American Cinematographer - October 1998 - 73

light in contrast with very
light. I made a mistake and
accidentally asked my gaffer, Tim
green

orange

McGinnis, to install cool-white fluoinstead

rescents

of warm-white.

Unfortunately cool-whites render a
more
blue-green/cyan effect - not
green enough. If I wanted pure green
from the fluorescents, it meant replac¬
ing hundreds of tubes. Suddenly it
dawned

on

me

that if I used the

daylight-balanced [5239] stock, I
could effectively remove the bluecast of the cool whites and get the
pure green I wanted as a final effect.
At the same time, I realized that by
shooting [5239], the emulsion would
render tungsten light as extremely
warm
I'd no longer need the
amber gel. I not only saved us from
using a bunch of expensive gels, but
by using the daylight emulsion -
ASA 160
I gained a third of a stop
of emulsion speed for a huge night
exterior. I'd love to say I planned it
that way, but sometimes accidents go

Why settle for inconsistent grays,

ana uneven,

crooked or

mismatched grad lines?

Amazing uniformity and
pure gray Neutral Density
filters are available now.

*

Consistent true neutral gray

*

Water-white, clear optical glass

*

Precision ground and polished
Flat and parallel for use
with even the longest lenses
Hard or soft edge blends
4"x 4", 4"x 5.650" Horizontal
and Vertical, and 6.6" x 6.6"

*

*

*

Sthneiderwilto
285 Oser Avenue, Hauppauge, NY 11788 USA
TEL: +1 516 761-5000 * FAX: +1 516 761-5090
email: info@schneideroptics.com

http://www.schneideroptics.com

-

-

ND QUALITY

your way.

Aaron, do you have any final
thoughts about the project?
Schneider: The opportunity to
experiment and learn on projects like
this don't come along every day.
Charlie Haid is a cinematographer's
best friend when it

comes

to

the

The world's

brightest HMIs
just got REALLY tiny...

Video 18W HMI

creative process. He respects my
work and acknowledges my contri¬

bution

his

to

own.

It sounds like

bunch of buzz words, but I think
as

a

we

cinematographers need to give
to directors who support us in

credit

whether it's patience on
backing up an idea with the
power of their position. I know for a
fact that I'm only as good as a direc¬
work

our

the

set or

tor

allows

-

me

to

be.

■

Only Schneiders pilot for
Buddy Faro was photographed using
Kodak's reversal stocks. Subsequent
episodes of the show were shot by
David Boyd, using Fuji emulsions.
More ofSchneiders work can be
seen

in the

recently released threatrical

feature Simon Birch.

(800) 762-4291
11646 Pendleton Street, Sun

Tel:

