American Cinematographer - December 2013 - S-8

is Homegrown in New York State
Soccer star Abby
Wambach was "homegrown
in New York State, just like
New York apples," exactly
what the New York Apple
Association was looking
for when choosing a
spokesperson. Wambach,
the greatest goal scorer
in international soccer
history, is currently leading
a multi-platform campaign
for the trade association
that includes commercials,
radio spots, print ads, and
point-of-purchase displays.
The 30-second television
spot, "Abby for Apples," is
headlining the campaign.
The commercial features
Wambach and a group of
children enjoying apples and
soccer in an orchard located
in Upstate New York. When
director Ray Manard took
on the project, he knew very
early on that he wanted to
use fi lm for the spot. "The
shoot was all outside, so
weather was obviously
going to be an unpredictable
factor," explains Manard.
"Based on the schedule, we
knew there would defi nitely
be some high-contrast sun
situations to deal with, and
fi lm, absolutely, would be
able to handle that, the way
only fi lm can."
Manard and his
cinematographer, Eric
McMaster, decided to go
with a 16mm stock, KODAK
VISION3 50D Color Negative
Film 7203. "Our fi rst setup
of the day was around noon,
which meant the light was
far from perfect," continues
Manard. "It was pretty
high contrast, with heavy
backlight on Abby's face,
but the fi lm was able to
handle it. In the opening
sequence of the spot,
you can see we were able
to dial in both her face
and the clouds that were
behind her. She just looked
great. As the sun got lower,
we had some really pretty
light for the later scenes,
and the fi lm embraced
that."
The choice of fi lm
provided a host of
effi ciency benefi ts to the
production as well. "I've
worked with the same crew
a lot over the years, and we
knew what we were going
to get with fi lm," he adds.
"Everyone was comfortable
with the process, so it was
very easy for us to get the
job done. We only had
Abby for seven hours, and
she needed to record radio
spots and take photos as
well during that time. On
top of that, we had about
15 kids on set, ranging
in age from 5 to 14 years
old, and they can lose
their energy really quickly.

American Cinematographer - December 2013

Table of Contents for the Digital Edition of American Cinematographer - December 2013

Contents
American Cinematographer - December 2013 - Cover1
American Cinematographer - December 2013 - Cover2
American Cinematographer - December 2013 - Contents
American Cinematographer - December 2013 - 2
American Cinematographer - December 2013 - 3
American Cinematographer - December 2013 - 4
American Cinematographer - December 2013 - 5
American Cinematographer - December 2013 - 6
American Cinematographer - December 2013 - 7
American Cinematographer - December 2013 - 8
American Cinematographer - December 2013 - 9
American Cinematographer - December 2013 - 10
American Cinematographer - December 2013 - 11
American Cinematographer - December 2013 - 12
American Cinematographer - December 2013 - 13
American Cinematographer - December 2013 - 14
American Cinematographer - December 2013 - 15
American Cinematographer - December 2013 - 16
American Cinematographer - December 2013 - 17
American Cinematographer - December 2013 - 18
American Cinematographer - December 2013 - 19
American Cinematographer - December 2013 - 20
American Cinematographer - December 2013 - 21
American Cinematographer - December 2013 - 22
American Cinematographer - December 2013 - 23
American Cinematographer - December 2013 - 24
American Cinematographer - December 2013 - 25
American Cinematographer - December 2013 - 26
American Cinematographer - December 2013 - 27
American Cinematographer - December 2013 - 28
American Cinematographer - December 2013 - 29
American Cinematographer - December 2013 - 30
American Cinematographer - December 2013 - 31
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American Cinematographer - December 2013 - 33
American Cinematographer - December 2013 - 34
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American Cinematographer - December 2013 - 36
American Cinematographer - December 2013 - 37
American Cinematographer - December 2013 - 38
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American Cinematographer - December 2013 - 40
American Cinematographer - December 2013 - 41
American Cinematographer - December 2013 - 42
American Cinematographer - December 2013 - 43
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American Cinematographer - December 2013 - 45
American Cinematographer - December 2013 - 46
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American Cinematographer - December 2013 - 48
American Cinematographer - December 2013 - 49
American Cinematographer - December 2013 - 50
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American Cinematographer - December 2013 - 53
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American Cinematographer - December 2013 - 56
American Cinematographer - December 2013 - 57
American Cinematographer - December 2013 - 58
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American Cinematographer - December 2013 - 60
American Cinematographer - December 2013 - 61
American Cinematographer - December 2013 - 62
American Cinematographer - December 2013 - 63
American Cinematographer - December 2013 - 64
American Cinematographer - December 2013 - S-1
American Cinematographer - December 2013 - S-2
American Cinematographer - December 2013 - S-3
American Cinematographer - December 2013 - S-4
American Cinematographer - December 2013 - S-5
American Cinematographer - December 2013 - S-6
American Cinematographer - December 2013 - S-7
American Cinematographer - December 2013 - S-8
American Cinematographer - December 2013 - S-9
American Cinematographer - December 2013 - S-10
American Cinematographer - December 2013 - S-11
American Cinematographer - December 2013 - S-12
American Cinematographer - December 2013 - 65
American Cinematographer - December 2013 - 66
American Cinematographer - December 2013 - 67
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