American Cinematographer - April 2001 - 64

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bigger issue than the HD video,"
Fortunato explains. "Once you get
used to HD, it's very similar to work¬
ing with film. But constantly figuring
out how to hide lights was a major
challenge."
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Los
April 24

-

28, 2001

a

scene

in the fourth

a

motel, Fortunato

saw an

opportu¬

nity to create some moody, atmos¬
pheric lighting. He achieved it for the
multiple-camera motel scenes while
keeping his set mostly clear of instru¬
ments. By placing three or four very
narrowly focused 2K and 5K tung¬
sten lights outside a window of the
motel-room set, he was able to play
subtle vertical shadows (created by
the edges of the opaque curtains)
across the skittish Bennington's inse¬

Angeles

Italian Film

For

episode, during which Cynthia
Bennington and her colleague and
paramour Bobby Esposito check into

Award

Egyptian Theatre

The Festival of
Italian Film

We will bring to the screen
A UNIQUE COMBINATION OF

ITALIAN CINEMA AND TODAY'S
MOST PROMISING ITALIAN

American filmmakers.

vulnerable face. "We established

cure,

the window, with the

light coming in
through the closed shears, in one
shot," he explains. "The lights we
placed outside the window were
throwing tight beams, which did not
overlap, to a 1-square-foot area of the
window." The tight beams were
further shaped with cutters placed
outside the set's window. "Inside the
set, it felt like

been

cut

one

big source that had

inside the

room.

If I'd been

working with
have used
and

a

one camera, I would
10K outside the window

cutters

because

INFO LINE

and

213 955 1888

Paula

were

at

inside

the

set.

But

using two cameras
doing the close-ups on

we were

the

same

time

as

shots that

included the window, I couldn't have
cutters in the room."
The

lights outside the window
gelled with lA CTO to further
warm the tungsten instruments and
achieve the late-day feel Fortunato
were

was

after.

Inside,

a

Kino

Flo

(augmented by Va CTB to cool it
down

even

more) and

a

bounce

board

provided fill light. A IK back¬
light was in a standard position at the
top of a scenery wall.

WWW.ITALFILMFEST.COM
April 24-28 2001 @ Egyptian Theatre-Hollywood

At the end of the

in

a

one-camera

same show,
shot, Bobby and



American Cinematographer - April 2001

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

American Cinematographer - April 2001 - 1
American Cinematographer - April 2001 - 2
American Cinematographer - April 2001 - 3
American Cinematographer - April 2001 - 4
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