American Cinematographer - May 2004 - 87

Uim my
Trier, who, with

von

a

Made in the
USA

handheld

Sony CineAlta HDW-F900 24p
camera

and Canon zoom, and with¬

set walls to get in his way,

out any

able

in

Now extends to

to move

a

T-

stop was and still probably doesn't,
but she's very good at her job, and
my job was to try to translate her

Jimmy Jib Lite

$6,250

(Includes remote 2-axis head
and an extension
*

20 lb.

*

Extends 6ft, 12
and 18ft

*

camera

small

2223 E. Rose Garden Loop
Phoenix, Arizona 85024
e-mail:

Web:

jim@jimmyjib.com
www.jimmyjib.com

Tel: 602-493-9505

kit)

cap

Jib Lite

Now you can
add 360 Dutch

*

*

control to your
Jib Lite!

*

*

*

wm

Cable Drive

Smooth, cable operated pan/tilt head
Needs

no electricity
Super dependable with quick setup

Anyone can operate
Can be extended to

an

18ft reach

Weighs only.
55 lb.

*

Full

Remote / * AC

Control/

or

DC

Operation

creativity," says Dod Mantle. He and
Frankenberg built a grid of 800-900
lights, all hooked into computerized
dimmers, in the ceiling of the stage.
"It was like a rock concert up there
-

Stanton Video Services Inc.

Fax: 602-493-2468

Trier

video. "She didn't know what

Shown with optional
Dutch Roil

Bigger, Beefier Head
Extends to 30ft (9.1m) reach
Breaks Down To a 3ft 8in Package
Handles 50 lb. (22.6 kg) at 30ft reach
Operates Video And Film Lenses

To

help accomplish this, von
brought in theatrical lighting
designer Asa Frankenberg, who had
no previous experience with film or

(12m) reach"

More Stable

Clarkson, Ben Gazzara and James
Caan.) Beyond this, says Dod
Mantle, "Lars' premise was to build a
and film."

40ft

Super Rigid, Triangular,
Aluminum Tubing

as

bridge between the worlds of theater

a

Made Of

tight on the
Dogville denizens as he pleased. (The
cast includes Paul Bettany, Lauren
Bacall, Stellan Skarsgard, Patricia
was

pinspots, IKs, 2Ks, 5Ks and

basically tungsten," says the
cinematographer, who adds that his
choice of colored gels, which
included indigo, violet, deep green
and bright red, were equally theatri¬
lOKs,

cal. Another 700 fixtures lined the

perimeter of the stage to provide soft
washes, but what Dod Mantle was

primarily looking at was a "cine¬
matographer's nightmare," as well as
an actor's: strong toplight. He adds,
however, that "if

we

hadn't done it

that way, we

would never have
through the amount of work
the money we had." Von Trier

gotten
with

wanted
in

to

have the freedom

to

Slimmer Workshops

& Master Classes

150 One-week Professional Film & Video

take

360-degree view of the bare
stage, but Mantle confides, "I kind of
got him down to 270 by week two,
and to about 180 by week 4. I
encouraged him to consider that
while he had the possibility to swing
around 360 degrees, it wasn't really
that necessary because he'd be
cutting anyway."
Budgetary and time consider¬
a

ations also drove the selection of

Workshops & Master Classes

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35mm Film

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Storytelling: The Camera in Action * High Def Cinematography
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P.O. Box 200 *

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toll-free 1.877.577.7700, internationally 207.236.8581 for

our 2003

Catalogue
83
American Cinematographer - May 2004

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