American Cinematographer - June 1995 - 80

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tungsten practicals; and second,

gelling the windows with CTO
and staying with light of a single
color temperature.
Kovacs made a number
of admonishments. Each light
should have only one function
in order to have a clean result.
When using nets within a shot to
cut down the exposure on a por¬
tion of the frame, avoid letting
the sun hit the net and create
unwanted glare and reflection.
Kovacs currently prefers not to
any diffusion on the lens. He
keeps his color correction behind
use

IN SAN FRANCISCO
New ARRI16SR 3 with
and Time Code

Super 16
capability

the lens, so that the front of the
lens is as clean as possible.
The primary source of

light for the scene was a 12K HMI
coming through an off-screen
window, imitating the effect of
the sun. The bright exterior out¬
side the windows
down by a 20' X 20'

was

knocked

double net on
frame. Interior ambience was
boosted by two tungsten 5Ks,
a

gelled with full blue to match the
daylight. For the second setup,
the windows were all gelled with
CTO, and the blue gel was re¬
moved from the 5Ks. Kovacs pos¬
its that a ground glass without
crosshairs makes for

more

inter¬

esting framing.
A second
scene was

production
big hall
romantic candlelit

created in the

upstairs:

a
table for two, nestled close to the

Available

exclusively at.

fireplace. It was shot with 5296
and 5298 using several different
.

diffusion filters (Soft F/X 2, Black
ProMist 1, and Black ProMist Vi
on the
close-up).
Since the sources of light
were established as the candle
and the fire, most lights were

.

Truly rugged Arriflex design and
construction made even more

dependable by the maintenance and
support of the staff at Lee Utterbach.

gelled with V2 CTO. Ideally, the

FEATURES
LARGER & BRIGHTER VIEWFINDER
ILLUMINATED GROUND GLASS

fill
Clearly allows viewing beyond frame lines
Frame

TIME CODE CAPABILITY Save

line-markings glow in low-light situations

$ with

a

direct link to electronic post-production

SUPER 16 CAPABILITY Switchable formats from standard 16 to
VARIABLE SHUTTER

At last

QUIET OPERATION The

a

Super 16

true variable shutter in 16mm (down to 45°)

quietest 16mm camera in San Francisco

VIDEO TAP OPTIONS B&W or color CCD video cameras available

the

cameras

compatible FRIES

available for rental in Northern California

126 Russ St., San Francisco, CA 94103 TEL 415-553-7700 FAX 415-553-4535

82

from the

camera

camera

lens

and bounced

an

ungelled IK light into the board.
Two 2K

CTO,

lights, gelled with Vi

wired through a
flicker box to imitate the flicker of
a

The widest selection of ARRIFLEX and

comes

position and wraps around the
subject. In this scene, Kovacs
placed a large bead board above

were

fire.

Suggestions
lows: for the

were as

fol¬

close-ups, cheat the
American Cinematographer - June 1995

Table of Contents for the Digital Edition of American Cinematographer - June 1995
