American Cinematographer - November 2012 - 60

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Creative Conspiracies
level, about 4½ stops overexposed. A little fill came from Kino tubes we hung in nearby stalls. It’s pretty effective because it creates the feeling that the Americans can no longer hide — they’re exposed.” Prieto carried this visual motif into the final scenes in Iran, which show Mendez and his wards navigating various security checkpoints in Tehran Airport and then sitting in a plane on the tarmac, wondering whether their getaway will be clean. Dim fluorescent practicals dominated the lighting throughout California’s Ontario Airport, which provided the interiors, so the filmmakers bounced 18K HMI Fresnels off two 12'x12'x3' Source Maker Cloud Grip Balloons at the gates and checkpoints the characters traverse. Prieto wanted something extra for the final security checkpoint, however. “A lot happens in that airport, and I was worried it would all have this boring fluorescent look, so we moved the last checkpoint close to a window. The window had actually been painted black, but we got permission to remove the paint, and we put a Condor outside with an 18K ArriMax for our sunlight. The guards inspecting the Americans’ papers are only partly in sun, but the Americans are in this hot backlight. It gives that scene an extra edge.” In a similar vein, the Americans are lit by direct sun as they sit in the plane awaiting departure. “We built the plane interior on a soundstage, and I wanted sunlight coming through the windows on the Americans’ side, but I knew there wasn’t a source that would project through that many windows and suggest a single source — it was 20 to 30 rows of seats,” says Prieto. “So, for every three windows, Joey rigged a 5K MoleRichardson Par on a pipe about 10 feet from the set, aimed at the windows. Each of these three-window sections was separated by a white panel positioned perpendicular to the airplane and frontlit with Skypans on the ground. So whenever you see outside a window, you see white. The panels served as flags so that each 5K lit its own three windows.

Top: Mendez and his wards line up at the airport in Tehran. Bottom: Direct sun again suggests a dangerous level of exposure for the Americans at the final checkpoint, where an inquisitive guard (Farshad Farahat) is unconvinced by their cover story.

all the areas we chose. “We identified all the modern sources in the areas we would see, turned them off, blocked out the ambient daylight, and then put up our own practical lighting, a mix of HMI fixtures, Cool White and tungsten Kino tubes, Par cans, 2K Fresnels and Dedolights. We went shop by shop, creating a mix of color temperatures. We also rigged some 4K HMI Pars to suggest direct sunlight coming into some areas. During one of my scouts, I shot stills of [art director] Peter Borck standing underneath a
60 November 2012

small vent that let the noon sun in, creating a hot square of toplight on his head. We really liked that, and it inspired our approach to the confrontation — when Kathy takes the Polaroid, she is toplit by a hard beam of sunlight, then she walks into the shadows, and then she walks into another hard beam, where the confrontation happens. Randy and I decided to use 800-watt JoLekos for the hard beams because we could create a square of light with their internal shutter blades, and they were quite bright compared to the ambient
American Cinematographer



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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