American Cinematographer - April 2001 - 58

A Favorable

Cinematographer
Ron Fortunato, ASC

gives high-definition
video a fair trial on
100 Centre Street, a
new
room

A&E court¬

drama created

by veteran director
Sidney Lumet.
by Eric Rudolph

all, but I decided
wanted

work with esteemed

Ron Fortunato, ASC had long
to

director

Sidney Lumet, so the
cinematographer was thrilled

when Lumet offered him the

assignment to photograph his

new

cable television

100

work was due in

that the series

large part to the fact
shot on 24p high-

was

definition (HD) video.
100 Centre Street

learned that the series would be shot

around

series

multiple-camera video rather
than single-camera film, he hedged.
"I was a little disappointed that the
job was multiple-camera television
and tape," admits Fortunato, whose
feature credits include Basquiat and
Nil by Mouth. "I'd never shot tape at
on

April 2001

adds that his satisfaction with the

Centre Street. But when Fortunato

A&E

56

for it - and I
the tape aspect of
cinematographer

to go

wound up liking
the show." The

New York

revolves

City nightjudges with vastly different
approaches to the law. Joe Rifkind
(Alan Arkin) strongly considers the
exigencies of the defendants' circum¬
stances, thus earning the nickname
"Let 'em go Joe." His opposite
number, Attalah Sims (LaTanya
court

two

Richardson), takes a hard-eyed look
at the law, and is therefore known as
"Attila the Hun."

Arguing for the
People before these judges is a team
of Assistant District Attorneys
(A.D.A.) who include Cynthia
Bennington (Paula Deviq), a privi¬
leged product of the Upper East Side
and daughter of a powerful New
York lawyer, and Bobby Esposito
(Joseph Lyle Taylor), a Brooklynborn,
first-generation
ItalianAmerican.

Lumet, the show's creator and
executive

producer, maintains that

"HD video

was one

of the

reasons

I

AERPhdin&iaotocnEersds.l

ocurftesy

Phot s



American Cinematographer - April 2001

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