American Cinematographer - December 2006 - 140

not

impede the HBO

the entire

arena

Director of

crew from

wrapping
in 12 hours (after their

photography
Clark Mathis
location in

broadcast). It was switchable between
24p and 60i and held all video-assist
cabling for the five 35mm cameras we
used (Arricams, 435s, 235s and Wilcam
300fps) during select montage

Las

on

Vegas.

sequences.

My lighting design for the arena
existing HBO broad¬
cast rig; gaffer Larry Wallace, key grip
Brian Reynolds and I worked closely with
HBO lighting designer George Smith to
integrate my additions. Like the video
engineering, my modifications had to be
invisible while the pay-per-view event
took place. I added more computerized
moving lights, as well as extra Par cans
and top lights, to boost the ambience for
300-fps filming. To define the arena and

was

built around the

avoid the "black limbo" look, I also put

single red, white and blue Kino Flo tubes
above each entryway. This gave us a
sense of the massive space without

revealing it, allowing us to concentrate
extras in key areas without seeing empty

seats or

necessitating extensive CG

work.

Still, I knew the technical hurdles

only part of the equation; we also
had to transform our creative approach.
To that end, I created a compilation DVD
for the camera operators that contained
footage of live fights Sly had shown me,
as well as examples of camera moves
unique to boxing coverage. The operators
had to change their framing aesthetic to

were

suggest they had no idea what would
happen next. I suddenly found myself
giving the same direction to the camera¬
men that I've heard directors give actors
for years; "There is no scene. Discover
each moment for the first time with each
take." That's

really tough to do, by the

way.

Will there be
answers

it's gonna

a Rocky 7? Sly
question best: "If there is,
be animated."
■

the

HEADS ARE BETTERTHAN

Pair of Joker-Bug

Combo

200's

Joker-Bug 200/400

■

Combo

Joker-Bug 400/800

Buy

2 At A Time And Savet
www.K5600.com

131



American Cinematographer - December 2006

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