American Cinematographer - June 2000 - 126

do

which for

to

the inside

we

Eggby meant lighting from
out. "Generally, most
movie night scenes are lit with
Musco Lights and large lamp sources
on
cherry pickers and Condors -
from the outside in," he elaborates.

something different visually -
want the actors to just
come out of the spacecraft with
flashlights. We had lots of different
didn't

ideas about how

to

illuminate these

you'd think the lights
they were holding were the main
sources, and the blacks would just
drop off from there. It had to be that
way, because these creatures were
repelled by light. That's the reason

people, beginning with the fiberoptics. When those are eliminated,
they use acetylene torches to protect
themselves. They then end up burn¬
ing their liquor like Molotov cock¬
tails, and finally it gets to the point
where they're using glowing alien
worms that they find on the ceiling of

the blacks look

a

"Our

scenes

had

to

be lit from the

center out, so

so

black."

Eggby also had to vary the
means by which our heroes keep the
vicious aliens at bay. "We started with
a
fiber-optic system that we
imported from D.N. Labs, Inc. in the
United States," Eggby recalls. "The
characters supposedly extract those
lights from the 'guts' of the spaceship.
The fiber-optics don't last long in the
storyline, but they gave us the chance

cave."
The

glowing worms created
biggest lighting task. "The art
department made these little silicone
worms, then injected the liquid from
cyallum sticks into them," Eggby
explains. "The film was sensitive
enough to register the glowing cyal¬
lum worms, but it couldn't register
the light they gave off, so the worms
couldn't really illuminate the actors'
the

faces. Whenever you see

the charac¬
running around with those
bottles full of worms, I had up to four
Mini-Flo lamps, which are 4" Kino
ters

Flo

fluorescent

tubes, wired in

unison and hidden at the back of the

bottles, along with little reflectors
and

battery leads. Of course, I also
lights hidden all over the

had little
set.

I would often be next to the

aiming a little flashlight to
light up the actors' faces.
"I love a challenge," Eggby
concludes, "and we just knew that the
visual style of Pitch Black was going
camera,

to
at

be different. Sometimes we'd look
the

bleach-bypass dailies and

think, 'Wow! This stuff may be

paying off.'As far as I know, this is the
only movie that's ever bleachbypassed the original negative. We
took the bull by the horns and said,
'Screw it. Let's give them something
they've never seen before.'"
■



American Cinematographer - June 2000

Table of Contents for the Digital Edition of American Cinematographer - June 2000

American Cinematographer - June 2000 - 1
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