American Cinematographer - June 2006 - 46

Secret
Right: Large
units mounted
onto

Lev

cherry-pickers
are

used for

illumination at
the Louvre.
Below: Acamera

operator
Candide

Franklyn takes
a

the
Steadicam

turn on

during filming
in the Temple
Church.

History
Totino

pushed a hint of moonlight
through four windows using 18K
HMI Fresnels. The gallery's deep
perspective was then emphasized
with small, white security lights posi¬
tioned along the baseboards. (The
team tested and decided against the
crimson lights so vividly described in
Brown's book
they are not actu¬
ally used in the Louvre.) Designed by
the art department, these white secu¬
rity lights were 40-watt tungsten
"golf balls" connected to a single
control panel. Because pre-rigging
wasn't allowed, "we had to go in one
night, stand them on floor, wire them
up, and run them back to the control
panel," says Evans. "To do that one
night was going to be difficult, and to
do it every night was going to be an
absolute nightmare" - another
reason the stage work became neces¬
-

sary.
On the 007

Stage, production
designer Allan Cameron re-created
the Grand Gallery in precise detail.
TransLite photos were affixed to
windows and greenscreen was posi¬
tioned to accommodate plates show¬
ing the gallery's 1,500' depth. Because
dialogue was more critical in these
studio shots, lights were altered from
the practical location, with quieter
20K tungstens gelled with Vi CTB
swapped for the 18K HMIs gelled
with Vi CTO. Any light not in frame
was turned off. "We were really keep¬
ing it moody all the time," says Evans.
"We didn't want any ambience leak¬
ing from anywhere."
Spotlighted in this shadowy
gallery is the elderly curator's corpse,
lying naked on the floor with
arms

outstretched like da Vinci's

Vitruvian Man, a

pentacle of blood
his chest. For this scene,
Totino wanted forensic-style lights.
Working with the art department,
the team came up with portable fluorescents placed on tripods. "They
weren't film lights, just something we
found through a construction-type
supplier," says Evans. The full-frontal
nudity was a dilemma that lighting
painted

42 June 2006

on



American Cinematographer - June 2006

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