American Cinematographer - June 2001 - 111

of

lighting is a result of his background
grip and gaffer. "I started gripping
when I was 19," he says. "You learn a lot
more about light by gripping than you do
by being an electrician." Electricians, he
points out, place a light and power it up,
but the grips have to cut that light if
necessary. As a result, grips "think a lot
about light placement." After gripping
for a number of years, he began gaffing,
then studied cinematography at the

The video

features

as a

car

stunts as well as

stage work, and

Gopinath shot it
in three days
after three days
of prep.

American Film Institute. "I didn't learn

anything technical at AFI, but I learned a
lot about storytelling."
For "B.O.B.," Gopinath brought in
lighting gear from Paskal in Miami, his
usual

source

when he works in Atlanta.

His camera, which he had shipped from
Los Angeles, was an Arriflex 435. "It's a

really sturdy

it at
150 frames, and it's really fast to reload,"
he says, adding that it's also easy to
change the camera's shutter angle,
which is especially important to him.
He mainly used wide or long
lenses on the Outkast video. "I generally
camera, you can run

the Ultra Primes, because

they're
really sharp and fast," Gopinath offers.
For day exteriors, he went with a
use

and

Meyers wanted. "You have to really
colors, even if you're going
change them," the cinematographer

saturate the
to

Schneider True-Pol filter, which he says
has twice the power of a normal polariz¬

notes.

ing filter. "Depending on the angle of the
sun, you can knock down the sky twice
as much. It especially comes in handy
when you're shooting cars."
The True-Pol helped to turn the
sky a brilliant blue, which was especially

owner

useful for "B.O.B." because the colorization process required overly saturated
colors to produce the hues that Gopinath

Jais

Thierry Lamaire, colorist and

of Bobine Video in Santa Monica,

did part of the color manipulation.
Lamaire did the telecine on a Philips

Spirit HD and used a da Vinci 2K ColorEnhancement System to alter the hues in
the images. "Using what da Vinci calls
kilovectors, we were able to separate all
of the additive colors
red, green and
-

blue

-

and all of the subtractive colors

Lumax

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Reporter

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109
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