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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any major city, those are the two
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
Green

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53



American Cinematographer - June 2005

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