - 49
American Cinematographer - July 2007 - 50
American Cinematographer - July 2007 - 51
American Cinematographer - July 2007 - 52
American Cinematographer - July 2007 - 53
American Cinematographer - July 2007 - A Hollywood Whodunit
American Cinematographer - July 2007 - 55
American Cinematographer - July 2007 - 56
American Cinematographer - July 2007 - 57
American Cinematographer - July 2007 - 58
American Cinematographer - July 2007 - 59
American Cinematographer - July 2007 - 60
American Cinematographer - July 2007 - 61
American Cinematographer - July 2007 - Pièce de Résistance
American Cinematographer - July 2007 - 63
American Cinematographer - July 2007 - 64
American Cinematographer - July 2007 - 65
American Cinematographer - July 2007 - 66
American Cinematographer - July 2007 - 67
American Cinematographer - July 2007 - 68
American Cinematographer - July 2007 - 69
American Cinematographer - July 2007 - 70
American Cinematographer - July 2007 - 71
American Cinematographer - July 2007 - Short Takes
American Cinematographer - July 2007 - 73
American Cinematographer - July 2007 - 74
American Cinematographer - July 2007 - 75
American Cinematographer - July 2007 - 76
American Cinematographer - July 2007 - 77
American Cinematographer - July 2007 - Post Focus
American Cinematographer - July 2007 - 79
American Cinematographer - July 2007 - 80
American Cinematographer - July 2007 - 81
American Cinematographer - July 2007 - 82
American Cinematographer - July 2007 - 83
American Cinematographer - July 2007 - Filmmakers’ Forum
American Cinematographer - July 2007 - 85
American Cinematographer - July 2007 - New Products & Services
American Cinematographer - July 2007 - 87
American Cinematographer - July 2007 - 88
American Cinematographer - July 2007 - 89
American Cinematographer - July 2007 - 90
American Cinematographer - July 2007 - 91
American Cinematographer - July 2007 - Points East
American Cinematographer - July 2007 - 93
American Cinematographer - July 2007 - International Marketplace
American Cinematographer - July 2007 - Classified Ads
American Cinematographer - July 2007 - Ad Index
American Cinematographer - July 2007 - 97
American Cinematographer - July 2007 - Clubhouse News
American Cinematographer - July 2007 - 99
American Cinematographer - July 2007 - ASC Close-Up
American Cinematographer - July 2007 - Cover3
American Cinematographer - July 2007 - Cover4
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