American Cinematographer - October 1968 - 58

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774

INMATE FILM WORKSHOP
Continued from Page 747

system Auricon Pro-600 to do the
shooting, but since he was going on
vacation the following weekend, we'd
have only five days in which to shoot
the whole picture. We figured that
we might make it if we started at 8
a.m. each day and worked through
to 4 p.m.-but then came the big
blow when we found out that we
couldn't get time off from our regular
institutional jobs to do the filming. It
would just have to be done during
'free time'-from right after the 5
o'clock count until 10 p.m.-just about
AV2 hours a night.
"We had no budget for lighting,
and the Drama Group had a play go¬
ing on at the time, so we couldn't
borrow their lights. The television sta¬
tions came to our rescue. KQED lent
us five kleig lights and their Lighting
Director, Barry Brown. These lights
gave us an overall light level of F/2.8,
and two Sun Gun quartz lights lent by
Dick Queirolo made it possible for us
to get some modeling into the pho¬
tography and cast shadows of the
bars onto the walls of the set, in order
to give it that deep, dark dungeon
type of atmosphere.
"Since one of the actors was a
Negro and the other three were white,
I had to make sure I had enough ex¬
posure to bring him out, but not so
much that I'd burn the other guys up.
I'd always try to give him a bit of ex¬
tra light. Then I'd get a meter reading
for the two and split the difference.
"We used a couple of photofloods
in the hallway, just held to the ceil¬
ing back to back with bailing wire.
The one part of the picture that gave
us the most trouble was the night
scene. For this scene I used two kleig
lights overhead and relied on the
back hallway light to provide some
illumination in the corridor. We used
one of the Sun Guns to light up an
area near the bars where the kid
could crawl around. This gave us
enough light for a normal exposure,
but then I would under-expose it a
half stop or even a full stop to get
the low-key effect.
"When we were ready to start
shooting, the actors would rehearse
during the day and we'd block for
camera and shoot at night. We were
limited by the fact that we had only
one 400-foot roll of film-the rest be¬
ing short ends. Some of them were
so short that by the time we threaded

AMERICAN CINEMATOGRAPHER, OCTOBER 1968

American Cinematographer - October 1968

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