American Cinematographer - January 1997 - 77

Says Richman of his rela¬
tionship with Berlinger and
Sinofsky, "The only thing I really
had to get used to was working
with two directors. Usually the di¬
close collaboration, but here Joe
and Bruce collaborate with each

other. I had to
bit more, but it
While

LEE Filters

0

rector and the cameraman have a

get into that loop a
works."

shooting Paradise
found
the subject matter emotionally tax¬
ing for an unexpected reason. "We
had to see people as human be¬
ings as opposed to stereotypes,"
Richman explains, who says that
the media reports on the case were
initially detrimental to this process.
"Whether they live in a trailer park
Lost, the cinematographer

accused of

or are

some

I don't

see

these films

as

journalism so much as they are in¬
timate relationships with these
people. We present people as if the
viewer is meeting them."
Paradise Lost

Lightweight hand held stroboscope with phase shift

Strobe

horrible

have to open yourself
up to them in order to make the
film in an honest way so that your
subjects are human beings on the
crime, you

screen.

r

was

prima¬

*

*

Its flashes of light optically stop the movement
of machinery or motion picture cameras.
Quick and simple. The perfect tool for verifying
proper operation or detecting irregularities.
Functions as a reliable tachometer for measuring

■si

the
*

Select

wr-U'

feSly

speed of moving mechanisms.

of over 150,000 different crystal flash
synchronize to an external signal.
Choose between flashes per minute or flashes
one

rates or
*

per

second.

CINEN/WT08P4PA

Shown with
Pistol Grip Handle

electronics
31238 Via Colinas, Suite A * Westlake

on film, despite the fact
that the HBO production was to
have its premiere run on television.

Village, California 91362

*

USA

*

Phone (818) 706-3334

*

Fax (818) 706-3335

rily shot

NEW

Berlinger maintains, "There's noth¬
ing like the look of film, and you'd
want to use it for every aesthetic
reason.

However,

we

PORTA-BRACE

did shoot

the trial sequences on

video, par¬
tially for budgetary reasons. On
Brother's Keeper, we learned that
you can't continuously roll in
court, since a lot of boring and un¬
usable things happen during a
trial. Everyone can turn on Court
TV

or

the

news

and

see

MONITOR

Monitor Case
Model No. MO-8044

| This newly im¬
proved Porta-Brace
case provides a maxi¬
mum of protection while
facilitating the use of the

courtroom

footage; it's not so remarkable. But
they rarely put it in the kind of con¬
text that

felt it

we

was

between

do in

our

film. We also

important to distinguish
the trial sequences and

monitor in the field. Some of

the

unique features of the case
visor for blocking unwanted
ambient light, tilt¬
ing pedestal for se¬
lection of viewing
angles, two leather

that context, so we used video for
the court material and film for the

are:

larger view."
According to Berlinger,
the duo did approach Paradise Lost
with one specific visual aesthetic:
"We didn't film anybody to look
particularly sinister or anything
like that, but we did want the film
to have an overall extreme coldness
to match the general mood and
color temperature

in West Mem-

CASE

handles for horizontal or
vertical

carrying, pocket for large battery, heavy duty shoul¬
has venting all-around.
Optional accessories which attach to the monitor case:
playback adapter case for the VA-500, case for 1040 tuner,
and large screen visor for multi person viewing.
der strap. It

K & H

Products, Ltd.

Box 246

NorthBennington
Vermont 05257, USA

PHONE 802-442-8171

FAX 802-442-9118
American Cinematographer - January 1997

Table of Contents for the Digital Edition of American Cinematographer - January 1997
