American Cinematographer - February 2008 - (Page 36) Island of Lost Souls Protected by the sun’s rays, Lesnie taunts the creatures of the night. anamorphic lenses; some of the Cs were modified for closer focus by lens technician Dan Sasaki. “We were carrying Primo anamorphics as well, but we regularly used diopters on the Es and Cs,” Lesnie notes. “Focus pullers Gregor Tavenner and Bobby Mancuso calibrated every lens with the full range of diopters. If we wanted to use a C-Series 50mm with the #1 diopter, the measurements were already drawn up and the disc was just popped onto the follow focus; a second set was also made for the remote focus. We changed lenses with diopters so frequently that we’d have lost an hour or two a day if we’d been waiting for the lens to be marked up each time. It was a great practical solution that saved us an enormous amount of time. “This film has a lot of demanding handheld work, and operators Bruce McCallum and Dave Thompson did a great job,” continues Lesnie. “At one point, Dave managed with ease a Millennium XL with a Primo anamorphic zoom. Gregor and Bobby both did inspired jobs of pulling focus in reactive situations, not only staying sharp on Will during improvised moments, but often also negotiating me and Mo carrying beadboard or handheld eyelights [1' LED brick lights].” Exterior and interior sets were filmed in the Marcy Armory in Brooklyn and the Kingsbridge Armory in The Bronx. The Marcy Armory was home to Neville’s fortified brownstone, while the 36 http://www.k5600.com http://www.k5600.com
For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.