American Cinematographer - February 2001 - 71

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Your
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trusted Steadicam

Chris was
"I

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was

also worried that with

Steadicam, I wouldn't be able to light
the way I like to, but Chris was great
at keeping the flags out of frame,"

Mew Gear

Prieto adds.

"Every time we were
shooting with Steadicam, I was cross¬
ing my fingers and praying he'd get it
right. I'm a believer now!"
George notes, "I found that in
some
ways, Mexican crews do work
differently than Americans, but they
have a camaraderie that's unique to
Mexican culture. The great pleasures
in working with Rodrigo were his
skill with lighting, his openness and
sensitivity to the environment, and
his desire
to

your

t

is not

widely used in Mexico. I was
skeptical [of the rig]; I didn't have
much experience with it, and the
experiences I'd had weren't very
good."
Steadicam operator Christopher
George helped change the cinematog¬
rapher's mind. "Chris was a revelation
for me," Prieto enthuses. "He proved to
me that you can do Steadicam shots
that don't necessarily look like
Steadicam shots, with wobbly, impre¬
cise movements. I had always preferred
handheld shots, because even though
they're shaky, they're precise. You can
always hit the correct framing, which I

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Michael

Cristofer's

storytelling style."
Detailing a prime example of
Cristofer's camera strategy, Prieto
and George refer to Luis and Julia's
wedding reception, which was filmed
inside the elegant precincts of the
16th-century Hotel de Cortes in
Cuernavaca. "The first difficulty was
for Rodrigo to light a very tall and
cavernous
set," George explains.
"Luckily, I only had to operate!
Rodrigo took on the heavy work of
lighting, which allowed me the plea¬
sure of
concentrating on production
designer David Bomba's fabulous set,
[which featured] a long table layered
high with delicacies, flower arrange-

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69
American Cinematographer - February 2001

Table of Contents for the Digital Edition of American Cinematographer - February 2001
