American Cinematographer - January 2007 - 68

A Great

Escape

Right: Mayan
women are

among the
sights that are
new to Jaguar

Paw when he
arrives in the

Mayan city.
Jaguar

Below:

Paw's wife and
child await his
return in the

bottom of

a

cenote, a deep
well where

they have taken
refuge from
the Mayans.
Lighting the 25'deep set "was
either going to
be a pain in the
ass or

very

simple,"

says
Semler. "Thank

goodness it
turned out to be
the latter."

rain and sometimes

and his team, the

Weeks

tronic

high winds.
by where nothing much
happened because of the rain. We
shut down a couple of times, and
other days we just sat around wait¬
ing for the rain to clear. It was very
frustrating." There was also extreme
heat. "For a period of weeks, the
temperature was 105-110 degrees
every day with over 90-percent
humidity. Thanks to Tony Rivetti
went

cameras

and elec¬

equipment kept running
smoothly. The same was true of the
monitors, Colorstreamers and other
software in the

maintained

Digi Tent, which was
by Felipe Perez-

Burchard.

"Initially, what I liked about
jungle was the dappled light
from the sun spearing through the
leaves, with burning-hot highlights
the

the foliage and the rest in deep
shadow," he continues. "The con¬
on

is

just so beautiful. Because
of the village sequences were
shot over a long period of time, and
the dappled light was changing
every five minutes as the sun
trast

many

moved, we couldn't match take after
take, so, with the help of the mag¬
nificent Mexican
the

contrast

grips, I sacrificed

for a softer and control¬

lable look by covering big areas

with
multiple 20-by light grid cloths.
Now, there's a lot of dappled light
during the chase in the last third of
the movie. But whenever there

was

in the chase, I silked out the
area, so the characters are running
in dappled light, and when they hit
the brakes, they're in soft light.
That's all I could do to give us the
[necessary] shooting time in those
locations, because the light moved
across the jungle floor so rapidly."
The imagery in Apocalypto
a

pause

involves

a

certain amount of natural

firelight. At the beginning of the
picture, the villagers gather around
fires to listen to an old storyteller
66

January 2007



American Cinematographer - January 2007

Table of Contents for the Digital Edition of American Cinematographer - January 2007

Contents
American Cinematographer - January 2007 - Cover1
American Cinematographer - January 2007 - Cover2
American Cinematographer - January 2007 - 1
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