American Cinematographer - October 2009 - 28

Director Bob Balaban (left) discusses a shot with cinematographer Paul Elliott and Steadicam operator Beau Chaput. we could almost have made the shot using just firelight,” notes Elliott. “The problem is that the flames get overexposed, so we put up a Chimera with a 2K Blonde behind it just off to the side of the fire. We put a honeycomb grid on it and dimmed it down to match the firelight.” A key aspect of Elliott’s visual approach was contrasting the warm, hard light of New Mexico with the cool, soft light of Manhattan — or, in the New York art galleries, contrasting cool outdoor light with warm interior lighting. O’Keeffe and Stieglitz’s first meeting takes place inside his 291 Gallery. Period photos of the location revealed a skylight in the middle of the room and small tungsten ceiling lights illuminating individual paintings. “On an overcast day in Manhattan, the light coming through the skylight would be cool, whereas the light from the tungsten fixtures would be warm,” says Elliott. “That allowed me to motivate the contrast. We did that a lot in New York scenes.” The gallery set was built in a garage on the grounds of an abandoned hospital. There wasn’t enough room to reproduce the skylight, so Elliott created one by pushing blue-gelled Kino Flos and several layers of 250 right up against the ceiling. Tungsten scoop lights, designed to match the originals, illuminated the paintings on the wall. The set for another New York art gallery was built inside the former hospital, allowing the filmmakers more space. “We were able to create larger skylights there, and we put one layer of diffusion right over the Kino Flo tubes, and then a second layer maybe 6 inches away,” recalls Elliott. “We were using 3200°K tubes, and we put 3⁄4 CTB on them.” In one art-gallery scene, O’Keeffe prime choice 15mm – 40mm optimo cine lenses from 15mm to 290mm There’s no doubt that Angenieux Optimo 35mm film lenses deliver exceptional optical performance and value. They feature extremely fast apertures with outstanding contrast and color reproduction – and the most advanced zoom mechanics available. In fact, an expansive 15 to 290mm range is provided by just four Optimo

American Cinematographer - October 2009

Table of Contents for the Digital Edition of American Cinematographer - October 2009

American Cinematographer - October 2009
Contents
Editor’s Note
President's Desk
Short Takes: The Maine's "Into Your Arms"
Production Slate: The National Parks: America’s Best IdeaGeorgia O’Keeffe
Pitch Perfect
Hard Time
A Lyrical Love
Vicarious Thrills
Post Focus: Red Dwarf: Back to Earth
New Products & Services
International Marketplace
Classified Ads/Ad Index
Clubhouse News
ASC Close-Up: Lowell Peterson
American Cinematographer - October 2009 - American Cinematographer - October 2009
American Cinematographer - October 2009 - Cover2
American Cinematographer - October 2009 - 1
American Cinematographer - October 2009 - 2
American Cinematographer - October 2009 - Contents
American Cinematographer - October 2009 - 4
American Cinematographer - October 2009 - 5
American Cinematographer - October 2009 - 6
American Cinematographer - October 2009 - 7
American Cinematographer - October 2009 - Editor’s Note
American Cinematographer - October 2009 - 9
American Cinematographer - October 2009 - President's Desk
American Cinematographer - October 2009 - 11
American Cinematographer - October 2009 - Short Takes: The Maine's "Into Your Arms"
American Cinematographer - October 2009 - 13
American Cinematographer - October 2009 - 14
American Cinematographer - October 2009 - 15
American Cinematographer - October 2009 - 16
American Cinematographer - October 2009 - 17
American Cinematographer - October 2009 - Production Slate: The National Parks: America’s Best IdeaGeorgia O’Keeffe
American Cinematographer - October 2009 - 19
American Cinematographer - October 2009 - 20
American Cinematographer - October 2009 - 21
American Cinematographer - October 2009 - 22
American Cinematographer - October 2009 - 23
American Cinematographer - October 2009 - 24
American Cinematographer - October 2009 - 25
American Cinematographer - October 2009 - 26
American Cinematographer - October 2009 - 27
American Cinematographer - October 2009 - 28
American Cinematographer - October 2009 - 29
American Cinematographer - October 2009 - Pitch Perfect
American Cinematographer - October 2009 - 31
American Cinematographer - October 2009 - 32
American Cinematographer - October 2009 - 33
American Cinematographer - October 2009 - 34
American Cinematographer - October 2009 - 35
American Cinematographer - October 2009 - 36
American Cinematographer - October 2009 - 37
American Cinematographer - October 2009 - 38
American Cinematographer - October 2009 - 39
American Cinematographer - October 2009 - 40
American Cinematographer - October 2009 - 41
American Cinematographer - October 2009 - 42
American Cinematographer - October 2009 - 43
American Cinematographer - October 2009 - Hard Time
American Cinematographer - October 2009 - 45
American Cinematographer - October 2009 - 46
American Cinematographer - October 2009 - 47
American Cinematographer - October 2009 - 48
American Cinematographer - October 2009 - 49
American Cinematographer - October 2009 - 50
American Cinematographer - October 2009 - 51
American Cinematographer - October 2009 - 52
American Cinematographer - October 2009 - 53
American Cinematographer - October 2009 - 54
American Cinematographer - October 2009 - 55
American Cinematographer - October 2009 - 56
American Cinematographer - October 2009 - 57
American Cinematographer - October 2009 - A Lyrical Love
American Cinematographer - October 2009 - 59
American Cinematographer - October 2009 - 60
American Cinematographer - October 2009 - 61
American Cinematographer - October 2009 - 62
American Cinematographer - October 2009 - 63
American Cinematographer - October 2009 - 64
American Cinematographer - October 2009 - 65
American Cinematographer - October 2009 - Vicarious Thrills
American Cinematographer - October 2009 - 67
American Cinematographer - October 2009 - 68
American Cinematographer - October 2009 - 69
American Cinematographer - October 2009 - 70
American Cinematographer - October 2009 - 71
American Cinematographer - October 2009 - 72
American Cinematographer - October 2009 - 73
American Cinematographer - October 2009 - 74
American Cinematographer - October 2009 - 75
American Cinematographer - October 2009 - Post Focus: Red Dwarf: Back to Earth
American Cinematographer - October 2009 - 77
American Cinematographer - October 2009 - 78
American Cinematographer - October 2009 - 79
American Cinematographer - October 2009 - 80
American Cinematographer - October 2009 - 81
American Cinematographer - October 2009 - New Products & Services
American Cinematographer - October 2009 - 83
American Cinematographer - October 2009 - 84
American Cinematographer - October 2009 - 85
American Cinematographer - October 2009 - 86
American Cinematographer - October 2009 - 87
American Cinematographer - October 2009 - International Marketplace
American Cinematographer - October 2009 - 89
American Cinematographer - October 2009 - Classified Ads/Ad Index
American Cinematographer - October 2009 - Clubhouse News
American Cinematographer - October 2009 - ASC Close-Up: Lowell Peterson
American Cinematographer - October 2009 - Cover3
American Cinematographer - October 2009 - Cover4
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