American Cinematographer - March 2008 - 56
Tantalizing Television Bones director of photography Gordon Lonsdale lines up a shot of Eric Millegan in one of the show’s main sets. for fill, bounce off a large day blue stretched above the room’s skylights; this allows for easy “walk-and-talks” and fast turnaround times on the set. The smaller sets make use of a combination of fluorescent lighting, window sources and frugal accents, with the exception of the bone room, which is almost entirely fluorescent-lit. Much of the secondary lighting comprises Kino Flos and Litepanels LED lights for kicklights in the eyes, with the occasional 1'square Litepanel as a compact key source. “I usually key the principal actors with a 4-by-4 Kino Flo through 129 diffusion for a nice, broad, soft light,” notes Lonsdale. “If we were shooting on 5218, we’d be forced to light to a T2 or T2.8, and that would make the focus puller’s job that much harder,” observes Messerschmidt. “At 1,000 ASA, we can shoot at a T4 or a T 2.8/4 split. It speeds things up and also adds to the look of the show; we can shoot at a slightly deeper stop without having to bring in bigger lights.” On location, shooting with Zeiss Ultra Primes permits Lonsdale certain freedoms that few TV productions with tight budgets and short schedules enjoy. For an interior night scene in a restaurant in downtown Los Angeles, Lonsdale found he could get away with using little more than a small table lamp to light a master shot of Booth and his ex (Tamara Taylor). Shooting at 2,000 ASA with the lens at a T2, the crew augmented the actors’ close-ups with Litepanels, while the environment outside the restaurant window required only a couple of Par cans to 56
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American Cinematographer - March 2008
Table of Contents for the Digital Edition of American Cinematographer - March 2008
American Cinematographer - March 2008
Contents
Editor’s Note
Short Takes: Bill Viola’s Ocean Without a Shore
Production Slate: 4 Months, 3 Weeks and 2 Days
Production Slate: Chantal: A Night at the Pyramids
Magical Mystery Tour
Some Kind of Monster
Tantalizing Television
Making Sitcoms “Sexy”
Post Focus: Mega Playground Helps Set Look for Sibling
Post Focus: Visual Effects Society Launches White Paper
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: John McPherson, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Wayne Kennan
American Cinematographer - March 2008 - American Cinematographer - March 2008
American Cinematographer - March 2008 - Cover2
American Cinematographer - March 2008 - 1
American Cinematographer - March 2008 - 2
American Cinematographer - March 2008 - Contents
American Cinematographer - March 2008 - 4
American Cinematographer - March 2008 - 5
American Cinematographer - March 2008 - 6
American Cinematographer - March 2008 - 7
American Cinematographer - March 2008 - Editor’s Note
American Cinematographer - March 2008 - 9
American Cinematographer - March 2008 - Short Takes: Bill Viola’s Ocean Without a Shore
American Cinematographer - March 2008 - 11
American Cinematographer - March 2008 - 12
American Cinematographer - March 2008 - 13
American Cinematographer - March 2008 - 14
American Cinematographer - March 2008 - 15
American Cinematographer - March 2008 - Production Slate: Chantal: A Night at the Pyramids
American Cinematographer - March 2008 - 17
American Cinematographer - March 2008 - 18
American Cinematographer - March 2008 - 19
American Cinematographer - March 2008 - 20
American Cinematographer - March 2008 - 21
American Cinematographer - March 2008 - 22
American Cinematographer - March 2008 - 23
American Cinematographer - March 2008 - 24
American Cinematographer - March 2008 - 25
American Cinematographer - March 2008 - Magical Mystery Tour
American Cinematographer - March 2008 - 27
American Cinematographer - March 2008 - 28
American Cinematographer - March 2008 - 29
American Cinematographer - March 2008 - 30
American Cinematographer - March 2008 - 31
American Cinematographer - March 2008 - 32
American Cinematographer - March 2008 - 33
American Cinematographer - March 2008 - 34
American Cinematographer - March 2008 - 35
American Cinematographer - March 2008 - Some Kind of Monster
American Cinematographer - March 2008 - 37
American Cinematographer - March 2008 - 38
American Cinematographer - March 2008 - 39
American Cinematographer - March 2008 - 40
American Cinematographer - March 2008 - 41
American Cinematographer - March 2008 - 42
American Cinematographer - March 2008 - 43
American Cinematographer - March 2008 - 44
American Cinematographer - March 2008 - 45
American Cinematographer - March 2008 - Tantalizing Television
American Cinematographer - March 2008 - 47
American Cinematographer - March 2008 - 48
American Cinematographer - March 2008 - 49
American Cinematographer - March 2008 - 50
American Cinematographer - March 2008 - 51
American Cinematographer - March 2008 - 52
American Cinematographer - March 2008 - 53
American Cinematographer - March 2008 - 54
American Cinematographer - March 2008 - 55
American Cinematographer - March 2008 - 56
American Cinematographer - March 2008 - 57
American Cinematographer - March 2008 - Making Sitcoms “Sexy”
American Cinematographer - March 2008 - 59
American Cinematographer - March 2008 - 60
American Cinematographer - March 2008 - 61
American Cinematographer - March 2008 - 62
American Cinematographer - March 2008 - 63
American Cinematographer - March 2008 - 64
American Cinematographer - March 2008 - 65
American Cinematographer - March 2008 - Post Focus: Visual Effects Society Launches White Paper
American Cinematographer - March 2008 - 67
American Cinematographer - March 2008 - 68
American Cinematographer - March 2008 - 69
American Cinematographer - March 2008 - New Products & Services
American Cinematographer - March 2008 - 71
American Cinematographer - March 2008 - 72
American Cinematographer - March 2008 - 73
American Cinematographer - March 2008 - 74
American Cinematographer - March 2008 - 75
American Cinematographer - March 2008 - 76
American Cinematographer - March 2008 - 77
American Cinematographer - March 2008 - International Marketplace
American Cinematographer - March 2008 - Classified Ads
American Cinematographer - March 2008 - Ad Index
American Cinematographer - March 2008 - 81
American Cinematographer - March 2008 - In Memoriam: John McPherson, ASC
American Cinematographer - March 2008 - 83
American Cinematographer - March 2008 - ASC Membership Roster
American Cinematographer - March 2008 - 85
American Cinematographer - March 2008 - Clubhouse News
American Cinematographer - March 2008 - 87
American Cinematographer - March 2008 - ASC Close-Up: Wayne Kennan
American Cinematographer - March 2008 - Cover3
American Cinematographer - March 2008 - Cover4
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