American Cinematographer - September 1998 - 33

ACADEMY AWARD® WINNER

very

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close to the actor - together, they

create

their

own

kicker.

Such

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approach gives faces a very beautiful,
radiant look, and enough detail in the
shadows. That was important to us,
because much of this film's story is told
in very subtle facial expressions."
While the house location

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Faw notes that another close space

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metal-

sheathed, coffin-like box hidden beneath
the house. A closed-circuit TV system
allows the two men to converse. "Zack is

Imagination, Innovation and Experience.

in the box for virtually the

last third of the
film," Faw says. "To keep that visually
interesting, we really worked to create a
variety of camera angles, but our lighting

Since 1989, Wildfire has been the ieader in
Ultraviolet
Our

had to remain constant."
It

was

special effects to the film and entertainment industry.

development of sophisticated lighting fixtures has kept

determined that the

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lighting had to be incorporated into the
box's structure, so recessed panels were

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on

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Ultraviolet effects may

cutting edge of U.V. lighting technology.
need to be subtle as well

as

dramatic,

built into the side walls, covered with
Wildfire Lighting

translucent

Plexiglas, and lit from behind
with small tungsten fixtures. From the
front, Faw utilized a small lamp with a
gobo featuring a ring of small holes. This
created a circular highlight in actor Boyd
Kestner's eyes. As the character weak¬
ened, Faw progressively covered succes¬
sive holes in the gobo pattern, slowly
diminishing the reflection and suggest¬
ing the character's fate. The scenes set
within the box were later lit slightly
green (and later timed more green) to
suggest "aging," while lighting reflec¬

Fixtures provide the precise control and effect
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distinctly creepy feel.

Faw credits gaffer Rory King
prelighting ahead of the camera,
allowing the production to move into
spaces that were ready to shoot after
minor adjustments. Fie concludes that
working with Reiss turned out to be a
much different experience than he had
expected, given the director's previous
body of work and somewhat ghoulish
tendencies. "Jon is very down-to-earth
and personable," the cameraman offers.
"Fie was sincerely interested in just

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Wildfire, Inc. 5200 W. 83rd St., Los Angeles, CA 90045, USA
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1-800-937-8065

www.wildfirefx.com
©1998

Wildfire, Inc.

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fax 310-645-9009

e-mail: mail@wildfirefx.com

LIGHTING <£ VISUAL EFFECTS
The Professional Choice
American Cinematographer - September 1998

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