American Cinematographer - November 2001 - 119

down the center of the

subway car's ceil¬
ing with tungsten-balanced bulbs, then
rigged another set of fluorescent lights
on either side of the ceiling.
Uhry confronted different chal¬
lenges in the station. He had to develop
a look that would work over a big area,
but he found that he couldn't replace the
existing lights because they were about
two inches longer than standard fluores¬
cent tubes.

Instead, he had to match the
color temperature of his own lights to
the ones already in the station, which
had

a greenish cast. He warmed his
HMIs up to about 4300°K using 1/4 to yh
CTO gels, as well as CC+ 15 green.

MR16s, gelled just with green, were
built into frames that held the

Nutri-Grain billboards

seen

giant

at the end of

the commercial.

frames per
wide open.

For the Bun Girl's

walk-away,
Uhry lit with a 2.5K Aurasoft and created
a

rim around her with

Chimera. The shot

was

cult for the first

because it

was

a

4K HMI with

a

especially diffi¬

camera

assistant,

photographed at 50

second

on a

Panavision has

Czech

an

Republic, and Uhry

200mm lens,
office in the
was

able to

Uhry (left) and Fernandez (center) filmed the spot
12-hour days in a Prague train station, which was
business during the shoot.
a Super Panahead, which he
gives him far more control than a

finds

and

fluid head. "Once I learned how to

a

200mm Nikkor f2 lens, a familiar

for

also used

rent a Pan-Arri 435 with Primo lenses

package that made him more comfort¬
able in the unusual surroundings. He

over two

open

use a

geared head properly, I couldn't

go

back," he says.

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The 8.4" flat screen displays an image comparable in size to that
viewed on a conventional 10.4" monitor, while weighing only
3.5 lbs. The 10.4" compares to a 13" and weighs only 5 lbs.
When equipped with a wireless receiver and the battery back, the
8.4" or 10.4" monitors can be carried by the Director as he walks
around the set freely. The Freeze function allows the Director to

the monitor, walk up to the actors and discuss the scene
pictured on the screen. The Freeze function is also a very
efficient way for the Director to communicate with the video-assist

Call

Operator.

nrjErvir

pause

The Detail Menu is

especially designed to facilitate focus pulling.

The first choice for

remote

heads, aerial photography, and all location work.

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American Cinematographer - November 2001

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