American Cinematographer - July 2012 - 63
because of the greater distance between Tom and the source we used a more powerful light, a Martin Mac 2K Profile Spot,” explains Bazelli. “We simply overlapped [the shot]. In the arena, we lit for a cool palette at first, matching the cool tones of the Bourbon Room performance, so the transition isn’t immediately obvious.” Once Jaxx is revealed to be in a crowded stadium, the cool palette changes to a warm one, and the fireworks begin. Showers of sparks erupt from the floor, spotlights flick across the arena, and hundreds of stage lights provide material expression of Arsenal’s power. “I was amazed by the Alexa’s dynamic range on this scene,” notes Bazelli. “It held bright fire and sparks with no problem, retaining all the color in the highlights.” Shankman wanted to create a wall of light behind the band that spelled out “Jaxx,” and the team accomplished this by using four giant pods
that each contained 36 Pars with scrollers dressed in octagonal gel frames. 1K Pars were mounted on tall towers lining the stage and on trusses overhead to form an “XX” that hangs over the stage (a reference to the singer’s surname). “The sign was so bright I had to stop down the lens in order to preserve detail in the highlights,” says Bazelli. Visible on amplifiers and on the stage floor are vintage Vari-Lite VL2C spot luminaires. “Those are some of the last still working in North America,” says Baldassari, who spent two months tracking them down. “That was the popular moving light in 1987, but nobody has them anymore. I was able to find somebody in Nashville who had about a dozen of them.” Bazelli says he and Shankman are very pleased with the finished scene: “I think the transition is great; it looks seamless, and it doesn’t feel like technology is superseding emotion. The trick
was to create the same color temperature, the same brightness in the backlight, so that there would be no visible change between the two shots.” Bazelli and colorist Kostas Theodosiou finessed the transition in the final color correction at FotoKem, where a Kodak filmemulation look-up table was applied to the entire picture. “Overall, we had an incredible team on this movie,” says Bazelli. “Everyone worked together to bring Adam’s vision to life.” ●
TECHNICAL SPECS
2.40:1 Digital Capture Arri Alexa Cooke S4, Angenieux Optimo, Leica Summilux
63
http://www.congofilms.tv
American Cinematographer - July 2012
Table of Contents for the Digital Edition of American Cinematographer - July 2012
American Cinematographer - July 2012
Contents
Editor’s Note
Short Takes: Keane’s “Silenced by the Night”
Production Slate: Trishna • Two and a Half Men
Ancient Aliens
High Anxiety
Hair-Metal Heroes
Shooting J.R.
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - American Cinematographer - July 2012
American Cinematographer - July 2012 - Cover2
American Cinematographer - July 2012 - 1
American Cinematographer - July 2012 - 2
American Cinematographer - July 2012 - Contents
American Cinematographer - July 2012 - 4
American Cinematographer - July 2012 - 5
American Cinematographer - July 2012 - 6
American Cinematographer - July 2012 - 7
American Cinematographer - July 2012 - Editor’s Note
American Cinematographer - July 2012 - 9
American Cinematographer - July 2012 - Short Takes: Keane’s “Silenced by the Night”
American Cinematographer - July 2012 - 11
American Cinematographer - July 2012 - 12
American Cinematographer - July 2012 - 13
American Cinematographer - July 2012 - 14
American Cinematographer - July 2012 - 15
American Cinematographer - July 2012 - Production Slate: Trishna • Two and a Half Men
American Cinematographer - July 2012 - 17
American Cinematographer - July 2012 - 18
American Cinematographer - July 2012 - 19
American Cinematographer - July 2012 - 20
American Cinematographer - July 2012 - 21
American Cinematographer - July 2012 - 22
American Cinematographer - July 2012 - 23
American Cinematographer - July 2012 - 24
American Cinematographer - July 2012 - 25
American Cinematographer - July 2012 - 26
American Cinematographer - July 2012 - 27
American Cinematographer - July 2012 - 28
American Cinematographer - July 2012 - 29
American Cinematographer - July 2012 - Ancient Aliens
American Cinematographer - July 2012 - 31
American Cinematographer - July 2012 - 32
American Cinematographer - July 2012 - 33
American Cinematographer - July 2012 - 34
American Cinematographer - July 2012 - 35
American Cinematographer - July 2012 - 36
American Cinematographer - July 2012 - 37
American Cinematographer - July 2012 - 38
American Cinematographer - July 2012 - 39
American Cinematographer - July 2012 - 40
American Cinematographer - July 2012 - 41
American Cinematographer - July 2012 - High Anxiety
American Cinematographer - July 2012 - 43
American Cinematographer - July 2012 - 44
American Cinematographer - July 2012 - 45
American Cinematographer - July 2012 - 46
American Cinematographer - July 2012 - 47
American Cinematographer - July 2012 - 48
American Cinematographer - July 2012 - 49
American Cinematographer - July 2012 - 50
American Cinematographer - July 2012 - 51
American Cinematographer - July 2012 - 52
American Cinematographer - July 2012 - 53
American Cinematographer - July 2012 - Hair-Metal Heroes
American Cinematographer - July 2012 - 55
American Cinematographer - July 2012 - 56
American Cinematographer - July 2012 - 57
American Cinematographer - July 2012 - 58
American Cinematographer - July 2012 - 59
American Cinematographer - July 2012 - 60
American Cinematographer - July 2012 - 61
American Cinematographer - July 2012 - 62
American Cinematographer - July 2012 - 63
American Cinematographer - July 2012 - Shooting J.R.
American Cinematographer - July 2012 - 65
American Cinematographer - July 2012 - 66
American Cinematographer - July 2012 - 67
American Cinematographer - July 2012 - 68
American Cinematographer - July 2012 - 69
American Cinematographer - July 2012 - 70
American Cinematographer - July 2012 - 71
American Cinematographer - July 2012 - New Products & Services
American Cinematographer - July 2012 - 73
American Cinematographer - July 2012 - 74
American Cinematographer - July 2012 - 75
American Cinematographer - July 2012 - 76
American Cinematographer - July 2012 - 77
American Cinematographer - July 2012 - 78
American Cinematographer - July 2012 - 79
American Cinematographer - July 2012 - 80
American Cinematographer - July 2012 - 81
American Cinematographer - July 2012 - International Marketplace
American Cinematographer - July 2012 - Classified Ads
American Cinematographer - July 2012 - Ad Index
American Cinematographer - July 2012 - 85
American Cinematographer - July 2012 - Clubhouse News
American Cinematographer - July 2012 - 87
American Cinematographer - July 2012 - ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - Cover3
American Cinematographer - July 2012 - Cover4
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