American Cinematographer - June 2000 - 71

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Flexible 20-inch goose-neck positions light above the
work

area.

Secret Agent

Man

smaller instruments

also

were

high.
However, that

was not

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all the

lighting employed for this major
action sequence. "There were also 50
Vari-Lites that we gelled red,"
explains Delgado. "Once the lab's
intrusion alarms went

Ca"CINElVMTGGMPVt

hung

on

off, we turned

the Vari-Lites. It wasn't choreo¬

graphed; the Vari-Lites would just
roam

all

over

would go
It

the set, and the actors

in and out of the red light.
and added

semi-chaotic

was

another dimension

the

gunfight
scrambling."
Delgado notes that the large
laboratory set has several different
looks. "When you first see the lab, it
to

and the

looks sterile and well-lit. When the
break-in

occurs

and the alarms go

off, it turns into a red room [via the
Vari-Lites]. We lit the glass tunnel
where the viruses

are

with green Image
the kind used to

80 Kino Flo tubes,

actually grown

light greenscreens.
augmented the Kinos with regu¬
lar lights with green gels [at points
where] we wanted the green to flow
out of the tunnel. You normally don't
think of lighting anything with green
in a movie, but it worked very well -
it was kind of liquid-looking and it
We

WATCH

flowed well with the feel of the set."
One of the first
M:I-2 was

which

For the

new

TCS ad in the

September issue

a

scenes

shot for

large-scale night exterior,

came

to

be known

as

the

"streets of fire" sequence.

Shot in
Sydney (standing in for Spain), it
required the illumination of several
city blocks to approximate a religious
festival populated by hundreds of
extras, many of whom were carrying
flaming torches. "We used three big
helium-balloon lights, with four 4K
HMI Par lights in each, to get an
overall

moonlight effect," says
Delgado. "It was a city square that
was the better part of an acre. We
wanted to be able

to see

the crowd, but not

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the faces of

necessarily feel
that they were lit, and the overall
balloon lighting helped us achieve
that moonlight look. Four 18K HMIs
each, perched on several 110'
American Cinematographer - June 2000

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