American Cinematographer - July 2010 - 20
Top left: The Cube is one of the show’s most striking — and challenging — sets. Top right: Cinematographer Sidney Sidell considers his next move. Bottom: The crew readies a shot on Eli Loker (Brendan Hines) outside of The Cube.
an operator running down the street, so they have an intentionally shaky feel. The scene cuts to an interior, a light suddenly comes on, and the camera — with a fisheye lens — starts turning and spinning, closing in and pulling back.” Sidell finessed the sequence with Bajpai during the telecine. Lie to Me’s most striking set has been dubbed “The Cube” — a 12'-square room with glass on all sides that serves as a kind of observation room for The Lightman Group. Avoiding reflections was a challenge throughout the first season, so
20 July 2010
for this season, the glass walls were gimbaled, and Sidell suggested that at the touch of a button, the panels should transition from clear to white, an effect realized with CGI. Viewers were introduced to the concept in this season’s first episode, after which it wasn’t mentioned again. Now, when characters enter The Cube, the panels are either all white or all clear; when the cube is white, each panel requires a 10K for backlight. Putting the panels on gimbals created a gap along the floor that Sidell filled with daylight-balanced fluorescent tubes. He also added a strip of blue
American Cinematographer
neon in the ceiling for a touch of color. In separate interviews with AC, both cinematographers extol the contributions of their shared crew, which includes A-camera operator Loren Yaconelli, Bcamera/Steadicam operator Barnaby Shapiro, 1st ACs Bob Heine and David Seekins, gaffer Chris Strong and key grip Sandy Williams. They also praise Bajpai for his work on final color. “Not only does Pankaj have an amazing knowledge of the digital process, but he also has an incredible aesthetic,” says Sidell. (The production’s digital magazines are downloaded to hard drives as DPX files, and Bajpai grades the images in Log-C format using Autodesk’s Lustre color-grading system.) Gallagher adds, “After seeing what Pankaj can do on the Lustre, I now light scenes based on what I know he can do later. That’s ultimately how you create a look that can’t be duplicated; it’s not just about what you do in-camera, it’s also about where you can go from there.”
TECHNICAL SPECS
16:9 Digital Capture Arri D-21 Cooke and Angenieux lenses
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American Cinematographer - July 2010
Table of Contents for the Digital Edition of American Cinematographer - July 2010
The International Journal of Motion Imaging - July 2010 Vol. 91 No. 7
Features
Dream Thieves (Inception)
Elements of Power (The Last Airbender)
An Emotional Rebirth (I Am Love)
Crowning Achievements (The Tudors)
Departments
Editor’s Note
President’s Desk
Short Takes: “Telephone”
Production Slate: Lie to Me • The Killer Inside Me
Post Focus: Enhancing Frozen
Filmmakers’ Forum: Gale Tattersall
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoria: Karl Malkames, ASC • Vincent Martinelli, ASC
Clubhouse News
ASC Close-Up: Thomas A. Del Ruth
American Cinematographer - July 2010 - The International Journal of Motion Imaging - July 2010 Vol. 91 No. 7
American Cinematographer - July 2010 - Cover2
American Cinematographer - July 2010 - 1
American Cinematographer - July 2010 - 2
American Cinematographer - July 2010 - 3
American Cinematographer - July 2010 - 4
American Cinematographer - July 2010 - 5
American Cinematographer - July 2010 - 6
American Cinematographer - July 2010 - 7
American Cinematographer - July 2010 - Editor’s Note
American Cinematographer - July 2010 - 9
American Cinematographer - July 2010 - President’s Desk
American Cinematographer - July 2010 - 11
American Cinematographer - July 2010 - Short Takes: “Telephone”
American Cinematographer - July 2010 - 13
American Cinematographer - July 2010 - 14
American Cinematographer - July 2010 - 15
American Cinematographer - July 2010 - Production Slate: Lie to Me • The Killer Inside Me
American Cinematographer - July 2010 - 17
American Cinematographer - July 2010 - 18
American Cinematographer - July 2010 - 19
American Cinematographer - July 2010 - 20
American Cinematographer - July 2010 - 21
American Cinematographer - July 2010 - 22
American Cinematographer - July 2010 - 23
American Cinematographer - July 2010 - 24
American Cinematographer - July 2010 - 25
American Cinematographer - July 2010 - Dream Thieves (Inception)
American Cinematographer - July 2010 - 27
American Cinematographer - July 2010 - 28
American Cinematographer - July 2010 - 29
American Cinematographer - July 2010 - 30
American Cinematographer - July 2010 - 31
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American Cinematographer - July 2010 - 37
American Cinematographer - July 2010 - 38
American Cinematographer - July 2010 - 39
American Cinematographer - July 2010 - Elements of Power (The Last Airbender)
American Cinematographer - July 2010 - 41
American Cinematographer - July 2010 - 42
American Cinematographer - July 2010 - 43
American Cinematographer - July 2010 - 44
American Cinematographer - July 2010 - 45
American Cinematographer - July 2010 - 46
American Cinematographer - July 2010 - 47
American Cinematographer - July 2010 - 48
American Cinematographer - July 2010 - 49
American Cinematographer - July 2010 - An Emotional Rebirth (I Am Love)
American Cinematographer - July 2010 - 51
American Cinematographer - July 2010 - 52
American Cinematographer - July 2010 - 53
American Cinematographer - July 2010 - 54
American Cinematographer - July 2010 - 55
American Cinematographer - July 2010 - 56
American Cinematographer - July 2010 - 57
American Cinematographer - July 2010 - Crowning Achievements (The Tudors)
American Cinematographer - July 2010 - 59
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American Cinematographer - July 2010 - 63
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American Cinematographer - July 2010 - 66
American Cinematographer - July 2010 - 67
American Cinematographer - July 2010 - Post Focus: Enhancing Frozen
American Cinematographer - July 2010 - 69
American Cinematographer - July 2010 - 70
American Cinematographer - July 2010 - 71
American Cinematographer - July 2010 - Filmmakers’ Forum: Gale Tattersall
American Cinematographer - July 2010 - 73
American Cinematographer - July 2010 - New Products & Services
American Cinematographer - July 2010 - 75
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American Cinematographer - July 2010 - 80
American Cinematographer - July 2010 - 81
American Cinematographer - July 2010 - International Marketplace
American Cinematographer - July 2010 - Classified Ads
American Cinematographer - July 2010 - Ad Index
American Cinematographer - July 2010 - 85
American Cinematographer - July 2010 - In Memoria: Karl Malkames, ASC • Vincent Martinelli, ASC
American Cinematographer - July 2010 - Clubhouse News
American Cinematographer - July 2010 - ASC Close-Up: Thomas A. Del Ruth
American Cinematographer - July 2010 - Cover3
American Cinematographer - July 2010 - Cover4
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