American Cinematographer - October 2005 - 63

A

Flying-Cam was used to capture dynamic, "ball's-eye views" of big drives. On cue, the
helicopter could be pulled back at full throttle up to a distance of 600' above treetops.

globe, the spot and the level it's
dimmed down

to.

When you put

those three

things together in the
right way, it looks like sourceless
light; the actors can move around
within it and it always looks real."
Another technique for simu¬
lating oil-lamp illumination involved
a kind of "rope
light" designed for
use at nightclubs and restaurants,
which was tightly coiled onto a large
platter. "Dan Cornwall, my gaffer on
Into the Blue, designed these for me
to simulate the rope light that
surrounded the picture-boat's inte¬
rior, and they have a lot of fire¬
power," explains Hurlbut. "We had
the 'cocktail platter,' which was 15
inches in diameter; the 'seafood plat¬
ter,' which
the

was

36 inches across; and

'jumbo platter,' which

was

4 feet

We'd coil the rope

light so
tightly in those that they became big
discs of light, and then we'd put
across.

them

on

of the

stands. We used those for all

showing Ouimet in his
night. The tungsten light is
about 2100 degrees [Kelvin], and it
falls off incredibly well. It looks so
scenes

room at

real and beautiful

on

the face in

a

that other units often don't."
Because a significant portion
of Greatest Game takes place on the
golf course, it was imperative that the
game be presented as dynamically as

way

possible. This mandate suggested a
lot of grip equipment, but the
production was only allowed to use
the

course,

Kanawaki Golf Club,

on

the condition that

they not damage
it. "My key grip, Alian Masse, and his
crew

mounted

Technocrane

a

Cine Moves 50-foot

to a

Chapman Super

Maverick, and the two were driven
around on Mud Tracks, 4-by-8-foot
sheets of

plastic designed to spread
weight of construction
cranes," says Hurlbut. The sun
provided most of the lighting.
out

the

"When we lost the sun, John
and his

with

[Lewin]

took golf carts, the

crew

kind

flatbed in the back, and
mounted a Super Crank without the
a

wheels inside the cart," says Hurlbut.
"We used those stands to support
18Ks

so we

could drive all

over

the

golf course, park the generator out of
the way on a cart path, and fire up
the lights. Most of the time, though,
we used natural
light, shooting in the
right place at the right time. One of
the wonderful benefits of being in
Montreal in the

summer

is that

twilight lasts 45 minutes. We always
tried to shoot in the early morning
and late afternoon, and if we had to
shoot at midday, we knew we could
finesse the look in the DI."
Hurlbut
clined

to use

was

initially disin¬
golf scenes.

CGI in the

American

Cinematographer 61



American Cinematographer - October 2005

Table of Contents for the Digital Edition of American Cinematographer - October 2005

American Cinematographer - October 2005 - 1
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