American Cinematographer - July 2011 - 73

Pars, which were in the prototype stage at that time. (They were soon added to my lighting package.) I used a similar setup when I shot Shaquille O’N eal against a greenscreen at 1,000 fps on the 4C and at 360 fps on the 4ER, with the cameras side-by-side. I started with 20 5K space lights in a half-court space. My key lights were four 20Ks, a pair of 20Ks for fill, and what we dubbed the “Par tree,” which comprised something like 20 1.2K Par cans mounted on a vertical stand. It helps to keep your directors and producers aware of the tools you’re going to need. In prep, the director and I will usually work out the best frame rate for the shot, and I’ll then light above that in case we want more. If I’m doing a spot with highspeed and 24-fps elements, I’ll start by lighting for high speed. If we want to go down to 24 fps, I’ll use ND on the lens or scrim the lights. I try not to change f-stops because that changes the look, but f-stops also depend on what I’m shooting. (For example, I wouldn’t want to shoot 1,000 fps at f16 unless it was specifically requested. We’re talking about a $15,000 lighting setup.) I still subscribe to the general rule of cinematography that your best f-stop is f5.6, but I’m happy anywhere between f4 and f8. HMIs pack a punch, but they tend to only go to 150 fps flicker free. After that, all bets are off, and you’re then dealing with shutter angles. (Film-camera shutters are in whole numbers, and digital shutter angles are in decimal places.) You can find your flicker windows with a cheat sheet, but you can also just do the math: In the U.S., all of our lights operate on a 60Hz system, so you can adjust your shutter and frame rate by multiples of 60 to get rid of the HMI ballast flicker. I’ve also seen 1K tungsten lights flicker at super-high frame rates. The theory is that because 1K globes don’t push out enough energy to keep the tungsten filament constantly lit, you might actually see the alternating current going through the globe. Narrowing your shutter angle when shooting high speed will make anything moving fast through the frame start to strobe. It works well for sports action. If you want water to sparkle as it flies off the face
ww.theasc.com w

Top and middle: Matlosz and his crew deploy a Phantom HD camera to shoot elements for a L’Oréal commercial directed by Tryan George. Bottom: A stand-in faces 100,000 watts of light as he is framed for the next take on a DTS 3-D spot Matlosz shot with an IDT highspeed camera for director Ross Cheng.

July 2011

73


http://ww.theasc.com

American Cinematographer - July 2011

Table of Contents for the Digital Edition of American Cinematographer - July 2011

American Cinematographer - July 2011
Contents
Editor’s Note
President’s Desk
Letters
Production Slate: Larry Crowne • Mortal Kombat
Monster Out of the Box
Ring of Power
Shot Down in Flames
A Cultural Cataclysm
Ascending Cinematography’s Summit
Post Focus: Prime Focus New York
Filmmakers’ Forum: Jim Matlosz
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Gerald Perry Finnerman, ASC
Clubhouse News
ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - American Cinematographer - July 2011
American Cinematographer - July 2011 - Cover2
American Cinematographer - July 2011 - 1
American Cinematographer - July 2011 - 2
American Cinematographer - July 2011 - Contents
American Cinematographer - July 2011 - 4
American Cinematographer - July 2011 - 5
American Cinematographer - July 2011 - 6
American Cinematographer - July 2011 - 7
American Cinematographer - July 2011 - Editor’s Note
American Cinematographer - July 2011 - 9
American Cinematographer - July 2011 - President’s Desk
American Cinematographer - July 2011 - 11
American Cinematographer - July 2011 - Letters
American Cinematographer - July 2011 - 13
American Cinematographer - July 2011 - Production Slate: Larry Crowne • Mortal Kombat
American Cinematographer - July 2011 - 15
American Cinematographer - July 2011 - 16
American Cinematographer - July 2011 - 17
American Cinematographer - July 2011 - 18
American Cinematographer - July 2011 - 19
American Cinematographer - July 2011 - 20
American Cinematographer - July 2011 - 21
American Cinematographer - July 2011 - 22
American Cinematographer - July 2011 - 23
American Cinematographer - July 2011 - Monster Out of the Box
American Cinematographer - July 2011 - 25
American Cinematographer - July 2011 - 26
American Cinematographer - July 2011 - 27
American Cinematographer - July 2011 - 28
American Cinematographer - July 2011 - 29
American Cinematographer - July 2011 - 30
American Cinematographer - July 2011 - 31
American Cinematographer - July 2011 - 32
American Cinematographer - July 2011 - 33
American Cinematographer - July 2011 - 34
American Cinematographer - July 2011 - 35
American Cinematographer - July 2011 - Ring of Power
American Cinematographer - July 2011 - 37
American Cinematographer - July 2011 - 38
American Cinematographer - July 2011 - 39
American Cinematographer - July 2011 - 40
American Cinematographer - July 2011 - 41
American Cinematographer - July 2011 - 42
American Cinematographer - July 2011 - 43
American Cinematographer - July 2011 - 44
American Cinematographer - July 2011 - 45
American Cinematographer - July 2011 - Shot Down in Flames
American Cinematographer - July 2011 - 47
American Cinematographer - July 2011 - 48
American Cinematographer - July 2011 - 49
American Cinematographer - July 2011 - 50
American Cinematographer - July 2011 - 51
American Cinematographer - July 2011 - 52
American Cinematographer - July 2011 - 53
American Cinematographer - July 2011 - A Cultural Cataclysm
American Cinematographer - July 2011 - 55
American Cinematographer - July 2011 - 56
American Cinematographer - July 2011 - 57
American Cinematographer - July 2011 - 58
American Cinematographer - July 2011 - 59
American Cinematographer - July 2011 - 60
American Cinematographer - July 2011 - 61
American Cinematographer - July 2011 - Ascending Cinematography’s Summit
American Cinematographer - July 2011 - 63
American Cinematographer - July 2011 - 64
American Cinematographer - July 2011 - 65
American Cinematographer - July 2011 - 66
American Cinematographer - July 2011 - 67
American Cinematographer - July 2011 - 68
American Cinematographer - July 2011 - 69
American Cinematographer - July 2011 - Post Focus: Prime Focus New York
American Cinematographer - July 2011 - 71
American Cinematographer - July 2011 - Filmmakers’ Forum: Jim Matlosz
American Cinematographer - July 2011 - 73
American Cinematographer - July 2011 - 74
American Cinematographer - July 2011 - 75
American Cinematographer - July 2011 - New Products & Services
American Cinematographer - July 2011 - 77
American Cinematographer - July 2011 - 78
American Cinematographer - July 2011 - 79
American Cinematographer - July 2011 - International Marketplace
American Cinematographer - July 2011 - Classified Ads
American Cinematographer - July 2011 - Ad Index
American Cinematographer - July 2011 - 83
American Cinematographer - July 2011 - In Memoriam: Gerald Perry Finnerman, ASC
American Cinematographer - July 2011 - 85
American Cinematographer - July 2011 - Clubhouse News
American Cinematographer - July 2011 - 87
American Cinematographer - July 2011 - ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - Cover3
American Cinematographer - July 2011 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com