American Cinematographer - December 1999 - 73

GAM C1NEFILTER

GAMTUBE
NAKED COSMETICS

long, though," Apted says with a
smile. "Each sequence was a slightly
different animal, a different chal¬

GAMCOLOR

very

lenge. Vic would do the scenes that
very stunt-driven, and then I

were

GAM FUSION

www.gamonline.com

GAM SCENE MACHINE

the extra bits and

pieces we needed.
Conversely, I'd take the action scenes
were

STAR STROBE

BLACKWRAP

actor-driven, and

more

then Vic would finish them up.
"There was so much to do that

GAMFLOOR

FLICKERMASTER

would take in the first unit and do

that

STIK*UP
TWINSPIN

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*

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the division of scenes was really deter¬
mined
ence

by whether

or not

the audi¬

would be able to tell if it was the

actual actor in the shot," Biddle adds.
"There

was

no

that decision. It

can't

artistic

thinking in

was more

like, 'If you

it's Pierce Brosnan, it's

see

second unit.' We

generally started
shooting on any given set first, even if
it was for just a couple of days. That
way, my gaffers could pre-rig the set,
so the look and the lighting style was
determined before the second unit
went

in; they could then go from
really the key to

there. I think that's

getting good second-unit stuff."
However, there were a couple
of sequences that were shot by
Armstrong and second-unit cine¬
matographer Jonathan Taylor ahead
of the first unit, including a stunning
boat chase

on

the Thames River. In

those instances, communication was
vital

to maintaining a consistent
look. "I just made sure that I talked to

Jonathan,"

Biddle

says.

"That

Softube™ 200

sequence is a good example of why,
when you go on a location scout,

you've got to do it well. You have to
determine, especially with the assis¬

Daylight

director and the director, that

Balanced

tant

you're going to shoot in one direc¬
tion all morning, even if that means
cutting up the scene and then doing
the

reverses

in the afternoon.

"They had a tricky task while
shooing the boat chase, because the
weather changed so many times - it
was

either

raining or the sun was out.
exterior shooting is to

But my rule on

Energy
Efficient

Easy to Use
Reliable,
Compact and

Lightweight..

always try to shoot things backlit,
because then it's easier to match. If it

gets overcast,

they could

move on to

10434 Burbank Blvd.

Tel:

(818) 762.5756

*

,

North Hollywood, CA 91601

Fax: (818) 762.6629

*

(800) 662-5756

*
69



American Cinematographer - December 1999

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

American Cinematographer - December 1999 - 1
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