American Cinematographer - May 2000 - 89

outside the frame
warmth

[actors'] faces or a
their eyes. I also had

www.softlights.com

strategically hidden through¬
path of the camera move

look at the

little kick in
guys

get flashed at

get a little

to

the

on

the

out

very new
web

with little Arri Pocket Pars and
bounce boards. As the
near

camera came

them, they would dial in their

fill and follow the
until

we

camera

reached the

hidden around the

along

next

corner.

It

3D flash

presentation, order on-line, "we call back", articles,

-

Try It !

guy
was

really like a lighting ballet when it all
worked well.

"The second
out

be

is that
a

thing I found

remote-control iris

can

lifesaver. I would say to

the

a

Sr

assistant, 'When you get here, bring
it down to 4, and then when you get
there, bring it back to 2.'You have to
be able to do that, especially with

360-degree shots, in order to keep
everything looking good. That way,
you're not forcing yourself into a
corner
with a particular stop;
[you're] allowing things to be a bit
more

flexible."

Joan

of Arc was photographed

with the Arriflex 535A
Arri

Variable

Prime

camera

and

lenses

on

Eastman Kodak's Vision 250D 5246

and 500T 5279 stocks,

composed for
academy

PANTHER

During conversation:
"All requirements, which have been initiated by Dolly Grips or Camera men,
have been considered. The dolly is simply made with regard to easy ope¬
ration for the user. With the new crab and steer the grip possesses new
possibilities. In particular he will be pleased about the cut in weight. The
most important point, however, is in my opinion the reliability.
I want to use this dolly again in my next production. For one thing to give
the grips a chance to make experiences with the new equipment and espe¬
cially I believe that they will be very satisfied with the innovations of the
Panther Evolution. The Panther Evolution has been especially designed
to meet the requirements of those persons who work with this equipment.
And this a big advantage."
Michael Ballhaus
■"""Hvlichael Ballhaus
during his production

1.78:1 within the standard

frame.

»What
-

Jay Holben

are

|

you

planet
from«

in Los Angeles.

Bing Sokolsky, ASC
Mind
ASC

Prey
member

Bing Sokolsky's
professional philosophy can be
summed up in three words: "Never
stop experimenting." That outlook
has served him well, bringing him
five ASC Award nominations in the

honored
this year for the television movie
Mind Prey, which was directed by
his frequent collaborator D.J.
past seven years. He was

Caruso.

(The

two

Higher performartce
Better

steering'

be** weight. fjjPf

have also worked

together

on episodic television and
the TV movie Black Cat Run.)

Sokolsky's previous ASC Award
for Oliver Twist,

nominations

were

the TV series

High Incident and two

.

PAKTMtR

e-mail:

Ter.: +45 89/613 900 01
Fax: +4HMK100 0

i

contact@paJMp-|Pibh.d&-' ij|

hftp://www.p#ther-gif*h.de
American Cinematographer - May 2000

Table of Contents for the Digital Edition of American Cinematographer - May 2000
