American Cinematographer - February 2008 - (Page 34) Island of Lost Souls a containment area surrounded by cyclone fencing, which Lesnie lit using weatherproof 250-watt and 500-watt quartz lights on each post. “With the amount of practicals on location, it was inevitable we’d be shooting into the sources, but the Primos handle it very well,” says the cinematographer. “Francis was quite happy to have some flare and artifacts because he felt it increased the feeling of immediacy.” The actual point of evacuation was a helipad on a 300'-long barge next to the Brooklyn Bridge. Lesnie took advantage of existing gantries on the underside of the bridge to mount six 12-light Maxi-Brutes to provide backlight for the evacuation point. “By not using HMIs, we were able to run off the bridge power,” he notes. “Also, 12-lights are easily adjustable, which made them perfect for this application. I also had two boom lifts down on the ground with 18Ks in each in case we needed to bring up any areas.” Low-level fill was created for the helipad area by a 156K BeBee Night Light positioned nearby on Pier 17, home to the South Street Seaport. Taking into account Lawrence’s predilection for handheld and Steadicam-mounted cameras very close to the action, Lesnie frequently used Panavision E- and C-Series Top and middle: At the film’s climax, the dark seekers trace Neville back to his brownstone — built onstage in Brooklyn’s Marcy Armory — and trip his defenses, setting off a massive explosion. Bottom: Managing to get inside the home, one of the flesh-eating creatures gets personal with Neville. 34 February 2008
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