American Cinematographer - April 2022 - 37
AMERICAN CINEMATOGRAPHER ASCMAG.COM
Top: Kara Walker
Bottom: Jordan Casteel
Camera Spotlight | Canon 300 Mark II
" I had been intimately familiar with the original Canon C300 and
C500, which had stellar reputations for rendering skin tones, so
working with the Canon 300 Mark II was a continuation of what
I was already familiar with. My first true 'date' with that camera
was shooting on I Am Not Your Negro, with director Raoul Peck,
for a series of portraits toward the end of the film. There was a
representative array of skin tones in that sequence which the
camera rendered beautifully in conjunction with Canon's CN-E
Prime lens series. It was also a bonus that one could record in
4K internally with a codec that was sufficiently robust without
creating a data nightmare that could come with shooting a raw
codec. In the documentary world, being nimble is always welcome,
and that applies to data creation as well. The camera's
menu is also quite user-friendly, with an easy learning curve.
Shortly after using it on the shoot with Raoul, I purchased one
and I've been using it to good effect ever since. "
- Henry Adebonojo
lightning rod in the art world is a repeated theme in the film, so the idea
is that the light from above is an interrogation light, as if she were being
accused of a crime by the police. We suspended a 6'x6' frame overhead
and pushed a Joker 400 through it. We also added some soft fill from the
front to open up her eyes a bit. We had some colored tubes working in
the background to complement the colors we encountered in her studio
space. "
Adebonojo mostly shot with color temperature set between 5,200K
and 5,600K - conditions in which he feels digital sensors respond best.
He had Arri L7s and L5s on hand too, he says, " on the off chance I might
want to create some sort of harshness in the background, and dial in
some color as well. "
Kinship and Support
Immediately after Adebonojo signed on to shoot Black Art, he bought a
copy of the exhibition catalog Driskell wrote for Two Centuries of Black
American Art. " It's something that I've taken to doing in documentary
work, " he says. " If there's a text of some kind that I can get ahold of, I'll
get it. I think it's important to embrace any reference you can, whether
APRIL 2022 / 37
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American Cinematographer - April 2022
Table of Contents for the Digital Edition of American Cinematographer - April 2022
Contents
American Cinematographer - April 2022 - Cover1
American Cinematographer - April 2022 - Cover2
American Cinematographer - April 2022 - 1
American Cinematographer - April 2022 - 2
American Cinematographer - April 2022 - 3
American Cinematographer - April 2022 - Contents
American Cinematographer - April 2022 - 5
American Cinematographer - April 2022 - 6
American Cinematographer - April 2022 - 7
American Cinematographer - April 2022 - 8
American Cinematographer - April 2022 - 9
American Cinematographer - April 2022 - 10
American Cinematographer - April 2022 - 11
American Cinematographer - April 2022 - 12
American Cinematographer - April 2022 - 13
American Cinematographer - April 2022 - 14
American Cinematographer - April 2022 - 15
American Cinematographer - April 2022 - 16
American Cinematographer - April 2022 - 17
American Cinematographer - April 2022 - 18
American Cinematographer - April 2022 - 19
American Cinematographer - April 2022 - 20
American Cinematographer - April 2022 - 21
American Cinematographer - April 2022 - 22
American Cinematographer - April 2022 - 23
American Cinematographer - April 2022 - 24
American Cinematographer - April 2022 - 25
American Cinematographer - April 2022 - 26
American Cinematographer - April 2022 - 27
American Cinematographer - April 2022 - 28
American Cinematographer - April 2022 - 29
American Cinematographer - April 2022 - 30
American Cinematographer - April 2022 - 31
American Cinematographer - April 2022 - 32
American Cinematographer - April 2022 - 33
American Cinematographer - April 2022 - 34
American Cinematographer - April 2022 - 35
American Cinematographer - April 2022 - 36
American Cinematographer - April 2022 - 37
American Cinematographer - April 2022 - 38
American Cinematographer - April 2022 - 39
American Cinematographer - April 2022 - 40
American Cinematographer - April 2022 - 41
American Cinematographer - April 2022 - 42
American Cinematographer - April 2022 - 43
American Cinematographer - April 2022 - 44
American Cinematographer - April 2022 - 45
American Cinematographer - April 2022 - 46
American Cinematographer - April 2022 - 47
American Cinematographer - April 2022 - 48
American Cinematographer - April 2022 - 49
American Cinematographer - April 2022 - 50
American Cinematographer - April 2022 - 51
American Cinematographer - April 2022 - 52
American Cinematographer - April 2022 - 53
American Cinematographer - April 2022 - 54
American Cinematographer - April 2022 - 55
American Cinematographer - April 2022 - 56
American Cinematographer - April 2022 - 57
American Cinematographer - April 2022 - 58
American Cinematographer - April 2022 - 59
American Cinematographer - April 2022 - 60
American Cinematographer - April 2022 - 61
American Cinematographer - April 2022 - 62
American Cinematographer - April 2022 - 63
American Cinematographer - April 2022 - 64
American Cinematographer - April 2022 - 65
American Cinematographer - April 2022 - 66
American Cinematographer - April 2022 - 67
American Cinematographer - April 2022 - 68
American Cinematographer - April 2022 - 69
American Cinematographer - April 2022 - 70
American Cinematographer - April 2022 - 71
American Cinematographer - April 2022 - 72
American Cinematographer - April 2022 - Cover3
American Cinematographer - April 2022 - Cover4
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