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
American Cinematographer - October 1998 - 5
American Cinematographer - October 1998 - 6
American Cinematographer - October 1998 - 7
American Cinematographer - October 1998 - 8
American Cinematographer - October 1998 - 9
American Cinematographer - October 1998 - 10
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American Cinematographer - October 1998 - 14
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American Cinematographer - October 1998 - 18
American Cinematographer - October 1998 - 19
American Cinematographer - October 1998 - 20
American Cinematographer - October 1998 - 21
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American Cinematographer - October 1998 - 122
American Cinematographer - October 1998 - 123
American Cinematographer - October 1998 - 124
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