American Cinematographer - June 2001 - 100
Images for the Ages
The
12-year-old
years ago,
Renato
(Giuseppe
Sulfaro),forms a
special
films
are
There
are
but today's [Kodak] Vision
designed to handle that.
times when Malena walks
camera in the sunlight
boys are hiding in shadows,
by the end of the shot she has
toward the
attachment to
Malena.
and the
and
moved into
a
much darker
area
in
the square.
We had as much as a
four-stop change in the light on her."
Koltai controlled the stop himself
a
handheld remote-control
with
device, trusting his eye and knowl¬
edge of the film stock (Kodak Vision
200T
5274) rather than the video tap.
The film
suggested that we needed to shoot an
shirts. "We had
exterior
designer, Maurizio Millenotti, one
of the best in Italy," Koltai enthuses.
The goal was to create the impres¬
sion of the period with clothing and
architecture that was appropriate
for Italy during the 1940s.
scene
at 8 a.m
Malena
features
a
large
ensemble cast, and the village square
most of the exterior cine¬
where
occurs was usually
crowded. Most of the characters in
matography
the
town
were
black
or
"There
dressed in dark
outfits, with many of the men in
brown suits and white
sparrow head
ranges
"That
a
fantastic costume
were
often
extreme
of contrast," Koltai notes.
might have been a problem
processed at Cinecitta
was
Labs in Rome.
"We used
multiple cameras
because it was so big
things were happen¬
ing," he says. "People were standing
in the doorways of the church,
shops and other buildings. We
needed two cameras just to capture
in the square
and so many
the reactions
the square.
as
Malena moved into
One of the
cameras was
Sparrow Head operates remotely in situations never
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The SH200 is the only head designed specifically for
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American Cinematographer - June 2001
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