American Cinematographer - May 2000 - 77
CAVAPMAK/
dark that I didn't
bother
using
morning, because
we'd be switching by two in the after¬
noon
anyway. I only used 98, which I
underrated by a stop."
Incorporating classic, studiostyle lighting was a particular chal¬
lenge on the episode, because it was
shot entirely on location in a variety
of places. "We were totally on loca¬
tion for this episode, so we couldn't
work in a 'studio' style, hanging lights
off a grid," he points out. "Luckily, the
director was fairly open to working
even
LEON ARD
slower film in the
around
whatever
particular
location
constraints
[had],
a
and
because of my
documentary back¬
ground, I have a real preference for
letting the in-shot sources serve as
the source lighting for the actors.
"For the flashbacks,
we were
very careful with the tones and colors
we used. We
kept everything in the
browns, grays and blacks. Our palette
in the normal world of the show was
also
also
very 'teched down,'
in the greens and blues, so
always
more
provided
between the
two
-
but
that
a nice contrast
time periods."
Christopher Probst
STUDIO EQUIPMENT, \UC
MOTION PICTURE AND
TELEVISION EQUIPMENT
Camera Cranes, Arms, Bases,
Dollies, Pedestals
& Remote Camera Systems
The Olympian II
Super PeeWee® IV
Battery Pack/Charger
they left the restaurant, he persisted,
backing into the street and into the
path of a speeding municipal bus.
"Part Two begins in the hospi¬
tal, as Mulcahy is being wheeled
down the corridor by emergency stat
teams," explains Primes. "He really
should have been killed. He is severely
injured, but miraculously, he's not
dead. Felicity is normally a very
thoughtful show and doesn't feature
these physical traumas, so we decided
that when
wanted
one, we
ing of Part Two that
the show:
Robert Primes, ASC
Felicity, "Todd Mulcahy, Part II"
did have
we
hit pretty hard with it. We
therefore did something in the open¬
to
trauma
we never do on
made the hospital
we
ward very hot - allowing the
lights above the
scene to go more
than three stops
of
photography Robert
Primes, ASC, had already won an
Emmy Award for this ASC Awardnominated episode of Felicity (see AC
Nov '99). "Todd Mulcahy, Part II" is
the second in a two-part episode
dealing with the return of a child¬
hood boyfriend whom Felicity (Keri
Director
Russell) hasn't seen since she was
about 12, but who nonetheless
proclaims his undying adoration of
her. In the first installment, Mulcahy
re-entered Felicity's life and began to
systematically woo every other
person she knew, almost suffocating
the oft-perplexed coed. Toward the
end of the episode, in an effort to
control the situation, Felicity agreed
to have dinner with Mulcahy, but
refused to kiss him afterwards. As
overexposed, blow¬
ing out the whites and making the
image contrasty and distressed. It was
almost
a
music-video kind of look,
and
a
rest
of the show."
real break from the
style of the
Besides the
high-octane pace
Primes is
also fond of the episode because of its
of the
trauma sequences,
focus
on
"In
the
previous
episodes, Felicity had been trying to
get into this very prestigious medical
seminar held by a famous teacher.
She's a very good student, a bit of an
overachiever, but she's still required to
go in for an interview. However, Todd
has gotten her thinking about the
direction of her life by questioning
why she's going into medicine when
art.
she had wanted
life."
& Charger
to
be
an
FourConvenient Locations:
Los Angeles
888.883.6559
Dallas/Fort Worth
888.758.4826
Orlando
888.337.8243
Miami
305.895.0085
Check Out Our Web Site, For
The C/L Dealer Near
You...Located Worldwide
Ask About Our
Sound Stage
in
Orlando, Fuorida
artist all her
>-
www.chapman-leonard.com
American Cinematographer - May 2000
Table of Contents for the Digital Edition of American Cinematographer - May 2000
American Cinematographer - May 2000 - 1
American Cinematographer - May 2000 - 2
American Cinematographer - May 2000 - 3
American Cinematographer - May 2000 - 4
