American Cinematographer - December 2006 - 117

For the final

Relying on a standard tungsten
package, Barrera used 1 Ks as keylights
and augmented them with 650-watt and
300-watt lights. "I like to use several
1 Ks and put them as far away from the
action as possible, so the actors move
around the space." He also used a 4K

shot of the film,
Barrera (right)
goes over
details with 1st
AC Richard
Vero while in
the

background,
Cady

director
a

Abarca gets
better view

HMI

few times to make it look

a

as

by standing

though a bit of daylight was seeping into

atop a box.

the dim brothel.

To

highlight Tito's light-brown

skin, Barrera gelled his key lights with
Roscolux 99. "I used minimal fill

light,"
usually had an Open
Face/Mickey or a 750-watt bounced into
a 4-by beadboard that was over the
he notes. "I

camera,
we

saw."
He adds, however, that the blue
were choices

and red color schemes

designed to contrast the awkward and
vaguely comedic elements of Gonzalo's
first sexual encounter against the
emotional trauma of Tito's rebuff by his
mother. The challenging part was the
red room. "I learned a long time ago

that you

can't shine a red light on some¬
body's face, because they'll look like
they're out of focus," says Barrera. "So I
came up with a trick. If you want some¬
thing to look red, put a red gel on the key
light but slice a bunch of holes in the gel
so enough white light gets through.
That's what

room."

we

did for Marushka's

but I'd knock it down tremen¬

dously with scrims. Sometimes I put a
chocolate gel on it to add a bit of
warmth to the shadows."

By contrast, Dolores' keylights
always gelled with 1/4 CTB. "She's
a very sad woman," says Barrera. When
Dolores stands up and forces her son to
leave, she turns around and stops, bask¬
ing for a moment in a sickly, blue light.

were

YOUR TELESCOPIC CRANE
FOR THE 21st CENTURY!



American Cinematographer - December 2006

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

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