(818) 767-1313

Valley, CA 91352
FAX: (818) 767-1442
71



American Cinematographer - October 1998

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

American Cinematographer - October 1998 - 1
American Cinematographer - October 1998 - 2
American Cinematographer - October 1998 - 3
American Cinematographer - October 1998 - 4
American Cinematographer - October 1998 - 5
American Cinematographer - October 1998 - 6
American Cinematographer - October 1998 - 7
American Cinematographer - October 1998 - 8
American Cinematographer - October 1998 - 9
American Cinematographer - October 1998 - 10
American Cinematographer - October 1998 - 11
American Cinematographer - October 1998 - 12
American Cinematographer - October 1998 - 13
American Cinematographer - October 1998 - 14
American Cinematographer - October 1998 - 15
American Cinematographer - October 1998 - 16
American Cinematographer - October 1998 - 17
American Cinematographer - October 1998 - 18
American Cinematographer - October 1998 - 19
American Cinematographer - October 1998 - 20
American Cinematographer - October 1998 - 21
American Cinematographer - October 1998 - 22
American Cinematographer - October 1998 - 23
American Cinematographer - October 1998 - 24
American Cinematographer - October 1998 - 25
American Cinematographer - October 1998 - 26
American Cinematographer - October 1998 - 27
American Cinematographer - October 1998 - 28
American Cinematographer - October 1998 - 29
American Cinematographer - October 1998 - 30
American Cinematographer - October 1998 - 31
American Cinematographer - October 1998 - 32
American Cinematographer - October 1998 - 33
American Cinematographer - October 1998 - 34
American Cinematographer - October 1998 - 35
American Cinematographer - October 1998 - 36
American Cinematographer - October 1998 - 37
American Cinematographer - October 1998 - 38
American Cinematographer - October 1998 - 39
American Cinematographer - October 1998 - 40
American Cinematographer - October 1998 - 41
American Cinematographer - October 1998 - 42
American Cinematographer - October 1998 - 43
American Cinematographer - October 1998 - 44
American Cinematographer - October 1998 - 45
American Cinematographer - October 1998 - 46
American Cinematographer - October 1998 - 47
American Cinematographer - October 1998 - 48
American Cinematographer - October 1998 - 49
American Cinematographer - October 1998 - 50
American Cinematographer - October 1998 - 51
American Cinematographer - October 1998 - 52
American Cinematographer - October 1998 - 53
American Cinematographer - October 1998 - 54
American Cinematographer - October 1998 - 55
American Cinematographer - October 1998 - 56
American Cinematographer - October 1998 - 57
American Cinematographer - October 1998 - 58
American Cinematographer - October 1998 - 59
American Cinematographer - October 1998 - 60
American Cinematographer - October 1998 - 61
American Cinematographer - October 1998 - 62
American Cinematographer - October 1998 - 63
American Cinematographer - October 1998 - 64
American Cinematographer - October 1998 - 65
American Cinematographer - October 1998 - 66
American Cinematographer - October 1998 - 67
American Cinematographer - October 1998 - 68
American Cinematographer - October 1998 - 69
American Cinematographer - October 1998 - 70
American Cinematographer - October 1998 - 71
American Cinematographer - October 1998 - 72
American Cinematographer - October 1998 - 73
American Cinematographer - October 1998 - 74
American Cinematographer - October 1998 - 75
American Cinematographer - October 1998 - 76
American Cinematographer - October 1998 - 77
American Cinematographer - October 1998 - 78
American Cinematographer - October 1998 - 79
American Cinematographer - October 1998 - 80
