American Cinematographer - September 2006 - 68

Vikings

The

production

prepares to film
with a 30'

Technocrane.

the Warpath

on

quick and efficient assistant camera¬
man, knows the routine up here. He
mentioned

to me

that Tiffen had

a

filter called the LLD, which stands
for Low

Light Daylight. I had

never

heard of it, because I hadn't

really
you'd
always be on the edge of even having
an exposure.
Normally, with 5218 or
any of the tungsten-balanced stocks,
you would use an 85 filter, which
takes two-thirds of the stop of your
light. Well, the LLD filter cuts the
ultraviolet of daylight and colors the
film a bit, but not fully. It has no
exposure compensation and no
light loss; it almost looks like a piece
of clear glass, and I found it to be the
ideal tool for our daylight scenes. It's
also been helping with the desatura¬
tion of colors by clipping a lot of the
been in situations where

warmth out of them. This
not

64

September 2006

nearly as warm

as

picture is
it would be if

I

were

using an 85."
The brief Pearl and

Nispel set
for themselves on Pathfinder was in
many ways a variation of their work
on the Chainsaw remake, a
project
Pearl had pondered hard before
joining. "Marcus is a very smart
man,

and it was his idea. At the time

when he got

to

shooting Tobe Hooper's film, I

was

told I could

not

be in the film

business and that I would

probably

wind up being a film professor. And
I believed it until I shot that film.

Then, suddenly, I was in the film
business. Based
Marcus

knew

on

I

that

had

history,

to

make

Chainsaw great

hired to do the picture,
shooting most everything he
was
doing. The producers were actu¬
ally not that keen to have me shoot

again, or else I was
giving it all away. I had gotten a lot
from the original, but all of that
could've been wiped out if the sec¬

it, but he had two ideas that I think

ond

proved to be true and helped the
film: he knew I was the one guy that
wouldn't go in there and just copy
the original film, which was a gritty,
verite kind of thing. For me, there
was no percentage in that since I'd
already done it. He also knew that
nobody would care more about the
remake than me, because the origi¬
nal basically made my career. Prior

cessful film.

I

was

one

didn't

"For
devout

turn out to

most

be

a suc¬

situations, I'm

a

cross-lighter, particularly for
dramatic material like Pathfinder
Pearl continues. "The rich images
you get that way appeal to my eye.
When I'm looking for camera posi¬
tions with my operators, I often tell
them to 'shoot the light.' This doesn't
mean actually
photographing the



American Cinematographer - September 2006

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