American Cinematographer - November 2012 - 57

Left: Mendez shares details with the Americans in the Taylors’ dining room. F-Max LED Tube Lights and 600-watt Dedolights rigged directly over the table created the mix of soft toplight and hard spots Prieto desired. Below: Affleck discusses a shot with Prieto as 1st AD David Webb listens.

to a host of devices that bear his name. The Joey Cam, which consists of a base with four wheels that spin 360 degrees, an apple box of any size (attached with Velcro), and a swiveling, cushioned seat (also attached with Velcro), enables the operator to sit at any height with the camera on his shoulder and push himself around with his legs. “With the Joey Cam, Colin and I could be at eye level with everyone sitting at the table, and if someone moved, we could simply slide over,” says Prieto. He captured other low-angle handheld shots with an Easyrig. “I actually don’t like the Easyrig for shoulderheight operating because I feel it becomes a little robotic — the camera isn’t as free, especially in tilting,” he observes. “I prefer to use it to pull the camera down to hip level for lowerangle shots when the ground doesn’t allow for the Joey Cam.” Dianda’s Joey Flos, 4'x4' boxes with eight Kino Flo tubes fronted with Full Grid and controllable via detachable black Coroplast louvers, also proved essential in the house, where all of Prieto’s lighting had to be rigged tight to the ceiling to accommodate shots of Affleck, who is 6'2". The cinematographer explains, “The house had large

windows, but the curtains are always drawn because the Americans are hiding. The windows were my only opportunity for lighting day scenes, though, especially with two cameras roving around, so we blew them out by hanging sheer curtains and positioning 18K ArriMaxes softened by frames of Full Grid outside each window. In the living room, we supplemented with four Joey Flos rigged on the ceiling to provide general fill; we used daylight tubes for day scenes and 2,900°K tubes for night, turning individual tubes on and off as necessary. With the Coroplast
www.theasc.com

louvers, Joey made an adjustable egg crate that could be put in any position with Velcro. Sometimes we’d take it out and let the light spill all over, and sometimes we’d position the louvers at one angle to light in a certain direction. For night scenes, we’d adjust them to create a pool-of-light feel [suggesting ceiling practicals].” The dining room required a different solution, however. “I wanted a combination of soft toplight and some hard spots bouncing off the dining table to provide fill for the actors’ eyes,” says Prieto. “I like 600-watt Dedolights for
November 2012 57


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American Cinematographer - November 2012

Table of Contents for the Digital Edition of American Cinematographer - November 2012

American Cinematographer - November 2012
Contents
Editor’s Note
President’s Desk
Short Takes: Kick Start Theft
Production Slate: Middle of Nowhere • Husbands
Promoting “The Cause”
Creative Conspiracies
Deep Shih Tzu
Bedlam’s New Address
First-Rate Fare
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Deming
American Cinematographer - November 2012 - American Cinematographer - November 2012
American Cinematographer - November 2012 - Cover2
American Cinematographer - November 2012 - 1
American Cinematographer - November 2012 - 2
American Cinematographer - November 2012 - Contents
American Cinematographer - November 2012 - 4
American Cinematographer - November 2012 - 5
American Cinematographer - November 2012 - 6
American Cinematographer - November 2012 - 7
American Cinematographer - November 2012 - Editor’s Note
American Cinematographer - November 2012 - 9
American Cinematographer - November 2012 - President’s Desk
American Cinematographer - November 2012 - 11
American Cinematographer - November 2012 - Short Takes: Kick Start Theft
American Cinematographer - November 2012 - 13
American Cinematographer - November 2012 - 14
American Cinematographer - November 2012 - 15
American Cinematographer - November 2012 - 16
American Cinematographer - November 2012 - 17
American Cinematographer - November 2012 - 18
American Cinematographer - November 2012 - 19
American Cinematographer - November 2012 - Production Slate: Middle of Nowhere • Husbands
American Cinematographer - November 2012 - 21
American Cinematographer - November 2012 - 22
American Cinematographer - November 2012 - 23
American Cinematographer - November 2012 - 24
American Cinematographer - November 2012 - 25
American Cinematographer - November 2012 - 26
American Cinematographer - November 2012 - 27
American Cinematographer - November 2012 - 28
American Cinematographer - November 2012 - 29
American Cinematographer - November 2012 - 30
American Cinematographer - November 2012 - 31
American Cinematographer - November 2012 - Promoting “The Cause”
American Cinematographer - November 2012 - 33
American Cinematographer - November 2012 - 34
American Cinematographer - November 2012 - 35
American Cinematographer - November 2012 - 36
American Cinematographer - November 2012 - 37
American Cinematographer - November 2012 - 38
American Cinematographer - November 2012 - 39
American Cinematographer - November 2012 - 40
American Cinematographer - November 2012 - 41
American Cinematographer - November 2012 - 42
American Cinematographer - November 2012 - 43
American Cinematographer - November 2012 - 44
American Cinematographer - November 2012 - 45
American Cinematographer - November 2012 - 46
American Cinematographer - November 2012 - 47
American Cinematographer - November 2012 - 48
American Cinematographer - November 2012 - 49
American Cinematographer - November 2012 - 50
American Cinematographer - November 2012 - 51
American Cinematographer - November 2012 - Creative Conspiracies
American Cinematographer - November 2012 - 53
American Cinematographer - November 2012 - 54
American Cinematographer - November 2012 - 55
American Cinematographer - November 2012 - 56
American Cinematographer - November 2012 - 57
American Cinematographer - November 2012 - 58
American Cinematographer - November 2012 - 59
American Cinematographer - November 2012 - 60
American Cinematographer - November 2012 - 61
American Cinematographer - November 2012 - 62
American Cinematographer - November 2012 - 63
American Cinematographer - November 2012 - 64
American Cinematographer - November 2012 - 65
American Cinematographer - November 2012 - Deep Shih Tzu
American Cinematographer - November 2012 - 67
American Cinematographer - November 2012 - 68
American Cinematographer - November 2012 - 69
American Cinematographer - November 2012 - 70
American Cinematographer - November 2012 - 71
American Cinematographer - November 2012 - 72
American Cinematographer - November 2012 - 73
American Cinematographer - November 2012 - 74
American Cinematographer - November 2012 - 75
American Cinematographer - November 2012 - Bedlam’s New Address
American Cinematographer - November 2012 - 77
American Cinematographer - November 2012 - 78
American Cinematographer - November 2012 - 79
American Cinematographer - November 2012 - 80
American Cinematographer - November 2012 - 81
American Cinematographer - November 2012 - 82
American Cinematographer - November 2012 - 83
American Cinematographer - November 2012 - 84
American Cinematographer - November 2012 - 85
American Cinematographer - November 2012 - First-Rate Fare
American Cinematographer - November 2012 - 87
American Cinematographer - November 2012 - New Products & Services
American Cinematographer - November 2012 - 89
American Cinematographer - November 2012 - 90
American Cinematographer - November 2012 - 91
American Cinematographer - November 2012 - 92
American Cinematographer - November 2012 - 93
American Cinematographer - November 2012 - International Marketplace
American Cinematographer - November 2012 - Classified Ads
American Cinematographer - November 2012 - Ad Index
American Cinematographer - November 2012 - 97
American Cinematographer - November 2012 - Clubhouse News
American Cinematographer - November 2012 - 99
American Cinematographer - November 2012 - ASC Close-Up: Peter Deming
American Cinematographer - November 2012 - Cover3
American Cinematographer - November 2012 - Cover4
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