American Cinematographer - September 2004 - 76

Caribbean naturalist who is keen to

MoleBeam

study bats in Delhi but can't get the
necessary papelles. At the bar, a cool
blue fluorescent spills onto the back¬
ground in the top left portion of the
frame, while shifting, patterned red
light floats around Maria and
William in the foreground. A bare
white bulb hangs between the two

behind the

colored

areas.

Kuchler used slide

projectors to get the colors and
created the patterns with abstract,
hand-cut gobos fitted to Source Four
Lekos.

Throughout the sequence,
people take the microphone

various
on

red-drenched karaoke stage,

a

where

they are bathed in the glow of
Japanese art images. Kuchler is quick
to point out, "That wasn't post -
that was us being quite arty!" To get
the effect, he aimed slide projectors
and Source Fours at the stage and
filled with

Row,

a

a

10x1,000-watt Ground

slight uplight. "We then put a

up,

on
a
dimmer right
singer. When we faded it
it completely blew everything

out!"
The

sequence's artistic ambi¬

tion reaches its climax in what could

be

an

angles between flashes." The cine¬
matographer was able to get the
source extremely close to the actress,
sometimes just 15" from her face.
"We were playing like students," he
says with a chuckle.
■

homage to Kuchler's work with

on Morvern Callar (AC Sept.
'02). The actress is shown dancing

Morton

alone in the

foreground on the pitchnightclub floor, and flashes of
intense white light sporadically over¬
expose her movements. To film the
scene, Zyskind ran the Arri at speeds
ranging from 25 to 100 fps, while
Kuchler lit background clubbers with
slide projectors and Dark Red-gelled
12K MoleBeams dimmed up and

black

down. He lit Morton with 5K strobes
on programmable timers and light¬
weight Mini Strobes. "The Mini
Strobes are only as big as four packs
of cigarettes," Kuchler explains, "so
we

stood

on

either side of the

and handheld them,

TECHNICAL SPECS
2.35:1

3-perf Super 35mm
Aaton 35-111; Arri 435
Zeiss Ultra Primes
Kodak Vision2 500T 5218,
Vision 200T 5274,
Eastman Double-X 5222 (plates)

camera

changing the

Digital Intermediate by
Moving Picture Company

The

Printed on
Kodak Vision Premier 2393

1w max RF

outpu

with 6 selectable
power

levels.

Intuitive
menu

display,

viewable in
direct sunlight

Universal

mounting
plate.

Compact design

12V

or

24V

auto detection.

Industry standard
featuring
adjustable
video/audio gain.

connections

litmouip
63



American Cinematographer - September 2004

Table of Contents for the Digital Edition of American Cinematographer - September 2004

American Cinematographer - September 2004 - 1
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