American Cinematographer - September 2000 - 72

A Pocket Full of Shells

The

kidnappers train

guns on

their next victim in the bordello's interior corridor, which

constructed on a soundstage. Approximately 50 lighting units were needed to re¬
create the hot, stylized desert light on the set. Pope details: "I used 10 10Ks and two
20Ks focused through the windows to throw beams of sunlight through the shutters in
the corridors. I gelled them with 1/4 and 1/2 CTS. Of course, that gave me just the effect
of the sunlight. I had to light the bordello's interior through the shutters as well to
was

ambient, hot desert light coming in. To accomplish that, I used 16 [ungelled
diffused] nine-light Maxi-Brutes to pump in ambient light. I also bounced 16 ninelight Mini-Brutes off strategically placed white flats so that we only saw strips of
white light between the gaps in each horizontal shutter." Two Aurasoft fixtures and
two Kino Flo Wall-O-Lites were also used, as well as the rest of Pope's Kino Flo
lighting package.
create an

but

choreographed action," Pope recalls.
"Chris's brother Doug, a Navy Seal,
advised the actors

on

how

to carry

and

pursuing a different agenda. I like the
cameras to be very near each other
on the same axis so that
they really
work for a given lighting setup. Chris
was
really great about that. We used
our two cameras very
sensibly, a
couple of focal lengths apart -
nothing radical in terms of shooting
big close-ups while shooting wide

the

actors

and

shot. We often covered the

Los

Angeles, CA 90064
Tel: (310) 474-7375
Fax: (310) 474-5121

Vancouver, BC
Tel: (604) 328-5543

Calgary,AB
Tel:
Visit

us

(403) 540-0120

@ www.proheli.com

on

like the characters in

and on their body language
movement. We always played
over¬

lapped the action from the previous

Los Angeles

lighting is compromised, or
is on a long lens and one is
a wide angle," he
says. "It's almost
one

weapons,

two cameras on

2521 Veteran Avenue

if the

when

same

piece of action from different
perspectives, which certainly helped
in tightening the scenes during edit¬
ing. I also feel that running at 24
frames per second without slo-mo
helped the immediacy and believability of each moment in those
scenes."

Though
often

two

cameras

can

problems in lighting,
Pope took measures to alleviate that
cause

concern.

"Unless we're outside

on

day exteriors, I really hate to have two
cameras working against each other

shots

at

the

same

our

film, all

time."

The

matching bordello exte¬
rior sequences posed lighting prob¬
lems as well, considering that they
were
shot
after the interior
sequences. This forced Pope to
manipulate the real sunlight to
match the artificial sunlight he had
created. "That was the most challeng-



American Cinematographer - September 2000

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