American Cinematographer - June 2005 - 57
Director's Viewfinder
construction of the aforementioned
OIC" I E
130'-high catwalks, which ran the
length of the hangar on both sides
and allowed the
of
crew
to
install
two
large, varied
sources. The
expensive under¬
taking, but Pfister and Evans agree
that
they increased efficiency
dramatically. Evans explains, "We
alternated different sources along
each side of the hangar: quarter
Wendys for ambience, half Dinos to
pick out certain architectural high¬
lights, and 20K Fresnels. Elere and
rows
catwalks
there
we
were an
substituted Maxis for
The
integrated groundglass markings
1
:
1.85
exchange of groundglasses needed
1
:
1.78 HDTV
seven
no
immediate
some
The Formats
Highlights
change from format to format
1
:
1.66 516
for all lenses with 54 Pl-mounf
1
:
1.55
14:9
-5 to 5 dioptrin
1
:
1.37
N 1 6
1
:
1.33 TV
1
:
1.33
adjustable eyepiece
of the half Dinos. We had at least 10
suitable for left- and
of each type
handle for left and
of light up there. The
powered by four
megawatt generators, and we ran 40
HDTV
righteyed
right hand available
N 1 6
whole setup was
miles of cable." Adds Pfister, "Once
the foundational
sources
were
place, we also positioned some lights
on the
ground. To add fill to the
actors' faces, I might aim a 2K Zip
light through a frame of 216 diffu¬
sion. My approach was simple: light
the background to create the overall
environment, and then go in with a
small light to pick up the faces. Many
worked that way.
scenes
"My goal at Cardington was to
interesting mix of colors
create an
that would be
true to a
real urban
environment," he adds. "It
was
foundation, and Vi Blue and Vi
all
gels for the blue-green look.
even
tical
more
assembled about 400 prac¬
fixtures and put them up
street
over
the
hangar."
Pfister also addressed
Nolan's
mohonpicture industry
informations please visit our website:
e* z.
Finally, a New
Source for Super
8,
Regular 8, 1 6mm
a
choosing the two primary
urban colors: an orange, sodiumvapor look and a blue-green,
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defining colors in the streetlights
below you. They complement each
other, and they allowed me to add
some fun,
interesting hues that were
well grounded in reality. We used Vi
Straw gels for our orange-yellow
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53
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