American Cinematographer - October 2012 - 80
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Hitchcock Blonde
To re-create the relentless bird attack Hedren suffered during production of The Birds, Pardue consulted with production designer Darryl Hammer on the construction of the attic set and the positioning of the bird netting. “All of our research really paid off,” he says. “While we were doing that sequence, I really felt like we were shooting The Birds. The squawking birds created an eerie feeling when Sienna walked onto this very austere set. We filmed enough great footage to create a 10-minute assembly of the sequence. Like Tippi Hedren, Sienna was forced to endure a couple of live birds crashing into her — it was a strange case of accidental moments imitating the real story.”
lights consisted of a 10K, two 5Ks, three 2Ks and a couple of smaller Fresnel fixtures. We also had two Brutes that were not functional, but our gaffer, Gilles Boisacq, put 500-watt bulbs in them to make them look like they were on. We had old period stands for all of these units, and I also provided Gilles with photos of old diffusion frames he and his boys could copy. “We had to black out some of our
80 October 2012
modern lighting rigs with drapes so they wouldn’t be visible in our wide shots. The crew rigged various trusses and trapeze bars in all the areas of the studio where we thought we’d need lighting. I think I had about 15 5Ks, eight 10Ks, a 20K, some follow spots, 20 space lights, some Source Fours and even some Par cans with spot bulbs, in addition to the usual array of smaller units. Panavision South Africa gave us
American Cinematographer
everything they could.” One of the most ambitious studio setups was the re-creation of a climactic sequence from The Birds in which Hedren’s character ventures into an attic and is attacked by a swarm of vicious birds. “That’s the pivotal sequence in our film,” Pardue says. “Hitchcock shot his sequence over five days, but we had to do our version in one! We therefore had to shoot enough footage to create the impression that time was passing; we needed to create some sense of the ordeal Tippi endured while filming the original sequence. “Burks lit the attic scene very differently than we would do it today,” he continues. “He made Tippi’s keylight part of his mottled night look. There was enough dapple in the scene that Tippi’s flashlight is brighter than the overall light. It’s not a naturalistic approach, but the illusion works. In studying his approach, I finally sussed out what he did: he used one threequarter key and placed an ulcer [a.k.a. cucoloris] in front of the light fixture to create all the dappled light.” Pardue also tried to determine where Burks’ crew had hung the nets
American Cinematographer - October 2012
Table of Contents for the Digital Edition of American Cinematographer - October 2012
American Cinematographer - October 2012
Contents
Editor’s Note
President’s Desk
Short Takes: ASC Andrew Laszlo Heritage Awards
Production Slate: Chasing Ice • Arbitrage
Dead Man’s Hand
A Very Tough Beat
Payback Time
Hitchcock Blonde
Post Focus: Blinding
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Robert Primes
American Cinematographer - October 2012 - American Cinematographer - October 2012
American Cinematographer - October 2012 - Cover2
American Cinematographer - October 2012 - 1
American Cinematographer - October 2012 - 2
American Cinematographer - October 2012 - Contents
American Cinematographer - October 2012 - 4
American Cinematographer - October 2012 - 5
American Cinematographer - October 2012 - 6
American Cinematographer - October 2012 - 7
American Cinematographer - October 2012 - Editor’s Note
American Cinematographer - October 2012 - 9
American Cinematographer - October 2012 - President’s Desk
American Cinematographer - October 2012 - 11
American Cinematographer - October 2012 - Short Takes: ASC Andrew Laszlo Heritage Awards
American Cinematographer - October 2012 - 13
American Cinematographer - October 2012 - 14
American Cinematographer - October 2012 - 15
American Cinematographer - October 2012 - 16
American Cinematographer - October 2012 - 17
American Cinematographer - October 2012 - 18
American Cinematographer - October 2012 - 19
American Cinematographer - October 2012 - Production Slate: Chasing Ice • Arbitrage
American Cinematographer - October 2012 - 21
American Cinematographer - October 2012 - 22
American Cinematographer - October 2012 - 23
American Cinematographer - October 2012 - 24
American Cinematographer - October 2012 - 25
American Cinematographer - October 2012 - 26
American Cinematographer - October 2012 - 27
American Cinematographer - October 2012 - 28
American Cinematographer - October 2012 - 29
American Cinematographer - October 2012 - 30
American Cinematographer - October 2012 - 31
American Cinematographer - October 2012 - 32
American Cinematographer - October 2012 - 33
American Cinematographer - October 2012 - Dead Man’s Hand
American Cinematographer - October 2012 - 35
American Cinematographer - October 2012 - 36
American Cinematographer - October 2012 - 37
American Cinematographer - October 2012 - 38
American Cinematographer - October 2012 - 39
American Cinematographer - October 2012 - 40
American Cinematographer - October 2012 - 41
American Cinematographer - October 2012 - 42
American Cinematographer - October 2012 - 43
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American Cinematographer - October 2012 - 45
American Cinematographer - October 2012 - 46
American Cinematographer - October 2012 - 47
American Cinematographer - October 2012 - 48
American Cinematographer - October 2012 - 49
American Cinematographer - October 2012 - A Very Tough Beat
American Cinematographer - October 2012 - 51
American Cinematographer - October 2012 - 52
American Cinematographer - October 2012 - 53
American Cinematographer - October 2012 - 54
American Cinematographer - October 2012 - 55
American Cinematographer - October 2012 - 56
American Cinematographer - October 2012 - 57
American Cinematographer - October 2012 - 58
American Cinematographer - October 2012 - 59
American Cinematographer - October 2012 - 60
American Cinematographer - October 2012 - 61
American Cinematographer - October 2012 - 62
American Cinematographer - October 2012 - 63
American Cinematographer - October 2012 - Payback Time
American Cinematographer - October 2012 - 65
American Cinematographer - October 2012 - 66
American Cinematographer - October 2012 - 67
American Cinematographer - October 2012 - 68
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American Cinematographer - October 2012 - 72
American Cinematographer - October 2012 - 73
American Cinematographer - October 2012 - 74
American Cinematographer - October 2012 - 75
American Cinematographer - October 2012 - Hitchcock Blonde
American Cinematographer - October 2012 - 77
American Cinematographer - October 2012 - 78
American Cinematographer - October 2012 - 79
American Cinematographer - October 2012 - 80
American Cinematographer - October 2012 - 81
American Cinematographer - October 2012 - 82
American Cinematographer - October 2012 - 83
American Cinematographer - October 2012 - 84
American Cinematographer - October 2012 - 85
American Cinematographer - October 2012 - Post Focus: Blinding
American Cinematographer - October 2012 - 87
American Cinematographer - October 2012 - 88
American Cinematographer - October 2012 - 89
American Cinematographer - October 2012 - New Products & Services
American Cinematographer - October 2012 - 91
American Cinematographer - October 2012 - 92
American Cinematographer - October 2012 - 93
American Cinematographer - October 2012 - International Marketplace
American Cinematographer - October 2012 - Classified Ads
American Cinematographer - October 2012 - Ad Index
American Cinematographer - October 2012 - 97
American Cinematographer - October 2012 - Clubhouse News
American Cinematographer - October 2012 - 99
American Cinematographer - October 2012 - ASC Close-Up: Robert Primes
American Cinematographer - October 2012 - Cover3
American Cinematographer - October 2012 - Cover4
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