American Cinematographer - July 2009 - 33
Spinotti pulled out a Source Four HMI ERS and bounced it into the tiled wall. “Suddenly, the light was very interesting. It bounced off the tiles and felt like light coming through the door; it was crisp but also somehow soft. It played great on the actors’ faces and was extremely effective. Michael really loved it, and we ended up shooting the scene with that single source. As we moved around for coverage, Bob [Krattiger] would adjust the light right and left, according to the angles.” The scene in which Dillinger and Frechette meet was shot at Chicago’s historic Steuben Club. “Unfortunately, the location is so historic we couldn’t mount anything to the walls or alter the existing lighting, and the camera was looking everywhere,” laments Spinotti. “It was a very tricky situation, but Bob and I came up with a solution.” They hid an 8'x8' frame of full gridcloth and an LCD crate behind a pillar in the location, then placed a Source Four (warmed up to match the practicals) behind another pillar, projecting the light across the room into the diffusion. “That gave us a very thin piece of equipment that could be hidden, and by using the Source Four from a distance, we could keep all the hardware out of the shots,” says Spinotti. “With digital cameras, there aren’t any steadfast rules, and I believe that gives me a huge amount of freedom,” he concludes. “The medium is romantic, interesting and beautiful, but it also looks real. And there’s so much you can do in post! Film has a certain kind of quality that cannot be matched by digital technology, but at times, the advantages digital has over film are important for the language and the contents of the story you’re telling, and that determines your choice. “I always emphasize to students that the technology is only a minor part of the job — and it’s the easy side, really. The hard part is the art of storytelling. Once you work out how to tell your story, the rest is just putting that plan into action.” I TECHNICAL SPECS 2.40:1 High-Definition Video and Super 35mm HD: Sony CineAlta F23, HDC-F950, PMW-EX1 Fujinon and Zeiss lenses Super 35mm: Arri 435, 235 Cooke S4 lenses Kodak Vision3 500T 5219 Digital Intermediate 33
http://www.kinoflo.com
http://www.kinoflo.com
American Cinematographer - July 2009
Table of Contents for the Digital Edition of American Cinematographer - July 2009
American Cinematographer - July 2009
Contents
Editor’s Note
Short Takes: Puppy Love
Production Slate: Moon and Séraphine
Big Guns
Impressionistic Cinema
Risk and Valor
Terror on the Tracks
Post Focus: Mega Playground’s DP Dailies
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Jack Cardiff, BSC
Clubhouse News
ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - American Cinematographer - July 2009
American Cinematographer - July 2009 - Cover2
American Cinematographer - July 2009 - 1
American Cinematographer - July 2009 - 2
American Cinematographer - July 2009 - Contents
American Cinematographer - July 2009 - 4
American Cinematographer - July 2009 - 5
American Cinematographer - July 2009 - 6
American Cinematographer - July 2009 - 7
American Cinematographer - July 2009 - Editor’s Note
American Cinematographer - July 2009 - 9
American Cinematographer - July 2009 - Short Takes: Puppy Love
American Cinematographer - July 2009 - 11
American Cinematographer - July 2009 - 12
American Cinematographer - July 2009 - 13
American Cinematographer - July 2009 - Production Slate: Moon and Séraphine
American Cinematographer - July 2009 - 15
American Cinematographer - July 2009 - 16
American Cinematographer - July 2009 - 17
American Cinematographer - July 2009 - 18
American Cinematographer - July 2009 - 19
American Cinematographer - July 2009 - 20
American Cinematographer - July 2009 - 21
American Cinematographer - July 2009 - 22
American Cinematographer - July 2009 - 23
American Cinematographer - July 2009 - Big Guns
American Cinematographer - July 2009 - 25
American Cinematographer - July 2009 - 26
American Cinematographer - July 2009 - 27
American Cinematographer - July 2009 - 28
American Cinematographer - July 2009 - 29
American Cinematographer - July 2009 - 30
American Cinematographer - July 2009 - 31
American Cinematographer - July 2009 - 32
American Cinematographer - July 2009 - 33
American Cinematographer - July 2009 - Impressionistic Cinema
American Cinematographer - July 2009 - 35
American Cinematographer - July 2009 - 36
American Cinematographer - July 2009 - 37
American Cinematographer - July 2009 - 38
American Cinematographer - July 2009 - 39
American Cinematographer - July 2009 - 40
American Cinematographer - July 2009 - 41
American Cinematographer - July 2009 - 42
American Cinematographer - July 2009 - 43
American Cinematographer - July 2009 - Risk and Valor
American Cinematographer - July 2009 - 45
American Cinematographer - July 2009 - 46
American Cinematographer - July 2009 - 47
American Cinematographer - July 2009 - 48
American Cinematographer - July 2009 - 49
American Cinematographer - July 2009 - 50
American Cinematographer - July 2009 - 51
American Cinematographer - July 2009 - Terror on the Tracks
American Cinematographer - July 2009 - 53
American Cinematographer - July 2009 - 54
American Cinematographer - July 2009 - 55
American Cinematographer - July 2009 - 56
American Cinematographer - July 2009 - 57
American Cinematographer - July 2009 - 58
American Cinematographer - July 2009 - 59
American Cinematographer - July 2009 - Post Focus: Mega Playground’s DP Dailies
American Cinematographer - July 2009 - 61
American Cinematographer - July 2009 - 62
American Cinematographer - July 2009 - 63
American Cinematographer - July 2009 - New Products & Services
American Cinematographer - July 2009 - 65
American Cinematographer - July 2009 - 66
American Cinematographer - July 2009 - 67
American Cinematographer - July 2009 - International Marketplace
American Cinematographer - July 2009 - Classified Ads
American Cinematographer - July 2009 - Ad Index
American Cinematographer - July 2009 - 71
American Cinematographer - July 2009 - In Memoriam: Jack Cardiff, BSC
American Cinematographer - July 2009 - 73
American Cinematographer - July 2009 - Clubhouse News
American Cinematographer - July 2009 - 75
American Cinematographer - July 2009 - ASC Close-Up: Mark Irwin
American Cinematographer - July 2009 - Cover3
American Cinematographer - July 2009 - Cover4
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