American Cinematographer - October 1998 - 72
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day and go to Sunset
get the traffic and all the
lights of Hollywood. Unfortunately, I
no
longer had the 300 lightbulbs of
the dance club's marquee to tie the
two together. I asked the grips to save
the light-bars that we built into the
marquee for our mini-unit shot. My
key grip, Kevin Erb, mounted them
onto a 12' by 12' frame to recreate the
effect of the marquee. As it turned
out, we were able to cheat the 12-by
frame over the top of the car for a
CAM JIB
SEE OUR ON-LINE CATALOG
,
to
ROCH6STCR, NY
better effect. Like
the black enamel
hundreds of light
tied
us
commercial,
alive with
came
bulb reflections that
perfectly. To
into the location
maximize the
the
a car
effect, we had to lower
12-by frame just above the frame
line. In dailies, we realized that the
bulbs
actually snuck down into the
top of the shot. Tom was able to use
Power Windows to put a black
over the bulbs and blend
window
them
seamlessly into the dark sky
beyond.
It had to be a technically diffi¬
cult shot, using a slow reversal film
and 20-year-old lenses, in mainly
available light at night.
Schneider: I shot
test,
a
and
got a great set of images at T1.4. We
had
trucks
two water
street,
wet
down the
which helped.
How about the sequences set
in Mexico?
Schneider: The
only time I've
been south of the border was when I
shot three
or
four days of second unit
for Titanic. I recalled that
as soon as
crossed the border, the terrain
I
was
peppered with sparse streetlights that
had an orange sodium-vapor glow.
There was also a lot of ugly green
fluorescent light. So I decided to give
our
Mexico
color
scenes
contrast
-
against sodium
intended
balanced
December
2-4, 1998
Los Angeles Convention Center
Code 46
Originally, I
[5240] film and
with tungsten lights with
a lot of
gels for a huge
rior. This
70
orange.
shoot with the tungstenuse warm
white fluorescents in combination
-
NewTek
to
this distinctive
fluorescent green
amber gels
night exte¬
plan would give
me pure
American Cinematographer - October 1998
Table of Contents for the Digital Edition of American Cinematographer - October 1998
American Cinematographer - October 1998 - 1
American Cinematographer - October 1998 - 2
American Cinematographer - October 1998 - 3
American Cinematographer - October 1998 - 4
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American Cinematographer - October 1998 - 7
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American Cinematographer - October 1998 - 121
American Cinematographer - October 1998 - 122
American Cinematographer - October 1998 - 123
American Cinematographer - October 1998 - 124
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