American Cinematographer - August 2006 - 21

meticulously maintained
custom camera packages

"The first
shows

night scene we shot
Aurea walking toward the

camera," continues Della Rosa. "I tried

Arriflex/ Aaton/Panasonic

light the dunes, but it didn't look good,
so I gave up. Using only moonlight didn't

to

Photo-Sonics 4ER+
35 mm/16mm/DV/ HD

work either, and helium balloons were

accessories/support
lenses/speciality items
filters/expendables,

out of the

question because of strong
winds and the size of the expanse. In the
end, I realized the dark actually provided
a nice rest for the eyes!"
The
cinematographer
had
planned to use HMIs to light day scenes
in the women's home, but the lights
required large generators that proved far
too noisy. "Depending upon [the direc¬
tion of] the wind, sound can be greatly
amplified in that setting," he says. "In

call for details.

MTjKL

16 years experience.

Serving the midwest.
Film and now digital.

IB

this case, the wind carried the sound of
the generators straight to the set. The

generators were far too heavy to move,
and after three weeks of not

being

moved, they were buried in sand." In the
end, production designer Tule Peake
built the women's house with removable

sections, which enabled the

crew to

bring in enough natural light that Della
Rosa could make do with bounce cards.

Sun, wind and sand factored into
almost every calculation the filmmakers
made. The picture's opening scene, a
wide shot of the
new

but

home,

as

was

caravan arriving at its
supposed to be windy,

luck would have it, the air was

calm that

day,

the crew had to manu¬
"Of course, by the end
of the shoot, we had the opposite prob¬
lem: too much wind," laughs Della Rosa.
"Mineiro devised a very clever wind
blocker: huge pieces of burlap that two
or more men would hold up." The small¬
est squares measured 6x6' and were
used to protect the camera. Larger ones
were used around the set, often to help
the sound crew. "The sound guy, Jorge
Saldanha, did a great job of incorporat¬
ing the wind into the sound design,"
notes the cinematographer. "He used a

facture their

new

so

own.

Aaton Cantar recorder that

was

sandproof and waterproof. Only a
couple of scenes had to be looped."
Even with the burlap wind
blocker, the high winds made it difficult
to use a tripod. Occasionally the crew
hauled out a 30' tripod that Gonzaga had
built. "We used it when

we

DECISION

OPTICS

A

"Jig

,

'

.'~v

1I
fI

1f§

°<

jjfff

■V\

■

.iv»> aPTics

needed to

www.schumachercamera.com
17



American Cinematographer - August 2006

Table of Contents for the Digital Edition of American Cinematographer - August 2006

American Cinematographer - August 2006 - 1
American Cinematographer - August 2006 - 2
American Cinematographer - August 2006 - 3
American Cinematographer - August 2006 - 4
American Cinematographer - August 2006 - 5
American Cinematographer - August 2006 - 6
American Cinematographer - August 2006 - 7
American Cinematographer - August 2006 - 8
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American Cinematographer - August 2006 - 118
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