American Cinematographer - August 2001 - 51

the walls

on

the

to

lend

Leonetti

some texture to

provides a
steady hand

background. We tried

those fixtures

out

to keep
of the shots, but if

on

the tiller.

they did sneak in now and then, they
looked like the practical lighting
you'd find in a casino. For scenes
where we didn't see the balcony, I
used that upper level to create backcrosses and three-quarter
backlights
for Chris and Jackie, and for general
spot fill of key areas on the floor.
"Brett wanted the whole film
have

basis in

reality, so I wasn't
giving it a really slick
look," he adds. "We basically put the
to

a

worried about

actors

in real

environments, which

also lent itself to any

action that took
place on the casino floor."
All in all, the casino rig drew
an
amazing amount of power, with
2,000 amps alone required to power
the 300 slot machines imported by
the art department.
The Red Dragon sequence
climaxes with a daring escape, as Lee

and Carter swing from the top of the
building to the ground via a long
strand of large Chinese lanterns. The
sequence proved to be another chal¬
lenge for Leonetti, who notes, "The
exterior of the building was yellow,
but the overall design for the casino

red. The first plan was to

digitally
paint the building red in post. I
suggested that we achieve the color
through lighting instead.
"We got six 18Ks, 12 4Ks and
whatever else we could get our hands
on, put full CTO and Lee Primary
was

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

Image captured with 8ft Megas

KINO

F L O

LIGHTING

SYSTEMS

Sun

about

lighting.
as

shown.




American Cinematographer - August 2001
Table of Contents for the Digital Edition of American Cinematographer - August 2001

American Cinematographer - August 2001 - 1

American Cinematographer - August 2001 - 2

American Cinematographer - August 2001 - 3

American Cinematographer - August 2001 - 4

American Cinematographer - August 2001 - 5

American Cinematographer - August 2001 - 6

American Cinematographer - August 2001 - 7

American Cinematographer - August 2001 - 8

American Cinematographer - August 2001 - 9

American Cinematographer - August 2001 - 10

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American Cinematographer - August 2001 - 20

American Cinematographer - August 2001 - 21

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American Cinematographer - August 2001 - 37

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American Cinematographer - August 2001 - 40

American Cinematographer - August 2001 - 41

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American Cinematographer - August 2001 - 60

American Cinematographer - August 2001 - 61

American Cinematographer - August 2001 - 62

American Cinematographer - August 2001 - 63

American Cinematographer - August 2001 - 64

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American Cinematographer - August 2001 - 73

American Cinematographer - August 2001 - 74

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American Cinematographer - August 2001 - 76

American Cinematographer - August 2001 - 77

American Cinematographer - August 2001 - 78

American Cinematographer - August 2001 - 79

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American Cinematographer - August 2001 - 84

American Cinematographer - August 2001 - 85

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American Cinematographer - August 2001 - 116


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