American Cinematographer - May 2000 - 5
American Cinematographer - May 2000 - 6
American Cinematographer - May 2000 - 7
American Cinematographer - May 2000 - 8
American Cinematographer - May 2000 - 9
American Cinematographer - May 2000 - 10
American Cinematographer - May 2000 - 11
American Cinematographer - May 2000 - 12
American Cinematographer - May 2000 - 13
American Cinematographer - May 2000 - 14
American Cinematographer - May 2000 - 15
American Cinematographer - May 2000 - 16
American Cinematographer - May 2000 - 17
American Cinematographer - May 2000 - 18
American Cinematographer - May 2000 - 19
American Cinematographer - May 2000 - 20
American Cinematographer - May 2000 - 21
American Cinematographer - May 2000 - 22
American Cinematographer - May 2000 - 23
American Cinematographer - May 2000 - 24
American Cinematographer - May 2000 - 25
American Cinematographer - May 2000 - 26
American Cinematographer - May 2000 - 27
American Cinematographer - May 2000 - 28
American Cinematographer - May 2000 - 29
American Cinematographer - May 2000 - 30
American Cinematographer - May 2000 - 31
American Cinematographer - May 2000 - 32
American Cinematographer - May 2000 - 33
American Cinematographer - May 2000 - 34
American Cinematographer - May 2000 - 35
American Cinematographer - May 2000 - 36
American Cinematographer - May 2000 - 37
American Cinematographer - May 2000 - 38
American Cinematographer - May 2000 - 39
American Cinematographer - May 2000 - 40
American Cinematographer - May 2000 - 41
American Cinematographer - May 2000 - 42
American Cinematographer - May 2000 - 43
American Cinematographer - May 2000 - 44
American Cinematographer - May 2000 - 45
American Cinematographer - May 2000 - 46
American Cinematographer - May 2000 - 47
American Cinematographer - May 2000 - 48
American Cinematographer - May 2000 - 49
American Cinematographer - May 2000 - 50
American Cinematographer - May 2000 - 51
American Cinematographer - May 2000 - 52
American Cinematographer - May 2000 - 53
American Cinematographer - May 2000 - 54
American Cinematographer - May 2000 - 55
American Cinematographer - May 2000 - 56
American Cinematographer - May 2000 - 57
American Cinematographer - May 2000 - 58
American Cinematographer - May 2000 - 59
American Cinematographer - May 2000 - 60
American Cinematographer - May 2000 - 61
American Cinematographer - May 2000 - 62
American Cinematographer - May 2000 - 63
American Cinematographer - May 2000 - 64
American Cinematographer - May 2000 - 65
American Cinematographer - May 2000 - 66
American Cinematographer - May 2000 - 67
American Cinematographer - May 2000 - 68
American Cinematographer - May 2000 - 69
American Cinematographer - May 2000 - 70
American Cinematographer - May 2000 - 71
American Cinematographer - May 2000 - 72
American Cinematographer - May 2000 - 73
American Cinematographer - May 2000 - 74
American Cinematographer - May 2000 - 75
American Cinematographer - May 2000 - 76
American Cinematographer - May 2000 - 77
American Cinematographer - May 2000 - 78
American Cinematographer - May 2000 - 79
American Cinematographer - May 2000 - 80
American Cinematographer - May 2000 - 81
American Cinematographer - May 2000 - 82
American Cinematographer - May 2000 - 83
American Cinematographer - May 2000 - 84
American Cinematographer - May 2000 - 85
American Cinematographer - May 2000 - 86
American Cinematographer - May 2000 - 87
American Cinematographer - May 2000 - 88
American Cinematographer - May 2000 - 89
American Cinematographer - May 2000 - 90
American Cinematographer - May 2000 - 91
American Cinematographer - May 2000 - 92
American Cinematographer - May 2000 - 93
American Cinematographer - May 2000 - 94
American Cinematographer - May 2000 - 95
American Cinematographer - May 2000 - 96
American Cinematographer - May 2000 - 97
American Cinematographer - May 2000 - 98
American Cinematographer - May 2000 - 99
American Cinematographer - May 2000 - 100
American Cinematographer - May 2000 - 101
American Cinematographer - May 2000 - 102
