American Cinematographer - May 2000 - 137

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easily. You basically gain a stop, so you
have to underexpose a bit to keep the
whites down and to keep
bit darker."

the imagery

a

Schliessler's film stock was Kodak
Vision 200T 5274. "I feel that the 74 is a

good stock if you use bleach-bypasswhich increases the grain," he says. At
the

same time, he finds that lower-grain
films, such as Kodak EXR 5245, are too

contrasty when combined with the

bleach-bypass process. "I wanted to
mid-range contrast and grain."
To keep the bright parts of the sky
from burning out, he also used filtration
in front of the lens. "I used a polarizer to
darken the sky," he says, "as well as a lot
of neutral-density Schneider grads." He
calls himself a big fan of Schneider
filters, mainly because of the quality of
the glass. But he's quick to add that he
doesn't consider himself a very technical
person. "I just go by what feels right," he
says. "I approach photography and light¬
ing very intuitively. Everything kind of
falls together."
have

Schliessler's
feature films

as

career

well

as

has included

commercials. "I

find that in

a commercial, there's quite a
challenge involved in creating different
looks. Visually, you've got to be a little bit
more on the edge." With only 30 seconds
to convey a story or a feeling, the impact
of the photography has to be immediate.

While

Schliessler notes that

camerawork in feature films is

generally

subtle, because one has more time
to establish a look, he finds that some
techniques from commercial cinematog¬
raphy can translate well to features.
more

After the
and

Chevy shoot, for example, he
Fuqua went on to do Bait, starring

Jamie Foxx. In

some

of the movie's action

sequences, Schliessler used a trick from
the Chevy spot: he engaged the shutter,
so

that the film

ran

through the gate

without the shutter. "When there's

a

highlight, it streaks, because the film
gets exposed as it runs through the
gate," he says. "It's definitely an effect,
and you don't stay on it for too long, but
for quick cuts it can be quite subtle. I
would have never thought about trying
that if I hadn't done commercials."

128

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American Cinematographer - May 2000

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