American Cinematographer - April 2004 - 88

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"Depending on where I was shooting
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occupied by a spinning, gyroscopestyle machine. The base and center
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sources,

and

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light
emanating from the machine. "It's
very strong and eventually sort of
takes over the set," the cinematogra¬
pher says of this source. "I brought it
up to gradually increase its power. I
a

used dimmers
them

lot

needed

control color temperature

and

intensity because we weren't on
couldn't make changes
manually very easily."
Navarro says this sequence,
which was shot about midway
through Hellboys production, was
"probably the most difficult thing
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set and froze overnight,
icing the trees and the terrain. "Once
we
got through that," says Navarro,
"everything was doable."
"Everything" included all of
the film's more or less present-day
scenes, which are primarily set in a

comic-book version of New York
and New

Jersey created in the Czech
Republic. Whereas the prologue was
designed with a bold period
aesthetic, the rest of the movie has
more

urban aesthetic.

Says

American Cinematographer - April 2004

Table of Contents for the Digital Edition of American Cinematographer - April 2004