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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American Cinematographer - January 2007 - Cover3
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