American Cinematographer - October 1998 - 81
American Cinematographer - October 1998 - 82
American Cinematographer - October 1998 - 83
American Cinematographer - October 1998 - 84
American Cinematographer - October 1998 - 85
American Cinematographer - October 1998 - 86
American Cinematographer - October 1998 - 87
American Cinematographer - October 1998 - 88
American Cinematographer - October 1998 - 89
American Cinematographer - October 1998 - 90
American Cinematographer - October 1998 - 91
American Cinematographer - October 1998 - 92
American Cinematographer - October 1998 - 93
American Cinematographer - October 1998 - 94
American Cinematographer - October 1998 - 95
American Cinematographer - October 1998 - 96
American Cinematographer - October 1998 - 97
American Cinematographer - October 1998 - 98
American Cinematographer - October 1998 - 99
American Cinematographer - October 1998 - 100
American Cinematographer - October 1998 - 101
American Cinematographer - October 1998 - 102
American Cinematographer - October 1998 - 103
American Cinematographer - October 1998 - 104
American Cinematographer - October 1998 - 105
American Cinematographer - October 1998 - 106
American Cinematographer - October 1998 - 107
American Cinematographer - October 1998 - 108
American Cinematographer - October 1998 - 109
American Cinematographer - October 1998 - 110
American Cinematographer - October 1998 - 111
American Cinematographer - October 1998 - 112
American Cinematographer - October 1998 - 113
American Cinematographer - October 1998 - 114
American Cinematographer - October 1998 - 115
American Cinematographer - October 1998 - 116
American Cinematographer - October 1998 - 117
American Cinematographer - October 1998 - 118
American Cinematographer - October 1998 - 119
American Cinematographer - October 1998 - 120
American Cinematographer - October 1998 - 121
American Cinematographer - October 1998 - 122
American Cinematographer - October 1998 - 123
American Cinematographer - October 1998 - 124
https://www.nxtbook.com/nxtbooks/ac/ac199912
https://www.nxtbook.com/nxtbooks/ac/ac199911
https://www.nxtbook.com/nxtbooks/ac/ac199910
https://www.nxtbook.com/nxtbooks/ac/ac199909
https://www.nxtbook.com/nxtbooks/ac/ac199908
https://www.nxtbook.com/nxtbooks/ac/ac199907
https://www.nxtbook.com/nxtbooks/ac/ac199906
https://www.nxtbook.com/nxtbooks/ac/ac199905
https://www.nxtbook.com/nxtbooks/ac/ac199904
https://www.nxtbook.com/nxtbooks/ac/ac199903
https://www.nxtbook.com/nxtbooks/ac/ac199902
https://www.nxtbook.com/nxtbooks/ac/ac199901
https://www.nxtbook.com/nxtbooks/ac/ac199812
https://www.nxtbook.com/nxtbooks/ac/ac199811
https://www.nxtbook.com/nxtbooks/ac/ac199810
https://www.nxtbook.com/nxtbooks/ac/ac199809
https://www.nxtbook.com/nxtbooks/ac/ac199808
https://www.nxtbook.com/nxtbooks/ac/ac199807
https://www.nxtbook.com/nxtbooks/ac/ac199806
https://www.nxtbook.com/nxtbooks/ac/ac199805
https://www.nxtbook.com/nxtbooks/ac/ac199804
https://www.nxtbook.com/nxtbooks/ac/ac199803
https://www.nxtbook.com/nxtbooks/ac/ac199802
https://www.nxtbook.com/nxtbooks/ac/ac199801
https://www.nxtbook.com/nxtbooks/ac/ac199712
https://www.nxtbook.com/nxtbooks/ac/ac199711
https://www.nxtbook.com/nxtbooks/ac/ac199710
https://www.nxtbook.com/nxtbooks/ac/ac199709
https://www.nxtbook.com/nxtbooks/ac/ac199708
https://www.nxtbook.com/nxtbooks/ac/ac199707
https://www.nxtbook.com/nxtbooks/ac/ac199706
https://www.nxtbook.com/nxtbooks/ac/ac199705
https://www.nxtbook.com/nxtbooks/ac/ac199704
https://www.nxtbook.com/nxtbooks/ac/ac199703
https://www.nxtbook.com/nxtbooks/ac/ac199702
https://www.nxtbook.com/nxtbooks/ac/ac199701
https://www.nxtbook.com/nxtbooks/ac/ac199612
https://www.nxtbook.com/nxtbooks/ac/ac199611