American Cinematographer - May 2000 - 103
American Cinematographer - May 2000 - 104
American Cinematographer - May 2000 - 105
American Cinematographer - May 2000 - 106
American Cinematographer - May 2000 - 107
American Cinematographer - May 2000 - 108
American Cinematographer - May 2000 - 109
American Cinematographer - May 2000 - 110
American Cinematographer - May 2000 - 111
American Cinematographer - May 2000 - 112
American Cinematographer - May 2000 - 113
American Cinematographer - May 2000 - 114
American Cinematographer - May 2000 - 115
American Cinematographer - May 2000 - 116
American Cinematographer - May 2000 - 117
American Cinematographer - May 2000 - 118
American Cinematographer - May 2000 - 119
American Cinematographer - May 2000 - 120
American Cinematographer - May 2000 - 121
American Cinematographer - May 2000 - 122
American Cinematographer - May 2000 - 123
American Cinematographer - May 2000 - 124
American Cinematographer - May 2000 - 125
American Cinematographer - May 2000 - 126
American Cinematographer - May 2000 - 127
American Cinematographer - May 2000 - 128
American Cinematographer - May 2000 - 129
American Cinematographer - May 2000 - 130
American Cinematographer - May 2000 - 131
American Cinematographer - May 2000 - 132
American Cinematographer - May 2000 - 133
American Cinematographer - May 2000 - 134
American Cinematographer - May 2000 - 135
American Cinematographer - May 2000 - 136
American Cinematographer - May 2000 - 137
American Cinematographer - May 2000 - 138
American Cinematographer - May 2000 - 139
American Cinematographer - May 2000 - 140
American Cinematographer - May 2000 - 141
American Cinematographer - May 2000 - 142
American Cinematographer - May 2000 - 143
American Cinematographer - May 2000 - 144
American Cinematographer - May 2000 - 145
American Cinematographer - May 2000 - 146
American Cinematographer - May 2000 - 147
American Cinematographer - May 2000 - 148
American Cinematographer - May 2000 - 149
American Cinematographer - May 2000 - 150
American Cinematographer - May 2000 - 151
American Cinematographer - May 2000 - 152
American Cinematographer - May 2000 - 153
American Cinematographer - May 2000 - 154
American Cinematographer - May 2000 - 155
American Cinematographer - May 2000 - 156
American Cinematographer - May 2000 - 157
American Cinematographer - May 2000 - 158
American Cinematographer - May 2000 - 159
American Cinematographer - May 2000 - 160
American Cinematographer - May 2000 - 161
American Cinematographer - May 2000 - 162
American Cinematographer - May 2000 - 163
https://www.nxtbook.com/nxtbooks/ac/ac1209
https://www.nxtbook.com/nxtbooks/ac/ac1109
https://www.nxtbook.com/nxtbooks/ac/ac1009
https://www.nxtbook.com/nxtbooks/ac/ac0909
https://www.nxtbook.com/nxtbooks/ac/ac0809
https://www.nxtbook.com/nxtbooks/ac/ac0709
https://www.nxtbook.com/nxtbooks/ac/ac0609
https://www.nxtbook.com/nxtbooks/ac/ac0509
https://www.nxtbook.com/nxtbooks/ac/ac0409
https://www.nxtbook.com/nxtbooks/ac/ac0309
https://www.nxtbook.com/nxtbooks/ac/ac0209
https://www.nxtbook.com/nxtbooks/ac/ac0109
https://www.nxtbook.com/nxtbooks/ac/ac1208
https://www.nxtbook.com/nxtbooks/ac/ac1108
https://www.nxtbook.com/nxtbooks/ac/ac1008
https://www.nxtbook.com/nxtbooks/ac/ac0908
https://www.nxtbook.com/nxtbooks/ac/ac0808
https://www.nxtbook.com/nxtbooks/ac/ac0708
https://www.nxtbook.com/nxtbooks/ac/ac0608
https://www.nxtbook.com/nxtbooks/ac/ac0508
https://www.nxtbook.com/nxtbooks/ac/ac0408
https://www.nxtbook.com/nxtbooks/ac/ac0308
https://www.nxtbook.com/nxtbooks/ac/ac0208
https://www.nxtbook.com/nxtbooks/ac/ac0108
https://www.nxtbook.com/nxtbooks/ac/ac1207
https://www.nxtbook.com/nxtbooks/ac/ac1107
https://www.nxtbook.com/nxtbooks/ac/ac1007
https://www.nxtbook.com/nxtbooks/ac/ac0907
https://www.nxtbook.com/nxtbooks/ac/ac0807
https://www.nxtbook.com/nxtbooks/ac/ac0707
https://www.nxtbook.com/nxtbooks/ac/ac0607
https://www.nxtbook.com/nxtbooks/ac/ac0507
https://www.nxtbook.com/nxtbooks/ac/ac0407
