American Cinematographer - August 2013 - 42
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Big Guns
Top: This frame grab, showing a train being diverted to a secret silver mine, offers a glimpse of the
production’s most difficult location, a canyon outside Creede, Colo. Bottom: Lighting arrays that utilized
hydraulic gimbals served as moonlight sources at each end of the set, which was over 1,500' long.
About a hundred practical gas lamps had
been built into the set, and Raffi and his
crew had to convert all of them to electrical so we could put 100-watt bulbs in
them, each on its own circuit. To
augment that, Raffi’s team made clamp
rigs that went behind each practical and
held a 150-watt bulb [on a malleable
wire mount]. I wanted the overall ambience to be soft. We hung 12-light Maxis
above the set to glow the canvas overhead, and positioned 20Ks outside the
set to glow the canvas walls. Batten strips
with 500-watt bulbs were scattered
42
August 2013
around to create an overall fill level. For
the stage show that takes place in one
area of the tent, we used [250-watt
bayonet-mount] halogen floodlights for
the footlights.
You said the Alexa was crucial
for the night-exterior look you had in
mind. Describe a typical night exterior
for us.
Bazelli: It usually has a campfire
[laughs]. That’s not only because of the
period and setting, but also because we
loved the soft flares we got from campfires with our C Series lenses. We had to
American Cinematographer
plan our campfire locations precisely
days in advance, because New Mexico
requires you to install a pipeline deep
underground to transport propane.
Once that was in place, the height of
the flames was easy to control. Raffi
developed a lot of sources that mimic
firelight when he worked on the Pirates
of the Caribbean movies. For varying
degrees of punch and flicker in close
shots, we used two types of 2-by-3
panels, one made of rope light [in two
circuits], and the other made of LED
LiteRibbon [in four circuits]. Wider
shots were lit with soft boxes with six
1K globes [and six circuits], and sometimes with 4-light Maxi-Brutes, 4-light
Master Blasters or 12-light Maxis [all
single-circuit control for flicker effects].
All the campfires and other flame
sources allowed us to use lots of smoke,
which is a favorite tool of mine regardless of whether I’m shooting film or
digital; I love how it softens the blacks
and takes some of the crispness out of
the image. Our moonlight was white
tungsten, usually a 20K on a Condor
through light diffusion from a great
distance. The speed of digital cameras
allows you to put a light much farther
from the scene, and that helped create
the natural, ‘unlit’ night look we
wanted. We usually used 3-foot and 6foot Musballs for fill. On one occasion,
while we were filming a campfire scene
between the Lone Ranger and Tonto,
American Cinematographer - August 2013
Table of Contents for the Digital Edition of American Cinematographer - August 2013
American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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