American Cinematographer - August 2002 - 39

look great without
in the frame."
The

night
were

getting

any

lights

backings - black for
and white for day -

scenes
lit with

a

mix of 10K Fresnels

and 5K

Skypans; there were about 60
Skypans and 30 Fresnels in use at all
times. All of the lights were patched
into a dimmer board using an ETC
rack system.
It took six miles of 4/0 cable,
which fed four 24 x 12K racks, to

light the Armory. The cable also fed
two 48 x 4K racks
enough to illu¬
minate an average suburban neigh¬
-

borhood. Some 20Ks

were

also used

sidelight. Every light fixture
was run through the ETC. Wall
outlets on the set were practical and
were also patched into the dimmer
controls. The stage was kept rigged at
to create

all times because whenever exterior

filming during the Chicago winter
proved too harsh, the production
headed indoors for coverage.
Hall modulated his interior

lighting shot by shot, using what he
calls "room tone." "Room

Above: The
camera

Sullivan

weapon
choice.

what I don't want

see." To

create

effect, Stern and his

crew

to

angle

shows the

mobster

this

he

Left: An
overhead

light that results from light bouncing
off of walls, ceilings and floors," Hall
explains. "It gives a sense of presence
to

as

ponders his sins.

is the

tone

captures

cleaning his
of

employed LTM Peppers, and occa¬
sionally other units ranging from
IKs to 4Ks. The small Fresnel instru¬
ments were

usually aimed directly at

white parts of the ceiling to create a
soft bounce fill. If areas of the ceiling
had color value, the
white

showcard

to

crew

put up a

use

instead.

Because many

shots in the film were
captured with a locked-off camera, it
was
relatively easy to hide the
Peppers behind objects on the set.
Hall worked closely with
Mendes, costume designer Albert
Wolsky and production designer
Dennis Gassner to develop a cold
period look for the film. "The palette
for the movie was very muted,"
Mendes says. "Very early on, Conrad
and I talked about creating a sense of
American

Cinematographer 35



American Cinematographer - August 2002

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