American Cinematographer - May 2006 - 49

As Rose

moves

deeper into

Top: The

the

day

wanes
Darkness takes

angles of Rose's

into night, and the
over

the

town.

arrival in the

The

filmmakers wanted the Darkness

town, lit partially
with a crane-

to

mounted unit

look

completely different from the
rest of the picture, and Laustsen
wanted to change his shooting style
and work in extremely low light -
literally 1 footcandle. "In the video
game, there is a whole sequence that
is lit with a character's cigarette
lighter, and Christophe wanted that
feeling in the film," he says. "So we
have a whole sequence with Rose in
the dark, and all she has is a lighter. I
wanted to make that lighter her key
light and shoot with just that, and
we did wind up shooting a lot of
that sequence that way, but a few
times we had to augment it with
small lightbulbs rigged to the side of
the lighter for a little extra kick."

known

Darkness

to

"We

have

a

wanted

BFL

In order to better
control the

setting's ever¬
present fog,
production
designer Carol
Spier and her
crew

constructed

a

massive set in

a

500'-long, 80'-

high former
agricultural
warehouse in
Toronto. "The
is

a

fog
big part of

the movie, so we
had to find a way
to

keep it

consistent," says

cinematographer
Dan Laustsen. "It

light situation, Laustsen shot this
sequence on 24p high-definition
(HD) video, using a Sony HDCF950 CineAlta and Zeiss DigiPrime
lenses. (On one day when the F950
was unavailable, he used a Sony
HDW-F900.)

as a

("Big F***ing
Light"). Bottom:

To make the most of the low-

as we

crew

captures several

Silent Hill in her search for Sharon,

big
challenge to not
let the fog get

was a

too

dense, yet

also make

sure

seeing
it without totally
losing the

we were

the

contrast in the

image."

special look, and

searched around I wasn't real¬

ly happy with what we were getting
[on film]. I tried pushing the film

American

Cinematographer 45



American Cinematographer - May 2006

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