American Cinematographer - March 1990 - 61

Technical Information
Lens: Panavision 21

Iris

mm

Primo

Setting: T 2 8

Camera: Panavision Platinum
Format: 1.85:1
Film Stock: Eastman Kodak 5296

Film

Rating: ASA 320
Lights Used: 1 5K, 3 1 Ks
Practicals Used: 100 Watt and 60 Watt

Lighting support: Lee America West
Stage: USC Cinema School
Processing and Workprint: De Luxe Lab
Printing Lights: 31-37-18 (red, green, blue)
Sound

Opposite Page:

Light Values
(with incident light meter)

Actors Jarrett
Smithwrick and

Cymbidium (silhou¬
etted) in a moody

from curtain towards 5K:

T4

from Jarrett towards 5K:

T 2.8

from wall shadow towards 5K: T 1.7

night interior (from
workprint). Below:
Jack Green at the
camera.

from chair towards 1k:

T2

This Page Above:
Another frame from
the

the actors would be fully front
lit, and we'd all gag, but it isn't, it's a back

camera,

light." Green adds that the sense
of darkness in the room is also height¬
ened by the brightness of the windows
and the absence of a fill light.
In the workshop footage, as in
cross

Bird, the actors

move

same

take (from

workprint). Left:
Overhead shot
of set. Below:

Lighting diagram of
the set.

in and out of the

light. At the beginning of the scene, the
actress is lit by the back cross, creating
an edge of light on her body. When she
walks away from the window, the ac¬
tress becomes a mysterious silhouette
against the bright window. For Green,
movement is one of the keys to a dark
aesthetic. "The one thing that must never
be forgotten about cinematography, as
opposed to still photography, is the fact
that it is a moving picture. Therefore you
can sketch light and let the subject hit an
occasional piece of light, it's not like a
still that's always in darkness. So you can
get away with more darkness. It's a very
simple premise and a lot of cameramen
use it. It just happens to be taken to a
little

of an extreme with Bird."
Green shot the workshop foot¬

more

age with a
man's high

21mm Primo lens and East¬
speed 5296 stock, which he

rated at 320 ASA to achieve

a

negative. Green notes that 96 is
sensitive to

thick
very

light, "so I went out of

my

way to make dark areas really dark. The
21mm Primo is one of the flatest lenses,

its flatter than

a

lot of

longer lenses are.

59



American Cinematographer - March 1990

Table of Contents for the Digital Edition of American Cinematographer - March 1990

American Cinematographer - March 1990 - 1
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