American Cinematographer - October 2012 - 85
“He seems to have lit her from the side with a couple of small sources in an attempt to keep his beauty light constant; he probably had to do that because the camera was in the way and very close to Tippi. I imagine that the focus was tricky, so they would have had to build the stop up to maintain good focus. I tried to copy what Burks did, using three small sources positioned on Sienna’s right side at threequarter angles, but I ended up using more diffusion frames so the light would wrap a bit more on Sienna. Our version has the same sort of feel as the original, though. I used the heaviest Mitchell Pancro diffusion filter, because Burks had some very heavy diffusion on the shot that made it feel slightly out of focus. “Because we couldn’t really show the actor who was playing Connery in our film, we shot in one direction,” continues Pardue. “There’s a sense of moonlight coming from the porthole in the room, and we gave it more of a theatrical feel with a small unit that we
blued up and bounced back to create a subtle, cold edge. Sienna has a strong cosmetic backlight that we kept low so it would seem to be coming from the bedside practical lamp. I also added a 12-by-12 top bounce with a colder light to blend things in with a bit of the moonlight. Hitchcock’s crew would not have done that, but I wanted to add some coldness to the shadows.” Pardue graded The Girl at Molinare in London with colorist Tim Waller, who helped him add finishing touches that approximate the Technicolor look of both Hitchcock films. “We all felt that the grade should be colorful and should mimic the feel of a film made in the early Sixties, and Tim was very committed to getting the correct look,” says the cinematographer. “It was quite interesting to grade shots from the Alexa and the same shots made on film. To my eye, the Alexa prefers a low-contrast grade, so we needed to add more contrast to get
those Technicolor hues we wanted. The problem is that when you add contrast to digital footage, the blacks start to block up a bit. The 35mm absorbed more contrast, so it was easier to find the right colors without pushing too much contrast into the grade. The Fuji 500 Vivid has vibrant colors, especially the reds, that worked well to emulate that Technicolor look. To get even closer to it, we added a bit of red to our blacks. That seemed to do the trick.” ●
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85
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
American Cinematographer - October 2012 - 44
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
American Cinematographer - October 2012 - 69
American Cinematographer - October 2012 - 70
American Cinematographer - October 2012 - 71
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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