American Cinematographer - January 2006 - 99
CINEM4TG£mYi
electronics
Apple computers.
Although many run the system on a
laptop, Kodak recommends the use of a
customers
use
separate, high-quality monitor. McLachlan estimates that he spent about
EXTENSION TUBES NARROW THE FIELD
$6,000 to upgrade his laptop and buy a
Nikon D70 and LaCie monitor so he
could
use
the system.
Finding
a way to
the production workflow
to
fit KLMS into
-
and
a way
persuade producers to pay for it - is
still
a work in progress, and cinematog¬
raphers
have
taken
different
approaches. Gabriel Beristain, ASC,
BSC takes photos of his own but likes to
have
a
dedicated technician who takes
additional
shots,
KLMS and
runs
Available
Barbizon
to accommodate
involved
with
his request,
The Invisible
When the workload proved too much,
another camera assistant was hired.
Armstrong keeps his cart on the set so
that Beristain can quickly check his
work. "Some people have done tests
with the cart located in the truck," says
Armstrong, "but I find it's more conve¬
nient for Gabby to walk two steps from
the video village."
Other
cinematographers are
taking all of their own photos and doing
their look experiments themselves -
often after they finish a long day of
shooting. "It's extremely difficult to get
any production to pay for anything
extra," notes Stephen Goldblatt, ASC,
BSC, who used Look Manager on Closer
(see AC Dec. '04) and Rent(ACH ov. '05).
"Also, you've got to do the work. I
suppose someone else could take the
stills, but they wouldn't be getting what
you're interested in."
Like
Goldblatt,
Mason
and
McLachlan shoot and manipulate their
stills. "I love getting in there at
night and timing all the stills," says
Mason. "It really teaches me, especially
these days, when you don't get film
dailies. This gives you a chance to study
your shots, work out what you're doing,
and time the image."
(818) 706-3334
(818) 706-3335
Jersey:
Light AT
Lighting NY
Feature Systems NY
Hot Lights AT
Camera Service Center AT
Shadowstone Iff
CPML
The Light House Nj
Lighting Nj
Eastern Effects AT
www.barger-baglite.com
BARGE R-BAGLITE
3W-401-0633
LMU LA School of Film and Television
offers three highly selective MFA programs:
| SCREENWRITING |
FILM PRODUCTION
TELEVISION PRODUCTION
Each master's program offered by Loyola Marymount
University combines rigorous courses in film and
television theory with training in filmmaking, television
production, and screenwriting, along with internships,
mentoring and festival strategies under the guidance of
high level working professionals.
LMU's beautiful Los
Angeles
close
LMU students have
*
*
*
*
*
*
won:
Humanitas Prize for
Comedy Writing
Directors Guild of America Student Award
Producers Guild Best Film Award, Nate Monaster
Screenwriting Award
Warner Brothers Screenwriting Fellowship
Student Academy Awards for Best Dramatic Film
and Best Documentary
College Television Award for Best Comedy
numerous
KCET Fine Cut Film Festival awards
Student films have
appeared at Telluride, Sundance, Palm
Springs and other major film festivals around the world.
campus is in
proximity to media
centers
and the
entertainment
*
*
own
FX
Complete Line of Super Soft Light Sources for Chimeras
post facilities. Although Beristain was
initially wanted his technician, Max
Armstrong, to work as a loader as well.
Armstong
A
able to
persuade the producers of The
PH
(Six and three-light models)
in New York & New
Sentinel
byMPhoatxs
5321
communicates with the lab and other
those
AMGDrmroocseaatgonunxfgd.y,
E-Mail: info@CinemaElec.com
www.CinematographyElectronics.com
Derry Avenue, Suite G * Agoura Hills, California 91301 * USA
Web:
For
an
industry.
application
and a brochure, call
Graduate Admissions
at
310.338.2721.
Applications must be
submitted-with evidence
*
ofcreative work-by
February 15, 2006.
*
Apply online through
Graduate Admissions
www.lmu.edu.
Admission is limited.
at
American Cinematographer - January 2006
Table of Contents for the Digital Edition of American Cinematographer - January 2006
American Cinematographer - January 2006 - 1
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