American Cinematographer - June 2001 - 79

Special-effects

coordinator
requisite
pyrotechnics and rigging of destruc¬
tion on-set. "That was very impor¬
tant to our end," Berton reports, "and
all of the people there had come to
realize the relationship between the
special effects on stage and the visual
effects coming later. Working in
Neil Corbould handled the

this made a tremendous
difference, because the ability to
concert,

interaction

with

appropriate. So I like to shoot

an

stage, working with the
cinematographer to flag or otherwise
extra pass on

obscure the

key light, whenever our
coming through the
scene. The other way is easier and
works 99 percent of the time, but that
last one percent will kill you with
audiences these days." Computer
Film Company also contributed to
the climax, digitally augmenting the
practical on-set carnage.
critters

are

physical
objects on set, such as smashing
through columns in the temple set,
helped integrate our CG creatures."
Berton expressed a strong
preference for shooting practical
shadows whenever possible on set,
again to aid integration. "Practical

Mummy Returns pushed through
postproduction, a spin-off feature,
The Scorpion King, had already
entered production. For Biddle,
another epic beckoned, the dragon
adventure Reign of Fire, directed by

really enjoyable. When you're work¬
ing very low-budget, you have to find
ways around [problems] and not get
bogged down, since you've only got

shadows have

Rob Bowman. "I

more

create

With real

a

much better look.

shadows,

key light gets
so the light
comes from a single direction. When
darkening a plate, the highlight from
the key is still there, and that's not
obscured but

not

a

the fill,

Even

as

the makers of The

usually try to slot
small films in between the larger
ones, just to have that different sort
of challenge," Biddle notes. "Last year
I did that with The Weight of Water
for Kathryn Bigelow, which was

six

or seven

than

a

weeks

to

Rick and young
Alex (Freddie

Boath) race
through a jungle
at full speed as
they try to reach
the safety of the
Gold Pyramid

shoot. There's

bit of ingenuity involved

when you can't afford to have all the
tools on hand for the solution and
must

before sunup.

improvise. Reign of Fire,
■

however, is another big show."

The Look
Kino Flo®

of

Kino Flo® True Match "

lighting mixes seamlessly with
tungsten or daylight sources.
Designed by award-winning
lighting pros, Kino Flos
are

cool

to

the touch.

They're portable, energy
efficient and lamps can
operate outside a fixture.
Visit the Kino Flo website
to

find

out

True Match

more

lighting.

Image captured with 8ft Megas

KINO

FLO

LIGHTING

SYSTEMS

Sun

about

as

shown.

Valley, CA. Ph 818-767-6528 * Fax 818-767-5912



American Cinematographer - June 2001

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