American Cinematographer - October 2010 - 20

In the top two frames, Oscar’s sister, Linda (Paz de la Huerta), strips at a Tokyo nightclub. Programmable Mac 700s and 2000s were key sources for these scenes. In the third frame, 30-watt practicals illuminate Linda’s dressing-room tryst with her boyfriend. Right: Debie on location in Thailand for another project.

room mirror, which is the only time we actually see his face. To create the portrait’s lugubrious hue, Debie had the tube above the mirror gelled with Plus Green and Straw. The rest of the effect was, he says, a matter of dimming and exposure. Debie explains that the script called for color changes in the middle of some scenes to reflect the ghost’s mental state. To add such touches of color, the cinematographer used Japanese programmable LED panels designed for discos, which allowed him to make changes on the spot. By varying the red, green and blue diodes, Debie could get a full rainbow of hues. “We were able to get beautiful purples, which are difficult to get on film,” he notes. “What’s more, the panels were very light and easy to hide, and very fast to set up.” LED panels were also used to simulate flashing neons outside Oscar’s apartment windows, and to add a touch of red to the dressing-room scenes. For scenes in the strip club, Debie used Mac 700s and Mac 2000s to program strobing, beam sweeps and color changes. “The problem with strobes is that it’s difficult to synchronize with the shutter; with these automated lights, we could control both the speed and the length of the flash,” he says. Linda dances on a translucent platform, beneath which Debie placed Mac 700s bouncing off a white surface or shining directly up, creating a pulsating box of light. For the surreal Love Hotel sequence, Debie combined LEDs, Mac 2000s and 700s, and small bulbs placed between the numerous lovers. “For the small bulbs, I used a dimmer to simulate the pulse of the heart during the take,” says the cinematographer. “The effect was finished as CGI.” Color is an essential part of Enter the Void’s look, and Debie helped to define the palette by shooting mostly with Kodak’s Vision3 250D negative. Tungsten sources appear warm on a daylight-balanced negative, so Debie’s choice heightened the orange tones of the dimmed practicals. Noting that Tokyo’s streetlights are close to daylight, he says he also shot the night exteriors on 250D, keeping the urban light sources relatively white, often with a touch of green. “And I avoided blue,” he adds with a smile. “The danger when you are doing a very colorful film,” he continues, “is that it
American Cinematographer

20

October 2010



American Cinematographer - October 2010

Table of Contents for the Digital Edition of American Cinematographer - October 2010

American Cinematographer - October 2010
Contents
Editors Note
President’s Desk
Short Takes: “Lakairomania”
Production Slate: Enter the Void • Indie 3-D
With Friends Like These…
Zero-Sum Game
Bloody Valentine
Welcome to the Jungle
Post Focus: Advanced Digital Services
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - American Cinematographer - October 2010
American Cinematographer - October 2010 - Cover2
American Cinematographer - October 2010 - 1
American Cinematographer - October 2010 - 2
American Cinematographer - October 2010 - Contents
American Cinematographer - October 2010 - 4
American Cinematographer - October 2010 - 5
American Cinematographer - October 2010 - 6
American Cinematographer - October 2010 - 7
American Cinematographer - October 2010 - Editors Note
American Cinematographer - October 2010 - 9
American Cinematographer - October 2010 - President’s Desk
American Cinematographer - October 2010 - 11
American Cinematographer - October 2010 - Short Takes: “Lakairomania”
American Cinematographer - October 2010 - 13
American Cinematographer - October 2010 - 14
American Cinematographer - October 2010 - 15
American Cinematographer - October 2010 - 16
American Cinematographer - October 2010 - 17
American Cinematographer - October 2010 - Production Slate: Enter the Void • Indie 3-D
American Cinematographer - October 2010 - 19
American Cinematographer - October 2010 - 20
American Cinematographer - October 2010 - 21
American Cinematographer - October 2010 - 22
American Cinematographer - October 2010 - 23
American Cinematographer - October 2010 - 24
American Cinematographer - October 2010 - 25
American Cinematographer - October 2010 - 26
American Cinematographer - October 2010 - 27
American Cinematographer - October 2010 - With Friends Like These…
American Cinematographer - October 2010 - 29
American Cinematographer - October 2010 - 30
American Cinematographer - October 2010 - 31
American Cinematographer - October 2010 - 32
American Cinematographer - October 2010 - 33
American Cinematographer - October 2010 - 34
American Cinematographer - October 2010 - 35
American Cinematographer - October 2010 - 36
American Cinematographer - October 2010 - 37
American Cinematographer - October 2010 - 38
American Cinematographer - October 2010 - 39
American Cinematographer - October 2010 - 40
American Cinematographer - October 2010 - 41
American Cinematographer - October 2010 - Zero-Sum Game
American Cinematographer - October 2010 - 43
American Cinematographer - October 2010 - 44
American Cinematographer - October 2010 - 45
American Cinematographer - October 2010 - 46
American Cinematographer - October 2010 - 47
American Cinematographer - October 2010 - 48
American Cinematographer - October 2010 - 49
American Cinematographer - October 2010 - 50
American Cinematographer - October 2010 - 51
American Cinematographer - October 2010 - 52
American Cinematographer - October 2010 - 53
American Cinematographer - October 2010 - Bloody Valentine
American Cinematographer - October 2010 - 55
American Cinematographer - October 2010 - 56
American Cinematographer - October 2010 - 57
American Cinematographer - October 2010 - 58
American Cinematographer - October 2010 - 59
American Cinematographer - October 2010 - 60
American Cinematographer - October 2010 - 61
American Cinematographer - October 2010 - 62
American Cinematographer - October 2010 - 63
American Cinematographer - October 2010 - 64
American Cinematographer - October 2010 - 65
American Cinematographer - October 2010 - Welcome to the Jungle
American Cinematographer - October 2010 - 67
American Cinematographer - October 2010 - 68
American Cinematographer - October 2010 - 69
American Cinematographer - October 2010 - 70
American Cinematographer - October 2010 - 71
American Cinematographer - October 2010 - Post Focus: Advanced Digital Services
American Cinematographer - October 2010 - 73
American Cinematographer - October 2010 - 74
American Cinematographer - October 2010 - 75
American Cinematographer - October 2010 - 76
American Cinematographer - October 2010 - 77
American Cinematographer - October 2010 - New Products & Services
American Cinematographer - October 2010 - 79
American Cinematographer - October 2010 - 80
American Cinematographer - October 2010 - 81
American Cinematographer - October 2010 - 82
American Cinematographer - October 2010 - 83
American Cinematographer - October 2010 - 84
American Cinematographer - October 2010 - 85
American Cinematographer - October 2010 - International Marketplace
American Cinematographer - October 2010 - 87
American Cinematographer - October 2010 - Ad Index
American Cinematographer - October 2010 - 89
American Cinematographer - October 2010 - Clubhouse News
American Cinematographer - October 2010 - 91
American Cinematographer - October 2010 - ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - Cover3
American Cinematographer - October 2010 - Cover4
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