American Cinematographer - January 2007 - 69
Left: Production
designer Tom
Sanders' Mayan
city set "was an
extraordinarily
meticulous
design and
allowed
us
many
fabulous
choices," says
Semler. Below:
For safety's sake,
close shots of
action atop
the
city's main
temple were
filmed
on a fullsized set 12' off
the ground. This
photo shows
Semler's lighting
rig for the solar
eclipse.
and dance. For these scenes, Semler
his
bounced
solution, and basically built an
entire stage using empty shipping
an
HMI
gelled with White
Flame Green and Vi CTO into
an
Ultrabounce 35' above the action
to
"dirty nightlight" 1-2 stops
crew came
containers.
up
The
with
set
a
brilliant
worked
under the overhead ambience. "I
extremely well and survived some
pretty violent weather as we headed
then
into hurricane
create a
approached special-effects
supervisor Jesus Duran and said,
'Tonight, you're going to be my
gaffer!'" recalls the cinematograph¬
er.
"He had his
propane
build six
crew
fires in the village to
pro¬
vide the main illumination. I
sitting in the tent, and
was
my screen
black. Then the fires
and it
was
was
came
season.
"Lighting the cenote was
going to be either a pain in the ass
or
very simple," he continues.
"Thank goodness, it turned out to
be the latter. I had the grips hang a
hard reflector above the set against
the TransLite, laid a sheet of Opal
diffusion
over
The
Par.
it, and hit it with
a
4K
light reflected straight
down into the bottom of the hole,
and was really the only key source.
We added
a
bit of fill from down
below, and I added HydroFlex lights
for the underwater shots, which
were
shot
on
film."
Semler
acre
set
for the
praises Sanders' 40Mayan city. "It was an
extraordinarily meticulous design,
and because Tom knows his angles
and his lenses, it allowed
us
fabulous choices for the
cameras.
many
up,
absolutely beautiful. My
concern was
that the fire would be
bright and the faces not quite
bright enough, but the range was
superb. I had no trouble in the high¬
lights, and it didn't flare out. The
blacks stayed black; the faces were
really beautiful, and I was able to
stay on the zooms and shoot any
direction without having to avoid
lights hidden in logs and rocks."
There wasn't a building in
Veracruz tall enough to construct
the cenote set, which was 25' deep. "I
too
needed another 15-20 feet from the
top of the hole to the TransLite
[image of treetops], and then space
above that for John Martens and the
electrics'
rigging crew to mount a
rig," says Semler. "Once
again, [rigging grip] Kim Heath and
Kino Flo
American
Cinematographer 67
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
American Cinematographer - January 2007 - 2
American Cinematographer - January 2007 - Contents
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American Cinematographer - January 2007 - Cover3
American Cinematographer - January 2007 - Cover4
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