American Cinematographer - December 2004 - 38

cinematographer uses soft lights almost
exclusively but strives to achieve

Darin charms
some

female
fans.

contrast with those sources.

"I don't like

set," he says. "I
source-moti¬
vated lighting directions. I usually don't
arrive, kill everything and then light from

to

fight

a

location

or a

try to respect its natural,

scratch. Instead, as a

starting point, I try

to follow what the

architecture asks for

and

from windows and

use

sources

practical sources for motivation. I
like to start with what the place offers

other

and then build from there the mood the
scene

requires.
performances, I
lights above the
unusual for me. I
overhead lights. I

"For the stage
"For the Cocoanut Grove set, I
worked

include

extensively with Andrew to
practical lights in the set design.

Our basic idea for that

room was

to use

only practical lamps on the tables to
light the audience, and overhead lights
to enhance the columns

and curtains.

Then I used Par 64

lamps and a follow
spot to light the performance. Andrew
and I had a very close working relation¬
ship on this film; from the beginning, we

collaborated to determine the colors and

used Fresnel and Par

moods of each

sets, which is very

era.

As

an

example, for

normally don't use
usually use soft sources like China balls,

Darin's childhood home, we created a

moody but comfortable feel,
whereas later in his life, the palette
warm,

becomes

a

space lights and large
Whenever I can live with one

bounces.

big source
for a scene, I'm happy. I don't like to
work with beams of light going all over
the place, but that's exactly what you
have to do when you're lighting realisti¬
cally theatrical stages like the ones

bit cooler."

Working in the Super 35mm
ratio, Serra used Arricam
bodies, Cooke S4 primes and Kodak
Vision2 500T 5218 (which he rated at
ISO 320) throughout the production. The
2.35:1 aspect

Oh! the

places you'll go with Kino Flo®'s
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matte box system! Its unique halo of cool,

B

soft illumination

™

new

Kamio

'KSjlfiH
i|®gj
'

ideal

beauty
->
J
light in the studio
*
or on location. The ingenious lens
I
mounted Kamio weighs under a pound and can dim
smoothly on battery or house power. Like all Kino Flos,
the

new

10848 Cantara Street Sun

34

Valley CA 91352

*

818 767 6528 voice 818 767 7517 fax

an

Kamio is flicker- free and color correct

and HD imaging.

www.kinoflo.com

is

for film



American Cinematographer - December 2004

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

American Cinematographer - December 2004 - 1
American Cinematographer - December 2004 - 2
American Cinematographer - December 2004 - 3
American Cinematographer - December 2004 - 4
American Cinematographer - December 2004 - 5
American Cinematographer - December 2004 - 6
American Cinematographer - December 2004 - 7
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American Cinematographer - December 2004 - 112
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American Cinematographer - December 2004 - 134
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