https://www.nxtbook.com/nxtbooks/ac/ac0307
https://www.nxtbook.com/nxtbooks/ac/acbest2006
https://www.nxtbook.com/nxtbooks/ac/ac0207
https://www.nxtbook.com/nxtbooks/ac/ac0107
https://www.nxtbook.com/nxtbooks/ac/ac200612
https://www.nxtbook.com/nxtbooks/ac/ac200611
https://www.nxtbook.com/nxtbooks/ac/ac200610
https://www.nxtbook.com/nxtbooks/ac/ac200609
https://www.nxtbook.com/nxtbooks/ac/ac200608
https://www.nxtbook.com/nxtbooks/ac/ac200607
https://www.nxtbook.com/nxtbooks/ac/ac200606
https://www.nxtbook.com/nxtbooks/ac/ac200605
https://www.nxtbook.com/nxtbooks/ac/ac200604
https://www.nxtbook.com/nxtbooks/ac/ac200603
https://www.nxtbook.com/nxtbooks/ac/ac200602
https://www.nxtbook.com/nxtbooks/ac/ac200601
https://www.nxtbook.com/nxtbooks/ac/ac200512
https://www.nxtbook.com/nxtbooks/ac/ac200511
https://www.nxtbook.com/nxtbooks/ac/ac200510
https://www.nxtbook.com/nxtbooks/ac/ac200509
https://www.nxtbook.com/nxtbooks/ac/ac200508
https://www.nxtbook.com/nxtbooks/ac/ac200507
https://www.nxtbook.com/nxtbooks/ac/ac200506
https://www.nxtbook.com/nxtbooks/ac/ac200505
https://www.nxtbook.com/nxtbooks/ac/ac200504
https://www.nxtbook.com/nxtbooks/ac/ac200503
https://www.nxtbook.com/nxtbooks/ac/ac200502
https://www.nxtbook.com/nxtbooks/ac/ac200501
https://www.nxtbook.com/nxtbooks/ac/ac200412
https://www.nxtbook.com/nxtbooks/ac/ac200411
https://www.nxtbook.com/nxtbooks/ac/ac200410
https://www.nxtbook.com/nxtbooks/ac/ac200409
https://www.nxtbook.com/nxtbooks/ac/ac200408
https://www.nxtbook.com/nxtbooks/ac/ac200407
https://www.nxtbook.com/nxtbooks/ac/ac200406
https://www.nxtbook.com/nxtbooks/ac/ac200405
https://www.nxtbook.com/nxtbooks/ac/ac200404
https://www.nxtbook.com/nxtbooks/ac/ac200403
https://www.nxtbook.com/nxtbooks/ac/ac200402
https://www.nxtbook.com/nxtbooks/ac/ac200401
https://www.nxtbook.com/nxtbooks/ac/ac200312
https://www.nxtbook.com/nxtbooks/ac/ac200311
https://www.nxtbook.com/nxtbooks/ac/ac200310
https://www.nxtbook.com/nxtbooks/ac/ac200309
https://www.nxtbook.com/nxtbooks/ac/ac200308
https://www.nxtbook.com/nxtbooks/ac/ac200307
https://www.nxtbook.com/nxtbooks/ac/ac200306
https://www.nxtbook.com/nxtbooks/ac/ac200305
https://www.nxtbook.com/nxtbooks/ac/ac200304
https://www.nxtbook.com/nxtbooks/ac/ac200303
https://www.nxtbook.com/nxtbooks/ac/ac200302
https://www.nxtbook.com/nxtbooks/ac/ac200301
https://www.nxtbook.com/nxtbooks/ac/ac200212
https://www.nxtbook.com/nxtbooks/ac/ac200211
https://www.nxtbook.com/nxtbooks/ac/ac200210
https://www.nxtbook.com/nxtbooks/ac/ac200209
https://www.nxtbook.com/nxtbooks/ac/ac200208
https://www.nxtbook.com/nxtbooks/ac/ac200207
https://www.nxtbook.com/nxtbooks/ac/ac200206
https://www.nxtbook.com/nxtbooks/ac/ac200205
https://www.nxtbook.com/nxtbooks/ac/ac200204
https://www.nxtbook.com/nxtbooks/ac/ac200203
https://www.nxtbook.com/nxtbooks/ac/ac200202
https://www.nxtbook.com/nxtbooks/ac/ac200201
https://www.nxtbook.com/nxtbooks/ac/ac200112
https://www.nxtbook.com/nxtbooks/ac/ac200111
https://www.nxtbook.com/nxtbooks/ac/ac200110
https://www.nxtbook.com/nxtbooks/ac/ac200109
https://www.nxtbook.com/nxtbooks/ac/ac200108
https://www.nxtbook.com/nxtbooks/ac/ac200107
https://www.nxtbook.com/nxtbooks/ac/ac200106
https://www.nxtbook.com/nxtbooks/ac/ac200105
https://www.nxtbook.com/nxtbooks/ac/ac200104
https://www.nxtbook.com/nxtbooks/ac/ac200103
https://www.nxtbook.com/nxtbooks/ac/ac200102
https://www.nxtbook.com/nxtbooks/ac/ac200101
https://www.nxtbook.com/nxtbooks/ac/ac200012
https://www.nxtbook.com/nxtbooks/ac/ac200011
https://www.nxtbook.com/nxtbooks/ac/ac200010
https://www.nxtbook.com/nxtbooks/ac/ac200009
https://www.nxtbook.com/nxtbooks/ac/ac200008
https://www.nxtbook.com/nxtbooks/ac/ac200007
https://www.nxtbook.com/nxtbooks/ac/ac200006
https://www.nxtbook.com/nxtbooks/ac/ac200005
https://www.nxtbook.com/nxtbooks/ac/ac200004
https://www.nxtbook.com/nxtbooks/ac/ac200003
https://www.nxtbook.com/nxtbooks/ac/ac200002
https://www.nxtbook.com/nxtbooks/ac/ac200001
https://www.nxtbookmedia.com