https://www.nxtbook.com/nxtbooks/ac/ac199610
https://www.nxtbook.com/nxtbooks/ac/ac199609
https://www.nxtbook.com/nxtbooks/ac/ac199608
https://www.nxtbook.com/nxtbooks/ac/ac199607
https://www.nxtbook.com/nxtbooks/ac/ac199606
https://www.nxtbook.com/nxtbooks/ac/ac199605
https://www.nxtbook.com/nxtbooks/ac/ac199604
https://www.nxtbook.com/nxtbooks/ac/ac199603
https://www.nxtbook.com/nxtbooks/ac/ac199602
https://www.nxtbook.com/nxtbooks/ac/ac199601
https://www.nxtbook.com/nxtbooks/ac/ac199512
https://www.nxtbook.com/nxtbooks/ac/ac199511
https://www.nxtbook.com/nxtbooks/ac/ac199510
https://www.nxtbook.com/nxtbooks/ac/ac199509
https://www.nxtbook.com/nxtbooks/ac/ac199508
https://www.nxtbook.com/nxtbooks/ac/ac199507
https://www.nxtbook.com/nxtbooks/ac/ac199506
https://www.nxtbook.com/nxtbooks/ac/ac199505
https://www.nxtbook.com/nxtbooks/ac/ac199504
https://www.nxtbook.com/nxtbooks/ac/ac199503
https://www.nxtbook.com/nxtbooks/ac/ac199502
https://www.nxtbook.com/nxtbooks/ac/ac199501
https://www.nxtbook.com/nxtbooks/ac/ac199412
https://www.nxtbook.com/nxtbooks/ac/ac199411
https://www.nxtbook.com/nxtbooks/ac/ac199410
https://www.nxtbook.com/nxtbooks/ac/ac199409
https://www.nxtbook.com/nxtbooks/ac/ac199408
https://www.nxtbook.com/nxtbooks/ac/ac199407
https://www.nxtbook.com/nxtbooks/ac/ac199406
https://www.nxtbook.com/nxtbooks/ac/ac199405
https://www.nxtbook.com/nxtbooks/ac/ac199404
https://www.nxtbook.com/nxtbooks/ac/ac199403
https://www.nxtbook.com/nxtbooks/ac/ac199402
https://www.nxtbook.com/nxtbooks/ac/ac199401
https://www.nxtbook.com/nxtbooks/ac/ac199312
https://www.nxtbook.com/nxtbooks/ac/ac199311
https://www.nxtbook.com/nxtbooks/ac/ac199310
https://www.nxtbook.com/nxtbooks/ac/ac199309
https://www.nxtbook.com/nxtbooks/ac/ac199308
https://www.nxtbook.com/nxtbooks/ac/ac199307
https://www.nxtbook.com/nxtbooks/ac/ac199306
https://www.nxtbook.com/nxtbooks/ac/ac199305
https://www.nxtbook.com/nxtbooks/ac/ac199304
https://www.nxtbook.com/nxtbooks/ac/ac199303
https://www.nxtbook.com/nxtbooks/ac/ac199302
https://www.nxtbook.com/nxtbooks/ac/ac199301
https://www.nxtbook.com/nxtbooks/ac/ac199212
https://www.nxtbook.com/nxtbooks/ac/ac199211
https://www.nxtbook.com/nxtbooks/ac/ac199210
https://www.nxtbook.com/nxtbooks/ac/ac199209
https://www.nxtbook.com/nxtbooks/ac/ac199208
https://www.nxtbook.com/nxtbooks/ac/ac199207
https://www.nxtbook.com/nxtbooks/ac/ac199206
https://www.nxtbook.com/nxtbooks/ac/ac199205
https://www.nxtbook.com/nxtbooks/ac/ac199204
https://www.nxtbook.com/nxtbooks/ac/ac199203
https://www.nxtbook.com/nxtbooks/ac/ac199202
https://www.nxtbook.com/nxtbooks/ac/ac199201
https://www.nxtbook.com/nxtbooks/ac/ac199112
https://www.nxtbook.com/nxtbooks/ac/ac199111
https://www.nxtbook.com/nxtbooks/ac/ac199110
https://www.nxtbook.com/nxtbooks/ac/ac199109
https://www.nxtbook.com/nxtbooks/ac/ac199108
https://www.nxtbook.com/nxtbooks/ac/ac199107
https://www.nxtbook.com/nxtbooks/ac/ac199106
https://www.nxtbook.com/nxtbooks/ac/ac199105
https://www.nxtbook.com/nxtbooks/ac/ac199104
https://www.nxtbook.com/nxtbooks/ac/ac199103
https://www.nxtbook.com/nxtbooks/ac/ac199102
https://www.nxtbook.com/nxtbooks/ac/ac199101
https://www.nxtbook.com/nxtbooks/ac/ac199012
https://www.nxtbook.com/nxtbooks/ac/ac199011
https://www.nxtbook.com/nxtbooks/ac/ac199010
https://www.nxtbook.com/nxtbooks/ac/ac199009
https://www.nxtbook.com/nxtbooks/ac/ac199008
https://www.nxtbook.com/nxtbooks/ac/ac199007
https://www.nxtbook.com/nxtbooks/ac/ac199006
https://www.nxtbook.com/nxtbooks/ac/ac199005
https://www.nxtbook.com/nxtbooks/ac/ac199004
https://www.nxtbook.com/nxtbooks/ac/ac199003
https://www.nxtbook.com/nxtbooks/ac/ac199002
https://www.nxtbook.com/nxtbooks/ac/ac199001
https://www.nxtbookmedia.com