American Cinematographer - November 1999 - 53

"We used

the

two cameras on

fights almost all of the time, and we
mapped out specific shots for each
sequence," he continues. "The fights
were pretty short - a minute at
most. We

also went with the idea that

the

fighters would play in and out of
light sources. Occasionally, they'd
pop into full lighting when they were
directly beneath a practical, but if
they were out of the light, they were
out of the light. Either way, there was
always something in the foreground
or the
background that provided
enough exposure."
The other significant set

the

constructed for the film

was

For the first

an

total

a

tary

an

8

x

T

tests

some

we

innovators.

of individual

excerpts

liked best.

we

then

density and
The TransLight

custom-made

in

history of

cinematog¬

Included

are more

than 100

from classic films, including ET:

The Extra-Terrestrial, Edging Bulll Birth of a

determined which

color

a

from the imagery of major cinematographic

and densities; from those tests,

was

also is

significant advances and highlights culled

10

by 8' strips made with different

tones

is

raphy and filmmaking, featuring examples of

photographer, who shot the elements
used to create a 'skyline' that we liked.
We then shot

to

about the craft of cinematography.

This work

disaster," recalls

Cronenweth. "We sent out

the ASC is pleased

offer this incredible 92-minute documen¬

incomplete interior high-rise office
that overlooks a mammoth cityscape
TransLight measuring nearly 130'
wide by 36' tall. "The TransLight was
almost

time,

Nation\ Citizen Kane, In Cold Blood, The

two

Graduate, Rosemary's Baby and

many

sections.

Unfortunately, the final
TransLight was delivered much later
than we expected - just two days
before we were supposed to shoot the
scenes! I then sent Claudio back to

shoot

a

test. We

with 144 5K

tests

the

next

day,

'Hugely entertaining.;* Does for cinematography iohat 'Thai i Entertainment'
didfor musicals.''-caryn iam£s. rut Ntw york timis

a

the

day before we were to
shoot that entire sequence!
"As a desperate solution, we
had a rigging crew come in that night
out

change out 86 of the Skypans to
globes and add l/i CTO to the

bluer side of the
81 EL filter

on

the

scene,

camera

I used

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RCHUNGSTONf

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American Cinematographer - November 1999

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