American Cinematographer - December 2000 - 36

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photography

Cady's supervision.
For A Million Miles, the

offered
that

a

we

Fuji stock

"cooler, higher-contrast look
liked," Donnelly explains. Fie

also

readily acknowledges the impor¬
Fuji's cost - about 30 percent
less than comparable Kodak stock.
Donnelly obtained the camera package

tance of

for A Million Miles from William Miller, a
friend who also served as 1st AC

throughout the show. The entire film was
shot with Miller's Arriflex SR-3 16mm
camera

and his Zeiss

Superspeed prime

lenses and Zeiss 11-110mm
the

zoom.

Donnelly's next step was to find
right gaffer with a truck full of lights.

budget films, the filmmakers were
constantly trying to "make five people
look like 50," Donnelly says. This require¬
ment led to the use of longer lenses to
isolate the actors from the empty back¬
grounds. "We favored the 50mm Zeiss
prime when we weren't using the 25mm.
With the zoom, we were usually in the
85-110 range. We mostly used the Zeiss
primes, however." He's quick to point out
that such top-shelf glass is a luxury in the
low-budget world.
The need to cheat the empty bar
spaces also influenced Donnelly's light¬
ing approach. The key lights tended to be
Kino Flos hidden close to the actors. He

adds, "To punch the actors out of the

"I hired Jason Valez, who owns a five-ton

background, and let the background

truck with

darker to hide the fact that

decent tungsten

package,"
he explains. "Jason is only 24, but he's
been working since he was 18 and is
very skilled." Valez's tungsten lights were
supplemented with two 1.2K HMIs and
assorted Kino Flos (including a Wall-0Lite) loaned to the production by Luna
Lighting of New York, with whom
Donnelly had forged a good relationship
on his previous projects. "Luna's favor
was another huge savings," he notes.
A generator was beyond the
production's means most of the time,
except for a few night exteriors. "Jason
did [electrical] tie-ins at the various loca¬
tions," says the cinematographer. "We
wound up using the two HMIs and the
Kino Flos most of the time for speed,
mobility and the quality of the light."
a

One critical

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34

Patrick

..

(CH)=Switzertand Conversion; (US)=American Conversion

6mm

tests under director of

makers

were

able to put

that the film¬

the film in the

little money was that the only
locations the writers included were ones

can

for

reason

so

that

they knew were obtainable. As
might be expected for a coming-of-age
story about two young men in a beach
town, much of the action takes place in
bars. "We shot in

some

of the very same

places I had frequented when I was that
age," Donnelly reveals, emphasizing his
familiarity with the milieu.
Flowever, this familiarity didn't
eliminate the challenges of lighting and
filming the large spaces convincingly.
Filming took place during the day when
the bars

were

have extras, I used a lot of
about half a stop over key."

by

on

low-

go
didn't

backlight set

The few night exteriors were
simpler. "We used every light on the
truck just to get a base stop [with the 500
ISO stock]," Donnelly laments.
To produce some atmospheric
lighting on a shoestring, Donnelly used
only one or two sources for several
highly emotional scenes. When Ford is
awakened by the ranting of his alcoholic

father, his bedroom is lit with
tion of

warm

window

a

combina¬

interior and colder exterior

light, with

a

window-pane

pattern projected on one wall. Two light¬

ing instruments did the job. "I had
our

two

one of
HMIs outside the bedroom

window with 1/4 CTB

gel [to further
emphasize the light's blue cast],"
Donnelly explains. "We put a paper tape
pattern on the window to get the
shadow projections of the window
panes." For the warmer interior light that
was motivated from the living room, "we
bounced a 2K tungsten light into a card
out in the hallway."
Donnelly credits Miller for encour¬
aging him to work with mixed color
temperatures. "You're trained to match
all of the light sources by color tempera¬
ture, and if you don't, you feel as if you're
doing something wrong," Donnelly says.
"But nowadays, [the use of mixed color
temperatures] is a look that people like."
In another scene, Jim becomes

closed, and because

extras are hard to come

we

more

deeply immersed in his struggle to
American Cinematographer - December 2000

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