American Cinematographer - December 1999 - 87

lighting,

lit either through the
daylight scene -
using large sources that allowed the
we

windows for the

actors to move
or

around the frame

from inside the

practical at night."
Devlin expands,
outside the windows

-

-

with the

room

"We

lit

between the

TransLight and the window - with
wide, large coops aimed through

roughly 17' by 35' sections of full grid
on

each window. It

almost like

was

having big pieces of headboard above
the windows

ambient

to create an

skylight coming in. That set was a
good example of a situation where
Janusz really knew what he wanted
and Mauro carried

there's

seen a

lot

on

tary

This work

i

Art

Of

Cinematography

excerpts

of

Angeles. "Mauro and
quite a
bit," recalls Devlin. "I personally
wanted to give Janusz the ability to
walk in and have everything lit from
above, via a truss grid and lights
rigged on chain motors. Janusz loved
the ceiling of the ballroom, though,
be able

lit the entire

ground. We took

to

room

one

history of cinematog¬

Included

are more

than 100

shoot it,

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wall and had

ceiling, and we would bounce Dinos

many

others. Among those interviewed

Visions of Light is

Or order online

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a

must-have for the

serious

film professional, movie buff

or

cinema

student, and would also be

a

from the

Jim extend large muslins up to the

from classic films, including ET:

Nation, Citizen Kane, In Cold Blood, The

downtown Los

I talked about the ballroom

so we

a

The Extra- Terrestrial, Rasing Bull, Birth of a

the Biltmore Hotel in

to

is

significant advances and highlights culled

innovators.

major sequence set in an
elegant ballroom was executed on

and he wanted

also

from the imagery of major cinematographic

One

at

is

raphy and filmmaking, featuring examples of
T H

of focus."

location

about the craft of cinematography.

films where

reality in the light¬
ing, but the filmmakers have decided
that they want to see into a corner a
bit more, or manipulate things just
slightly to create a more commercial
look. Janusz and Mauro really
pushed the balance of the lighting to
make the backgrounds dark and real¬
istic. The beautiful part of the Fuji
stock is that it really breaks up quite
nicely, especially if it's the least bit out
a sense

to

offer this incredible 92-minute documen¬

that vision

out

extremely well. The values of the
scene's lighting were really successful.
So often, people are inclined to
overlight a TransLight. We had this
big TransLight with just two or four
2K Skypans behind it, but suddenly it
felt as if you were right there in New
York. I've

For the first time, the ASC is pleased

fanastic gift for the cineaste in

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(VHS, U.S. format)
American

Cinematographer 83
American Cinematographer - December 1999

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