American Cinematographer - April 2008 - 48
Temple of Doom Right: A wider view of the onstage shaft set, which featured wild walls to allow easy access for a Technocrane. Below, left: Cinematographer Darius Khondji, ASC, AFC takes a meter reading from a ladder as Ramsey hangs tough. Below, right: A closer view of the bluescreen setup. high, and was primarily [designed] to achieve shots using the Technocrane while also lowering and raising the actors. To allow easy shooting access to the shaft, the set was built with removable sides and could be configured in four-sided, three-sided and two-sided versions. A bluescreen was placed on the set floor for digital extensions.” “Darius wanted to use only a large, soft source from above to light that set,” notes Garside. “We did a lot of continuous shots on the Technocrane, so all the lights were on dimmers, and as the camera traveled down, we brought the source up. At the bottom, it was maybe a stop less than what we started out with at the top.” Some way down, the shaft set widened out with 45-degree beveled walls. Garside hid a pipe in the corner of the bevel from which he hung two Source Four Lekos that raked the 45degree section of wall and also picked up areas on the vertical walls. “There was just enough exposure off those walls [T1.4 reflected] to know they were there,” he reports. Practical lanterns provided illumination for the actors in both the shaft and the chamber to which it leads. “It was a little complicated because the actors had to come down with lanterns in their hands, get off at the bottom and light the lanterns, all during the shot,” says Garside. “We built Coleman-style lanterns with two 12-volt bulbs in them that were operated by remote control. I could switch the lamp on and off and control the rate of flicker. The only problem was that the frequency was initially too close to that of the Preston units for remote focus — if the focus puller and I were standing together, nothing would happen!” While the characters explore the chamber, which constituted a third set, the lanterns eventually run out, forcing the group to resort to flaming torches. To enhance the torchlight, Garside constructed what 48 April 2008
American Cinematographer - April 2008
Table of Contents for the Digital Edition of American Cinematographer - April 2008
American Cinematographer - April 2008
Contents
Editor's Note
Global Village: The Counterfeiters
Short Takes: Milia
Production Slate: Paranoid Park
Production Slate: All the Boys Love Mandy Lane
Card Sharks
Temple of Doom
3-D Cinematography
Sundance 2008: Mining for Movies
Post Focus: Digital Film Tree Gets into Peyote
Post Focus: FotoKem’s 3-D Workflow
Post Focus: Technicolor Digs in at Pinewood
Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - American Cinematographer - April 2008
American Cinematographer - April 2008 - Cover2
American Cinematographer - April 2008 - 1
American Cinematographer - April 2008 - 2
American Cinematographer - April 2008 - Contents
American Cinematographer - April 2008 - 4
American Cinematographer - April 2008 - 5
American Cinematographer - April 2008 - 6
American Cinematographer - April 2008 - 7
American Cinematographer - April 2008 - Editor's Note
American Cinematographer - April 2008 - 9
American Cinematographer - April 2008 - Global Village: The Counterfeiters
American Cinematographer - April 2008 - 11
American Cinematographer - April 2008 - 12
American Cinematographer - April 2008 - 13
American Cinematographer - April 2008 - Short Takes: Milia
American Cinematographer - April 2008 - 15
American Cinematographer - April 2008 - 16
American Cinematographer - April 2008 - 17
American Cinematographer - April 2008 - Production Slate: All the Boys Love Mandy Lane
American Cinematographer - April 2008 - 19
American Cinematographer - April 2008 - 20
American Cinematographer - April 2008 - 21
American Cinematographer - April 2008 - 22
American Cinematographer - April 2008 - 23
American Cinematographer - April 2008 - 24
American Cinematographer - April 2008 - 25
American Cinematographer - April 2008 - 26
American Cinematographer - April 2008 - 27
American Cinematographer - April 2008 - 28
American Cinematographer - April 2008 - 29
American Cinematographer - April 2008 - Card Sharks
American Cinematographer - April 2008 - 31
American Cinematographer - April 2008 - 32
American Cinematographer - April 2008 - 33
American Cinematographer - April 2008 - 34
American Cinematographer - April 2008 - 35
American Cinematographer - April 2008 - 36
American Cinematographer - April 2008 - 37
American Cinematographer - April 2008 - 38
American Cinematographer - April 2008 - 39
American Cinematographer - April 2008 - 40
American Cinematographer - April 2008 - 41
American Cinematographer - April 2008 - Temple of Doom
American Cinematographer - April 2008 - 43
American Cinematographer - April 2008 - 44
American Cinematographer - April 2008 - 45
American Cinematographer - April 2008 - 46
American Cinematographer - April 2008 - 47
American Cinematographer - April 2008 - 48
American Cinematographer - April 2008 - 49
American Cinematographer - April 2008 - 50
American Cinematographer - April 2008 - 51
American Cinematographer - April 2008 - 3-D Cinematography
American Cinematographer - April 2008 - 53
American Cinematographer - April 2008 - 54
American Cinematographer - April 2008 - 55
American Cinematographer - April 2008 - 56
American Cinematographer - April 2008 - 57
American Cinematographer - April 2008 - 58
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American Cinematographer - April 2008 - 60
American Cinematographer - April 2008 - 61
American Cinematographer - April 2008 - 62
American Cinematographer - April 2008 - 63
American Cinematographer - April 2008 - Sundance 2008: Mining for Movies
American Cinematographer - April 2008 - 65
American Cinematographer - April 2008 - 66
American Cinematographer - April 2008 - 67
American Cinematographer - April 2008 - 68
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American Cinematographer - April 2008 - 79
American Cinematographer - April 2008 - 80
American Cinematographer - April 2008 - 81
American Cinematographer - April 2008 - 82
American Cinematographer - April 2008 - 83
American Cinematographer - April 2008 - Post Focus: Technicolor Digs in at Pinewood
American Cinematographer - April 2008 - 85
American Cinematographer - April 2008 - 86
American Cinematographer - April 2008 - 87
American Cinematographer - April 2008 - 88
American Cinematographer - April 2008 - 89
American Cinematographer - April 2008 - Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
American Cinematographer - April 2008 - 91
American Cinematographer - April 2008 - 92
American Cinematographer - April 2008 - 93
American Cinematographer - April 2008 - New Products & Services
American Cinematographer - April 2008 - 95
American Cinematographer - April 2008 - 96
American Cinematographer - April 2008 - 97
American Cinematographer - April 2008 - 98
American Cinematographer - April 2008 - 99
American Cinematographer - April 2008 - 100
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American Cinematographer - April 2008 - 107
American Cinematographer - April 2008 - 108
American Cinematographer - April 2008 - 109
American Cinematographer - April 2008 - International Marketplace
American Cinematographer - April 2008 - 111
American Cinematographer - April 2008 - Ad Index
American Cinematographer - April 2008 - 113
American Cinematographer - April 2008 - Clubhouse News
American Cinematographer - April 2008 - 115
American Cinematographer - April 2008 - ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - Cover3
American Cinematographer - April 2008 - Cover4
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