American Cinematographer - April 2001 - 14

Cinematography and

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lenses, as well as Zeiss Superspeed
primes for night scenes. The cinematog¬
rapher notes that because Sitch wanted
to avoid interrupting the actors in order
to change lenses, he found himself using
a little more light than he usually does in
order to stay with the zooms.
Wood says that he is "a huge
believer" in fluorescent lighting and

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used

lot of Kino Flos

a

"Fluorescent

lighting is

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His

lighting package included HMIs
ranging from 1K to 6K, as well as 10K
tungsten instruments. He employed
some green gels for the tungsten lights,
noting, "I'm not frightened of the green¬
ish hues that others might find unattrac¬
tive, because they can authenticate a
1960s kitchen interior with bad fluores¬
cent

lighting

as nothing else can.
"When it comes to

night

scenes," he continues, "I prefer to light
with

practical

such as lighted
streetlights, rather than
flood the picture with a large, blue light
source." Wood also employed small
sources

windows and

such

sources

as

Kino Flos, domestic

fluorescent

strips, and household bulbs
on festooning.
He employed ND grad filters to
adjust for Australia's bright sun, and to
help sculpt soft, natural light in some
interior

scenes.

"I don't

use

them

a

lot,

because you

tend to notice them," he
says of the filters. "I tend to use them
when something bright in the frame is
taking my eye away from the important
action.
"One of the

things about The
proud of is the tech¬
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concludes. "It's of a high photographic
standard without overstepping the line.
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It is the characters and their story -
rather than overly elaborate camera¬
work
film."

-

that take your eye

through the
■
American Cinematographer - April 2001

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