American Cinematographer - December 2016 - 85
had to be shot on Kodak Vision3 250D 5207
stock for practical reasons, but it matched
the look of 200T fairly well. If Vision Premier
2393 print stock still existed, I probably could
have overexposed the stock less heavily and
still gotten that Technicolor look we wanted.
We talked about whether to use
optics from the 1960s such as Baltars or
Panchros, but it was important to Biller that
the colors she used for the sets and
costumes were captured as accurately as
possible with maximum saturation, and
some of those older lenses have a color bias
to them or a loss of contrast. Also, because I
planned on using diffusion filters to re-create
the glamorous close-ups of the era, I didn't
want to start out with lenses that were too
soft. In the end we used Zeiss Super Speeds
with a few Standard Speeds mixed in. I also
occasionally used a 24-290mm Angenieux
Optimo, mainly for a few shots where I had
to zoom into an extreme close-up. I felt that
the modern Optimo actually matched the
look of the Super Speeds better than an
older zoom would, plus most of those
zooms are a T4 wide-open, whereas the
Optimo is a T2.8. Since I was rating the film
at 100 ASA, I needed 100 footcandles just to
get a T2.8, which became the base stop for
most of my interiors. Bumping everything up
to 200 footcandles just to be able to use a T4
zoom now and then would have been frustrating and time-consuming, though cinematographers of the past had to deal with
this all the time.
We spent the first two weeks on
stage and then went on location after that.
The sets were all lit with classic tungsten Fresnel lamps, often a direct 2K Junior as a key in
wide shots; a 1K or 650-watt Tweenie was
bright enough for the closer coverage. On
the second day, I tried using a 2K Zip as a key,
which looked quite good - and was in
keeping with '60s-era techniques - but I
dropped that approach by the end of the day
as not being hard and crisp enough. The only
area in which I "cheated" regarding the
hard-light style was in the use of fill, since
that's a light that's not supposed to be seen,
only felt. Even an older movie would have
used something like spun glass on a large
scoop light for a softer fill, so I didn't feel it
was inappropriate to bounce lights off of
whiteboard, or occasionally use a 1'x1' LED
➣
Litepanel next to the lens.
http://cinematographyelectronics.com
http://www.ecufilmfestival.com
http://www.ducloslenses.com
American Cinematographer - December 2016
Table of Contents for the Digital Edition of American Cinematographer - December 2016
Contents
American Cinematographer - December 2016 - Cover1
American Cinematographer - December 2016 - Cover2
American Cinematographer - December 2016 - 1
American Cinematographer - December 2016 - 2
American Cinematographer - December 2016 - Contents
American Cinematographer - December 2016 - 4
American Cinematographer - December 2016 - 5
American Cinematographer - December 2016 - 6
American Cinematographer - December 2016 - 7
American Cinematographer - December 2016 - 8
American Cinematographer - December 2016 - 9
American Cinematographer - December 2016 - 10
American Cinematographer - December 2016 - 11
American Cinematographer - December 2016 - 12
American Cinematographer - December 2016 - 13
American Cinematographer - December 2016 - 14
American Cinematographer - December 2016 - 15
American Cinematographer - December 2016 - 16
American Cinematographer - December 2016 - 17
American Cinematographer - December 2016 - 18
American Cinematographer - December 2016 - 19
American Cinematographer - December 2016 - 20
American Cinematographer - December 2016 - 21
American Cinematographer - December 2016 - 22
American Cinematographer - December 2016 - 23
American Cinematographer - December 2016 - 24
American Cinematographer - December 2016 - 25
American Cinematographer - December 2016 - 26
American Cinematographer - December 2016 - 27
American Cinematographer - December 2016 - 28
American Cinematographer - December 2016 - 29
American Cinematographer - December 2016 - 30
American Cinematographer - December 2016 - 31
American Cinematographer - December 2016 - 32
American Cinematographer - December 2016 - 33
American Cinematographer - December 2016 - 34
American Cinematographer - December 2016 - 35
American Cinematographer - December 2016 - 36
American Cinematographer - December 2016 - 37
American Cinematographer - December 2016 - 38
American Cinematographer - December 2016 - 39
American Cinematographer - December 2016 - 40
American Cinematographer - December 2016 - 41
American Cinematographer - December 2016 - 42
American Cinematographer - December 2016 - 43
American Cinematographer - December 2016 - 44
American Cinematographer - December 2016 - 45
American Cinematographer - December 2016 - 46
American Cinematographer - December 2016 - 47
American Cinematographer - December 2016 - 48
American Cinematographer - December 2016 - 49
American Cinematographer - December 2016 - 50
American Cinematographer - December 2016 - 51
American Cinematographer - December 2016 - 52
American Cinematographer - December 2016 - 53
American Cinematographer - December 2016 - 54
American Cinematographer - December 2016 - 55
American Cinematographer - December 2016 - 56
American Cinematographer - December 2016 - 57
American Cinematographer - December 2016 - 58
American Cinematographer - December 2016 - 59
American Cinematographer - December 2016 - 60
American Cinematographer - December 2016 - 61
American Cinematographer - December 2016 - 62
American Cinematographer - December 2016 - 63
American Cinematographer - December 2016 - 64
American Cinematographer - December 2016 - 65
American Cinematographer - December 2016 - 66
American Cinematographer - December 2016 - 67
American Cinematographer - December 2016 - 68
American Cinematographer - December 2016 - 69
American Cinematographer - December 2016 - 70
American Cinematographer - December 2016 - 71
American Cinematographer - December 2016 - 72
American Cinematographer - December 2016 - 73
American Cinematographer - December 2016 - 74
American Cinematographer - December 2016 - 75
American Cinematographer - December 2016 - 76
American Cinematographer - December 2016 - 77
American Cinematographer - December 2016 - 78
American Cinematographer - December 2016 - 79
American Cinematographer - December 2016 - 80
American Cinematographer - December 2016 - 81
American Cinematographer - December 2016 - 82
American Cinematographer - December 2016 - 83
American Cinematographer - December 2016 - 84
American Cinematographer - December 2016 - 85
American Cinematographer - December 2016 - 86
American Cinematographer - December 2016 - 87
American Cinematographer - December 2016 - 88
American Cinematographer - December 2016 - 89
American Cinematographer - December 2016 - 90
American Cinematographer - December 2016 - 91
American Cinematographer - December 2016 - 92
American Cinematographer - December 2016 - 93
American Cinematographer - December 2016 - 94
American Cinematographer - December 2016 - 95
American Cinematographer - December 2016 - 96
American Cinematographer - December 2016 - 97
American Cinematographer - December 2016 - 98
American Cinematographer - December 2016 - 99
American Cinematographer - December 2016 - 100
American Cinematographer - December 2016 - 101
American Cinematographer - December 2016 - 102
American Cinematographer - December 2016 - 103
American Cinematographer - December 2016 - 104
American Cinematographer - December 2016 - Cover3
American Cinematographer - December 2016 - Cover4
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