American Cinematographer - November 1999 - 52

Anarchy in the U.S.A.

We 11 spare you

the
blow-by-blow description.

We knocked those tubes way

with

provide just enough of an ambience
over the crowd, which we
kept about
1 3/4 to 2 stops under, so the viewers
would just barely see them. We
wanted

;

!
GRAPHIC PAINTBOX

VISUAL EFFECTS

read the crowd in the

to

background, but we didn't necessar¬
ily want to see who they were. We
also had an array of practical placed
on various
parts of the walls about 20
feet behind the crowd, which helped
separate them as well."

FIGHT CLUB
MOTION CONTROL

down

black paper tape to

some

i

j TRANSFER : EDITORIAL

"We lit
with

a

what

lot of Lou's basement
we

called

'Budget

Busters,"' adds Miranda. "They were

basically small, clamp-on aluminum
work lamps that you can get from
Home Depot for $2. We had the art
department age them down and
make them ugly; then we'd just
throw
CGI
179

Digital Mattes

glow in the background, which really

3DAnimation

John Street, 8th floor, Toronto, CANADA

of them up to create a

one

added

www.commandpost.ca

a

lot

of dimension

and

texture. We

GAMCOLOR
CINEFILTER
GAMFUSION

GAMCHROICS
NAKED COSMETICS

GAMTUBE
GAM TOOLS
GAM SCENE MACHINE

www.gamonline.com
BLACKWRAP
TWINSPIN

put those all over the
place in the film, using standard 60watt household lightbulbs, and Jeff
absolutely loved them."
The film's fight scenes also
adhered

GAM PATTERNS

STIK-UP
SPIN FX
STAR STROBE

GAMFLOOR
and MORE

Fincher's

realistic

Deliberately avoiding
flashy camerawork and refusing to
stylize the skirmishes, the director
elected to take a more objective view
of the fights, often locking the
camera down to a fixed
position.
However, the filmmakers did

want

the

fights to become increasingly
as the
story developed. "We
come back to the
fights several

brutal

times," reveals Cronenweth. "The

blocking depended on the specific
fight and how violent it was
supposed to be. At first, the camera
was

FLICKERMASTER

to

aesthetic.

more

of

an

observer. As the

fights progressed, the
of the

more

camera

took

point of view of the

fighter. In fact, the last fight in the
movie is
wasn't
at

a

quite gruesome. There
lot of handheld camerawork

shoulder

were

height. A lot of the fights

covered from low

between shoulders
with either

a

or

angles, from
through feet

dolly or a static camera.



American Cinematographer - November 1999

Table of Contents for the Digital Edition of American Cinematographer - November 1999

American Cinematographer - November 1999 - 1
American Cinematographer - November 1999 - 2
American Cinematographer - November 1999 - 3
American Cinematographer - November 1999 - 4
American Cinematographer - November 1999 - 5
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American Cinematographer - November 1999 - 126
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