American Cinematographer - January 2008 - 55

the headquarters of the American Film Institute when I went to school there,” he recalls. “The bowling alley was a complete wreck back then, but we used it as our soundstage when we were shooting our first-year video projects. The city of Beverly Hills was all too happy to let Jack Fisk restore the bowling alley to its original glory. There I was, standing in a place where I’d shot video films as a student. It was very strange.” Anderson, a fan of Stanley Kubrick’s films, wanted the bowling alley to have a Kubrickian symmetry and menace. “Paul wanted to paint the walls white and turn the room into a white cube, like something out of A Clockwork Orange,” says Elswit. “There’s no character to the lighting at all; it’s just a white box. Paul kept marveling at how Kubrick did things, and I would say, ‘But Paul, Kubrick built sets. He didn’t come walking into a place like this!’” Detailing the crew’s approach to the scene, Baumgartner explains, “We were seeing floor-to-ceiling and wall-to-wall in there, so we articulated some 212 bulbs to supplement the light coming from the practical globes hanging from the ceiling. We put a pair of 212s on armature wire at each socket so we could just spin the 212s and hide them behind the globes, depending on the camera position. That helped to build up the ambient light to the point where Bob could shoot freely. A portion of that scene happens at the end of the lanes, where the light levels were a bit low, so my best boy, Chris Milani, suggested hiding a row of PH 140 bulbs behind each pin rack. That created a beautiful glow that we used for the whole scene; it also added a vital push of light for the actors.” Summing up his latest experience with Anderson, Elswit concludes, “Paul knows this isn’t the way most people work, but he creates a committed community of filmmakers who understand and respect his process. He just can’t function any other way. It can be a marvelous way to function, though, and it creates the kinds of scenes and moments you won’t find in any other films.” I TECHNICAL SPECS 2.40:1 Anamorphic 35mm Panaflex Platinum, Millennium XL Panavision C-Series, E-Series, Super High Speed and anamorphized SP lenses; 43mm Pathé lens Kodak Vision2 50D 5201, 200T 5217 Printed on Kodak Vision 2383 Samy’s DV & Edit WE ACCEPT MASTERCARD, VISA, AMERICAN EXPRESS & DISCOVER. SCHOOL, UNIVERSITY & CORPORATE P.O.’S WELCOME BEFORE YOU BUY YOUR DIGITAL CINEMA EQUIPMENT, TALK TO US! www.samysdv.com A Division of Samy’s Camera 585 Venice Blvd. Venice, CA 90291 (310) 450-4365 FAX (310) 450-3079 Adding Flash Memory Capabilities to the XDCAM Family New! PDW-F355 PDW-F330 New! XDCAM HD Camcorders Longer record times are available by supporting the new dual-layer 50GB Professional Disc. The PDW-F355 camcorder uses a 1⁄2-inch imager and delivers 24P gen-lock capabilities directly out of the HD-SDI output, for multi-camera shoots, as well as the ability to down-convert with edge cropping. The PDW-F330 HD recording in 1080/59.94i, 50i, 29.97P, 25P and native 23.98P. AG-HPX500 New! AJ-HDX900 Affordable Professional Hi-Definition Camera • Adds on support for 1080i and 720p • Three 2/3" 520,000 Progressive CCD imagers • 24P/30P/60i recording capability • Captures film-like 24-frame images using CineGamma PMW-EX1 • Record to ExpressCard high-speed flash media • Switchable between 1080/60i and 720/60P • Capable of recording 1080/50i/30P/25P/24P and 720/50P • MPEG-2 compression technology with three, 1/2” imagers New 1/2” HD Camera Please for our PRODUCTION PACKAGE PROMOTIONS! Three 2/3”CCD P2 HD Camcorder • Utilizes interchangeable lenses • Can shoot everything from 1080i to 720p variable frame rates •Features four XLR inputs, a chromaticaberration compensation function, call and eight gamma modes AJ-SDX900 Also Available New! HVR-Z1U Professional HDV Camera • Record HDV, DVCAM and DV images at 60i, 50i, 30, 25 or 24 fps, in either SD or HD • Three Super HAD™, 1/3-inch, 16:9 native CCDs • 12X Optical Zoom Carl Zeiss Vario-Sonnar T* Lens • 14 bit A/D with Digital Extended Processor (DXP) SONY IS A REGISTERED TRADEMARK HVR-V1U 3CMOS 1080p HDV Camcorder • In addition to standard 60i, shoot progressive scan footage and still edit using regular Sony HDV equipment • 14-bit Enhanced Imaging Processor, outputting a 1920x1080/60p 4:2:2 video signal • • • • AJ-HPX2000 2/3” P2 HD Camcorder Ultra-reliable solid-state camcorder records in 17 HD and SD formats Excels at low-light shooting New AVC-Intra codec option The P2 card provides superior reliability in harsh environments and when exposed to shock, vibration and temperature change AG-HVX200 1/3" 3-CCD 16:9 HD/DVCPRO/DV • Cinema P2 Camera with CineSwitch™ • Technology, CineGamma™ Software and IEEE 1394 Interface AJ-SD93 Also Available NOT RESPONSIBLE FOR TYPOGRAPHICAL ERRORS. PRICES SUBJECT TO CHANGE WITHOUT NOTICE. 55

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American Cinematographer - January 2008

Table of Contents for the Digital Edition of American Cinematographer - January 2008