American Cinematographer - November 2016 - 49

Riffel notes, "You could literally line up
four Lumenatti - the length of a dolly
shot - and walk through them."
The units contained Quasar Science
LED tubes, which Riffel found to be
"wildly versatile. The tubes work great on
their own or in Kino fixtures as well - and
not having the time or funding for a
dimmer system, we made up some LED
hand dimmers; a switch on each tube
would set it to 5,500 or 3,200 degrees. No
ballast needed, so they plug and play very
quickly."
An example of their adaptability was
the placement of bare tubes on the laps of
actors - with the tubes being obscured by
the people and furniture immediately in
front of them - for shots inside the barn
during the preaching scenes. And with
their relative light weight, the tubes were
also taped behind pews and in other places
where hiding lights posed a challenge.
Additionally, when used as a broad, soft
source - either as fill or key - the tubes
functioned within their housings and were

either directed through large Grid
frames or bounced off surfaces wherever
needed. "They worked everywhere,"
Riffel enthuses.
Another innovative solution
involved the production's onscreen
lanterns. In the 1830s, lanterns were
typically lit by candles rather than gas.
Here again, LEDs were the source, in
this case 2" LiteGear X6 LiteRibbons.
The clincher, though, was the company's
new controller, which was small enough
to fit inside the lantern base and generate flicker. "You could take a little bit of
LED pad, stripe it with some CTOs
and fire-color to add a little warmth, and
the controller and battery would fit in
the bottom of these lanterns that the
actor was holding," says Riffel. "Those
little flicker gags worked very, very well."
"I'm a firm believer in the proverb,
'With a bad foundation, the whole
house falls down,'" Davis says. "That's
maybe from my architecture background." In Parker, he found a "dedi-

cated, participating collaborator," the
cinematographer describes, who came
armed with a detailed blueprint. Having
thought about the project for years, the
director arrived with clear ideas and
hundreds of images illustrating the film's
DNA, which helped in the production's
race against time.
As Davis concludes, "I was
exhausted every day, because it was like
running sprints, then going to the coloring after that." Parker was duly appreciative. "Elliot did the impossible," he says,
"and he did it daily."
‚óŹ

TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT Plus,
Red Epic Dragon
Angenieux Optimo, Cooke S4/i

49


http://thelight.com.es

American Cinematographer - November 2016

Table of Contents for the Digital Edition of American Cinematographer - November 2016

Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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