American Cinematographer - August 2007 - 65

Bowie [A camera] and Ciaran Copelin [B camera], there wasn’t a single soft shot in the dailies. “I tried something with twocamera coverage on this film that I hadn’t done before,” he continues. “On most of the straight [dialogue] scenes, instead of doing the traditional wide and tight versions of the same shot, I decided to try putting the B camera in a totally different area, out of the shot space, to find a perspective that was nobody’s point of view. For example, if there was a dialogue scene on the street, the A camera [operated by Candide Franklyn] covered the main angle, and the B camera [operated by Roger Finlay] would step back with a long lens and shoot the scene through a car window or through the steering wheel, a neutral angle that reflected something of the period. It was an independent angle that was cuttable to other shots, and the editor [Michael Tronick] loved it. Pretty soon everyone started calling the B camera ‘the peeping camera.’” Bazelli used three Kodak Vision2 stocks, 50D 5201 for day exteriors, 500T 5218 for night exteriors, and 200T 5217 for all other material; these were rated normally and pull-processed one stop. “I found that [underdeveloping] really helped emphasize the period. When I overexposed to compensate for it, my printing lights were only about 5 points lower, so I thought I’d see what happened without compensating, and that gave me printer lights around 28-30. That would be fairly low for a photochemical finish, but my tests showed that a thinner negative yielded a better DI filmout; I wanted to create a range of transparent blacks that was reflective of the period. But to play it safe, I overexposed by 1⁄3 of a stop. “On projects finished photochemically I’ve done lots of overexposure — my lights would be in the high 40s or low 50s — but I’ve found it’s pretty much a waste of The production took over a big intersection in Toronto to film “Welcome to the ‘60s,” a duet between Tracy and her mother, Edna (John Travolta), that turns into a big ensemble number on the streets of downtown Baltimore. Even on big exteriors such as this, Bazelli and his collaborators strove to keep cool tones in the background to help flesh tones stand out. The bottom photo illustrates Bazelli’s lowangle approach to dance numbers. American Cinematographer 65

American Cinematographer - August 2007

Table of Contents for the Digital Edition of American Cinematographer - August 2007

Contents
Editor’s Note
Global Village
DVD Playback
Production Slate
Let There Be Light
Rock ’Em, Sock ’Em Robots
Ghost Writer
Dance Fever
Short Takes
Post Focus
New Products & Services
Points East
International Marketplace
Classified Ads
Ad Index
Clubhouse News
Clubhouse News
American Cinematographer - August 2007 - Cover1
American Cinematographer - August 2007 - Cover2
American Cinematographer - August 2007 - 1
American Cinematographer - August 2007 - 2
American Cinematographer - August 2007 - Contents
American Cinematographer - August 2007 - 4
American Cinematographer - August 2007 - 5
American Cinematographer - August 2007 - 6
American Cinematographer - August 2007 - 7
American Cinematographer - August 2007 - Editor’s Note
American Cinematographer - August 2007 - 9
American Cinematographer - August 2007 - Global Village
American Cinematographer - August 2007 - 11
American Cinematographer - August 2007 - 12
American Cinematographer - August 2007 - 13
American Cinematographer - August 2007 - 14
American Cinematographer - August 2007 - 15
American Cinematographer - August 2007 - DVD Playback
American Cinematographer - August 2007 - 17
American Cinematographer - August 2007 - 18
American Cinematographer - August 2007 - 19
American Cinematographer - August 2007 - 20
American Cinematographer - August 2007 - 21
American Cinematographer - August 2007 - Production Slate
American Cinematographer - August 2007 - 23
American Cinematographer - August 2007 - 24
American Cinematographer - August 2007 - 25
American Cinematographer - August 2007 - 26
American Cinematographer - August 2007 - 27
American Cinematographer - August 2007 - 28
American Cinematographer - August 2007 - 29
American Cinematographer - August 2007 - 30
American Cinematographer - August 2007 - 31
American Cinematographer - August 2007 - Let There Be Light
American Cinematographer - August 2007 - 33
American Cinematographer - August 2007 - 34
American Cinematographer - August 2007 - 35
American Cinematographer - August 2007 - 36
American Cinematographer - August 2007 - 37
American Cinematographer - August 2007 - 38
American Cinematographer - August 2007 - 39
American Cinematographer - August 2007 - 40
American Cinematographer - August 2007 - 41
American Cinematographer - August 2007 - 42
American Cinematographer - August 2007 - 43
American Cinematographer - August 2007 - Rock ’Em, Sock ’Em Robots
American Cinematographer - August 2007 - 45
American Cinematographer - August 2007 - 46
American Cinematographer - August 2007 - 47
American Cinematographer - August 2007 - 48
American Cinematographer - August 2007 - 49
American Cinematographer - August 2007 - 50
American Cinematographer - August 2007 - 51
American Cinematographer - August 2007 - 52
American Cinematographer - August 2007 - 53
American Cinematographer - August 2007 - Ghost Writer
American Cinematographer - August 2007 - 55
American Cinematographer - August 2007 - 56
American Cinematographer - August 2007 - 57
American Cinematographer - August 2007 - 58
American Cinematographer - August 2007 - 59
American Cinematographer - August 2007 - 60
American Cinematographer - August 2007 - 61
American Cinematographer - August 2007 - Dance Fever
American Cinematographer - August 2007 - 63
American Cinematographer - August 2007 - 64
American Cinematographer - August 2007 - 65
American Cinematographer - August 2007 - 66
American Cinematographer - August 2007 - 67
American Cinematographer - August 2007 - 68
American Cinematographer - August 2007 - 69
American Cinematographer - August 2007 - 70
American Cinematographer - August 2007 - 71
American Cinematographer - August 2007 - Short Takes
American Cinematographer - August 2007 - 73
American Cinematographer - August 2007 - 74
American Cinematographer - August 2007 - 75
American Cinematographer - August 2007 - Post Focus
American Cinematographer - August 2007 - 77
American Cinematographer - August 2007 - 78
American Cinematographer - August 2007 - 79
American Cinematographer - August 2007 - 80
American Cinematographer - August 2007 - 81
American Cinematographer - August 2007 - 82
American Cinematographer - August 2007 - 83
American Cinematographer - August 2007 - 84
American Cinematographer - August 2007 - 85
American Cinematographer - August 2007 - New Products & Services
American Cinematographer - August 2007 - 87
American Cinematographer - August 2007 - Points East
American Cinematographer - August 2007 - 89
American Cinematographer - August 2007 - International Marketplace
American Cinematographer - August 2007 - Classified Ads
American Cinematographer - August 2007 - Ad Index
American Cinematographer - August 2007 - 93
American Cinematographer - August 2007 - Clubhouse News
American Cinematographer - August 2007 - 95
American Cinematographer - August 2007 - Clubhouse News
American Cinematographer - August 2007 - Cover3
American Cinematographer - August 2007 - Cover4
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