American Cinematographer - November 1999 - 89

that

produces grain, and I mostly use
prime lenses. I keep the exposure
down the middle, and when I go in
to time the show, we bring up the
chroma and crush the blacks. I light
for what the source is. That way, I get
the most out of the lamp.
"As far

as

the interiors

are

concerned, I light the oil lamps, put a
work light in, rehearse, look at the
light and how it hits the actors, dupli¬
cate it, and rim-light them," he

explains. "I then create hot spots to
layer the image. Depending on the
scene, I can create depth by setting an
oil lamp way in the back. I'll put a hot
light on it and match that light's
density to the flame. Then I fill in
from there. I don't use any front light
at all. It's all edges and soft light,
unless it's

a

shot

Smith

on

fane."

recently

finished

another telefilm with Dr. Quinn star

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Shootist, Beverly Hills Cop, Bad Boys
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Dash and Lilly is a multiple

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(Sam Shepard) and Lillian Heilman

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Surtees
press

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85



American Cinematographer - November 1999

Table of Contents for the Digital Edition of American Cinematographer - November 1999

American Cinematographer - November 1999 - 1
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