American Cinematographer - August 1998 - 71

MODULAR
Soos also took

advantage of

CHIMERA has

Kodak's Vision 500T 5279 emulsion.
"I

occasionally rate the Vision 500 at

250

...the

ASA, and sometimes at 120

just made available

some new

and vastly improved

light banks. How? Two words..."modular construction"

light bank's frames are now built of pre-assembled aluminum truss

sections that cut

assembly time to about 1/10th of what it used to be.

ASA," he explains. "It handles overex¬

extremely well, specifically for
comple¬
ments contrasty lighting extremely
well; it leaves the blacks very black,
the highlights really start to bloom,
and the grain structure looks like a 50
ASA film when you deliver the
telecine people a very 'fat' or overex¬
posed negative." Since Soos favored
high contrast and very sculpted light¬
ing with no fill for the Tricky clip, the
high-speed Vision 500T proved
particularly suitable.
This brooding video also
posure

telecine transfers. It also

Of course, the

involved

some rather imaginative
exploitation of fluorescent fixtures.

The

camerman

original "component" F2s are also available with

compact breakdown and ease of portability as their primary advantage.
And every

F2 accepts strobe, HMI and tungsten fixtures. They're all

constructed to offer you

used fixtures fitted

light weight and

super

multiple rigging options. And if they all weren't

rugged, they just wouldn't be wearing the CHIMERA label.

with Chimera soft boxes for his

adding fluorescents

key,
practical

CHIMERA

elements in the frame. "Just like
E-mail:

other
a
a

cinematographers would use
light bulb behind a lampshade in
corner

room,

I clustered a
on a wall

bunch of fluorescent tubes
and had the

recollects. "It
was

also

art

wiring exposed," he
was lighting, but it

direction."

Fluorescents
on

camera

sometimes

can

Manfrotto'
We Can Take The Heat

bright

that their illumination

blows

out,

(888)444-1812 / FAX (303)444-8303
chimera© usa.net / http://www.chimeralighting.com

3141-510 Video Tripod

Soos

sprayed his units with a light coat of
black paint. Once the tubes were lit
up, the paint covering their surface
"knocked the level down

Whether you're

fire,

it would

become
and

photographically friendly,
also created this really cool,

or a

tensile aluminum alloy, the
2-stage 3141 Professional
Video Tripod equipped with

corroded effect."

Sigismondi and Soos most
recently collaborated on "Can't Get
Loose," a video featuring British
composer/multi-instrumentalist
Barry Adamson, whose swanky style
encompasses jazz, hip-hop, gospel,
big band, funk and samples from the
scores
of Sixties spy thrillers.
Adamson's albums play like sound¬

covering a three alarm

heated political debate, you
need equipment that can
stand up to a rigorous pace.
Made of lightweight high-

the Manfrotto 510 Video
Head
3141 Professional Video

Tripod - Lightweight 2-stage

can

withstand the

rigors of everyday filming
no matter how hot it gets.

high-tensile aluminum alloy and high strength plastic composite
(weight savings up to 30% versus ordinary aluminum tripods).
Complete with 100mm bowl, spiked feet and spreader.

For

510 Video Head An advanced 3-step drag system, zero freewheel setting and a return to center
variable balance spring adjustment. 360° pan and +75° to -70° tilt control with effortless starts and
stops. Weighs 8 lbs. and can handle cameras up to 19 lbs. (Model 510) or 23 lbs. (Model 510-10).

see

complete information
your dealer, contact us

visit

our

web site.

bogen

tracks

to imaginary films, which suits
Sigismondi just fine, since her work
is becoming more narrative-based.

(201)818-9500

Bogen Photo Corp., 565 East Crescent Avenue, Ramsey, NJ 07446-0506
Fax: (201)818-9177 * e mail: info@bogenphoto.com * web: www.bogenphoto.com

American Cinematographer - August 1998

Table of Contents for the Digital Edition of American Cinematographer - August 1998