American Cinematographer - November 1999 - 42
Urban Gothic
shot
his work, and
Kodak Vision 500T 5279,
film takes
Bringing Out the Dead
exception. In one breathtaking
shot, Cage's ambulance speeds to the
site of a drug-related double shoot¬
ing. As the ambulance approaches
along with some Vision 200T 5274,
many of the ambulance-mounted
shots were captured on Kodak's
there
then-new Vision 800T 5289. "I think
that is
the crime
I
is
no
scene,
the
rides
camera
only got about 5,000 feet of the
800T," Richardson says. "It was
useful, though, especially when we
along, peering down from above the
ambulance's cab. When the ambu¬
lance stops,
filming outside of the main
core. Downtown, the light
levels at night get pretty low, and the
faster stock helped us capture some
the camera continues
moving, dropping dramatically to
the ground to reveal the prostrate
were
midtown
victim.
of those streets. I
Richardson reveals that this
shot, which
was
executed with
on
Pegasus crane, was originally longer
than the version that appears in the
would look like
final
shots."
onscreen, but
The camera's
perspective
actually started out low, 40 feet
behind the ambulance. Timing the
long crane move, which then rose
atop the ambulance and wound up
on the actor lying on the sidewalk,
proved to be one of the trickier
aspects of the shot.
cut.
While
most
of the film
SALES RENTALS
cautious with
was
it, because I didn't know what it
a
it
once
was
finally
it worked well for those
place at night and indoors,
few daytime exteriors, all
are a
of which
occur
after Frank Pierce
finally succeeds in quitting the job
literally driving him mad. In
keeping with the off-kilter nature of
the tale and
these
to maintain a
scenes
tungsten stock
(mostly Vision 200T)
daylight
with lens filtration. "That was part of
our attempt to avoid the reds and
yellows," Richardson states. "Also, the
scenes take
place at dawn, when the
light is cool." The cinematographer
that
tried
was
to
corrected for
not
film the exteriors in shade,
general, night exterior light¬
ing was accomplished simply by
using "the biggest instruments avail¬
able," including diffused Dinos,
constructing shelters when that was
not possible. He also underexposed
his shots (by about one stop below
key) to lend the scenes a bit of a dayfor-night look that was appropriate
Maxi-Brutes and 20Ks, either as
for
In
overheads
or
in
more
conventional
an
early-morning scene.
Richardson's A-camera
While the
vast
majority of the
often favors the
use
CAM^j
'
-for over 45 years Birns & Sawyer has provided
^ Hollywood,with the best in production rentals
,
.
j\
and service?.
The traditionc%j.inues
m
5*
i2
**
<
American Cinematographer - November 1999
Table of Contents for the Digital Edition of American Cinematographer - November 1999
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