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  • Appendix 1 1

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    ahendo10
    9 vues19 pages
    Spools of thread behind Natalie are colored in such a way that suggests perhaps having been painted. Of particular interest is the row of violet thread, although it is hard to tell what editing exactly went into making this shot. The blinds behind Grissom appear to be specially designed in order to open partially.

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    Spools of thread behind Natalie are colored in such a way that suggests perhaps having been painted. Of particular interest is the row of violet thread, although it is hard to tell what editing exactly went into making this shot. The blinds behind Grissom appear to be specially designed in order to open partially.

    Droits d'auteur :

    Attribution Non-Commercial (BY-NC)
    Téléchargez comme PDF, TXT ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    9 vues19 pages

    Appendix 1 1

    Transféré par

    ahendo10
    Spools of thread behind Natalie are colored in such a way that suggests perhaps having been painted. Of particular interest is the row of violet thread, although it is hard to tell what editing exactly went into making this shot. The blinds behind Grissom appear to be specially designed in order to open partially.

    Droits d'auteur :

    Attribution Non-Commercial (BY-NC)
    Téléchargez comme PDF, TXT ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 19

    Photo Appendix

    Photo 1
    From: http://upload.wikimedia.org/wikipedia/en/6/62/Las_Vegas_Strip2.jpg, accessed 8/1/08.

    Photo 2
    Unless otherwise noted, all images from the credits from: CSI's Opening Credits, Season 7
    Photo 3

    Photo 4
    Photo 5

    Photo 6
    Photo 7

    Photo 8
    Photo 9

    Photo 10 & 11
    Source: Google Image Search, “Mandalay Bay”
    Photo 12
    Source: http://www.atpm.com/9.12/vegas/images/new-york-new-york.jpg, Accessed 8/08

    The Spire, blue in the show's credits, is here shown just left-of-center.

    Photo 13
    Photo 14

    Photo 15 & 16

    Source: http://www.cvent.com/destination-guide/las- Source: CSI Season 1,“Pilot”


    vegas/images.shtml
    Photo 17
    Source: “Living Doll”

    Photo 18
    Source: CSI Season 7, “Leaving Las Vegas”
    Photo 19
    Source: CSI Season 7, “Leaving Las Vegas”
    Photo 20 -22
    Source: CSI Season 7, “Leaving Las Vegas”
    Photo 23
    Source: CSI Season 7, “Built to Kill, Pt. 2”

    Photo 24
    Source: CSI Season 7, Living Doll
    Photo 25

    Photos 26-27
    Photo 28

    The spools of thread behind Natalie are colored in such a way that suggests perhaps having
    been painted. Some are so underexposed that they are hardly visable, while others are
    brightly colored. Of particular interest is the row of violet thread, although, as with most of
    these, it is hard to tell what editing exactly went into making this shot.

    Photo 29a-b
    Photo 30-31
    Source: Modern Day Gallery

    Photos 32-33
    Source: Modern Day Gallery

    Photos 34-35
    Source: Modern Day Gallery
    Photo 36-37
    Source: Modern Day Gallery

    Picture 38
    Source: Modern Day Gallery
    Photo 39-40
    Source: CSI Season 1 Pilot, in-episode and credits.

    Photos 41-42
    Source: CSI Season 7, “Built to Kill”; CSI Season 7 Credits

    Photos 43-44
    Source: CSI Season 7, I've kind of forgotten which...; CSI Season 7 Credits
    Photos 44-45
    Source: CSI Season 1, “Pilot”; CSI Season 7 Credits

    Photo 46
    Source: CSI Season 7, “Leaving Las Vegas”

    Please compare with Photo 36, the promotional still from this scene, to see how this effect was achieved.
    Far from accidental, it appears as if the blinds behind Grissom are specially designed in order to open
    partially. This perhaps would allow a harsh, back-lit shot like this to happen without ruining the carefully
    controlled lighting throughout the rest of the room.
    Photo 47
    Source: CSI Season 7, “Monster in the Box”

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