American Cinematographer - November 2001 - 120

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Uhry's stock was Kodak Vision
500T 5279, which he says is foolproof in
situations where a lot of color tempera¬
tures have to

be mixed. Nevertheless, he

admits that if he'd had

more

light to

work with, he would have shot on Vision
200T 5274, which he finds to be nearly

grainless when transferred on a Spirit.
Aside from Tiffen FLD, which he used to
balance out the color temperatures
the station,

in
Uhry used no filtration on the

camera.

For the most part, Uhry shot at 25
fps to avoid flicker because electricity in
Prague runs at 50 kHz. (Fie adds that it's
also possible to avoid flicker by setting
the shutter angle at 172.8 degrees.)
Because the subway's own lights were
not very bright, Uhry's base exposure
was

about T2.8.

Uhry and Fernandez went into the
shoot with very specific ideas about
color. The Nutri-Grain posters seen on a
wall at the end of the spot are bright red
and yellow, so to make them stand out,
the

director

and

cinematographer
give everything else a blue
cast. The wardrobe, by Czech costume
designer Zdenek Kr'izek, was selected so
that it would play in the bluish light that
Uhry and Fernandez had chosen.
"Rafael and I had a lot to prove,"
says Uhry, and the spot seems to have
succeeded: it was chosen by Ad Week
as one of the best spots of July 2001.
Most importantly, it gave the duo
national exposure, which means that it
was watched by at least a couple of very
important people. "It's cool to have your
parents say, 'We've seen your commer¬
cial,"' says Uhry.

wanted to

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August '01 piece on the
Catastrophe (pp.
neglected to include a photo

our

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90-92),

we

credit for Lee Bernstein, who took the
shots that accompanied our article. ■
American Cinematographer - November 2001

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