American Cinematographer - February 1998 - 49

our

first view of the

room

to

be real¬

ly gray and kind of mysterious, so we
used a soft, cool toplight; to get a soft
wrap, I installed wide-flood bulbs in
a

number of Maxi-Brutes. We then

"Working on this show
reminded me of some of
the documentaries I've
worked on. It was a bit like

lights off large
Griffolyns which we tied to the roof
rafters of the 'stage.' This light was

camping: we just had to

then softened and cut

to need!"

bounced

these

as

it entered

make sure we took

everything we were going

the

ceiling of the set itself, only 10'
was all a bit of a struggle; I
must have lit that particular scene
five times before achieving some¬
thing that I was happy with.

-

below. It

"For
Dalai

a

Lama

later

scene

in which the

is

meeting with a
general in a FrenchEuropean-style living room, I wanted
more of a low, direct sunlight look. I
was basically using the same units,
Chinese

Maxi-Brutes, but I switched to

nar¬

row-beam spot bulbs to obtain a
harsher look. A light brushed-silk
diffusion erased the multi-shadow

Roger Deakins, ASC BSC

through a throng of people
beyond the gates of an ornamental
garden. "There are no lifts or
Condors in Morocco, and you can't
have a Musco light with the type of
budget we had," Deakins submits.
"The only way to do that shot was to
build a 60' tower rig, partly out of
scaffolding we managed to find in
way

Casablanca. All of that material had
to

be

brought 400 miles from the
took the

coast to Ouarzazate. It

problem caused by the bulb array. If I
using a Maxi for a different kind
of situation
bouncing light off a
Griffolyn or something - I would
occasionally install medium-flood

was

-

two
no

scarcity of state-of-the-art
equipment made the film's larger
night shoots a bit problematic -
particularly a key sequence in which
the disguised Dalai Lama leaves his
palace for the last time and wends his

way

was

it

crew

build the

rig; there was
going to move once it
we basically had to light

to

was

up, so

this entire series of shots with

one

high source.
"We built the

bulbs."
The

weeks

specific spot
behind
camera

tower in

a

very

it would be hidden
the garden wall when the
panned, tracked and craned
so

around. I think we had six 12K FIMIs
up

there to create

effect. Those

a

were

blue 'moonlight'
not

corrected at

The Look of Kino Flo
Flatter the talent and make your set

sparkle with the cool lustrous light
of Kino Flos. Only Kino Flos provide
a true match to quartz or daylight.
Controllable, portable and durable.
Kino Flos pack a powerful punch, yet
run on an

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light

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American Cinematographer - February 1998

Table of Contents for the Digital Edition of American Cinematographer - February 1998

American Cinematographer - February 1998 - 1
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American Cinematographer - February 1998 - 3
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