American Cinematographer - June 2006 - 76

Radio for the

Eyes

Right: Cowboy
duo Dusty
(Woody
Harrelson, left)
and
C.

Lefty (John
Reilly) throw
ribald humor
into the mix.

Below: Director
of

photography
Ed Lachman,

ASC

on

the set.

although the
homage
to Hopper's famous Nighthawks -
but rather to use the paintings' emo¬
tional tones as a starting point for his
specific paintings

-

film does include

an overt

work.
For

dressing

example, the performers'

located beneath the
designed and lit to have

rooms,

stage, were
the same kinds of

contrast as

the

paintings that inspired them: warm
colors against cool within a sur¬

rounding darkness. "Those rooms
have some fluorescent lights that
gave us green and practical tungsten
bulbs that went warm," explains
Lachman. "From the very first scene,
which shows Guy Noir at a lonely
diner, I made use of the interplay
between strong reds, yellows and
greens. It's a look I wanted to set up
from the very beginning and carry
through the entire film."
Lachman

shot

Prairie

on

high-definition (HD) video using
three Sony HDW-F900/3 cameras.
All of the bodies

fiber

were

cabled via

digital-imaging technician
Ryan Sheridan's workstation, where
the HD-SDI signal from each cam¬
era

to

was

recorded

to

HD SRW-1

decks.

Though the 4:2:2 signal could
not take advantage of the SR for¬
mat's 4:4:4 capability, it could
remain

10-bit linear rather than

being compressed to 8-bit, the stan¬
dard for recording in the HDCam
format. This

the

primary reason
explains Sheridan.
"Because the 10-bit signal has less
compression, we could manipulate it
more on set or during post without
getting noise in the blacks," he says.
"HDCam can get noisy fast, espe¬
cially when you're doing a [2.40:1]
center cut and blowing it up for
[theatrical] release."
Sony's HDC-F950 could have
captured an even more robust 4:4:4
signal, but it was considerably more
expensive to rent. During prep,
Lachman tested it alongside the
F900; footage from each model went
through digital color correction and
was

for the SR decks,

72 June 2006



American Cinematographer - June 2006

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