American Cinematographer - February 2011 - 32

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Masked Men

Clockwise from top: The Green Hornet’s war on crime eventually spills into the offices of the Reid-run newspaper, The Sentinel; the crew prepares a crane shot inside the office set, built onstage at Sony Studios; gelled Par cans bolster the Black Beauty’s green headlights.

as the frame jumped from weapon to weapon and then back to Kato as he prepared to disarm his attackers. During night-exterior fights, Gondry wanted the ability to go from 24 fps to 500 fps without having to wait for an extensive relight, but “shooting 500-ASA film at a T3.5 requires something like 42 footcandles, and shooting with the Phantom at 100 ASA at T2.8 requires something closer to 3,300 footcandles,” says Schwartzman. He and gaffer Frank Dorowsky lit their locations — which included a six-block stretch of Santa Monica Boulevard — to go from 40 footcandles to 3,000 footcandles at the push of a button. “We had
32 February 2011

lights all over the place,” Schwartzman recalls. “If there was a billboard lighting itself for a 24-fps shot, we’d have to add a Dino to see that same billboard when we cranked the Phantom up to 500 fps. We augmented streetlights with focusable 6K LRX Lights, which we rigged right over the lamp head. I had a couple of 650-watt Redheads washing up a building at 24 fps, and at 500 fps I needed four 10Ks to get the same look. If we were using a Bebee Night Light at 24 fps, I’d just use one of its [6K] lamps, but when we went to 500 fps, I’d turn on the other 14! It was a lot of work, but the studio supported it because they wanted Michel to be
American Cinematographer

completely free to create.” For fights in the Sentinel bullpen, Gondry never exceeded 120 fps. (He also never ramped the camera on set.) Schwartzman switched the Image 80s from two tubes for 24 fps to eight tubes for 120 fps, programming the windoworiented Maxi-Brutes and Skypans through a dimmer board. When the Green Hornet starts to get the better of the criminal underworld, Benjamin Chudnofsky (Christoph Waltz) decides it’s time to squash the superhero once and for all. This leads to a particularly memorable montage that shows the order to kill the Green Hornet being passed around the



American Cinematographer - February 2011

Table of Contents for the Digital Edition of American Cinematographer - February 2011

American Cinematographer - February 2011
Contents
Editor’s Note
President’s Desk
Short Takes: God of Love
Production Slate: The Way BackThe Last Lions
Masked Men
Total Immersion
Behind the Music
A Cinematic Passport
Post Focus: MTI Films
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Robert Steadman, ASC
Clubhouse News
ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - American Cinematographer - February 2011
American Cinematographer - February 2011 - Cover2
American Cinematographer - February 2011 - 1
American Cinematographer - February 2011 - 2
American Cinematographer - February 2011 - Contents
American Cinematographer - February 2011 - 4
American Cinematographer - February 2011 - 5
American Cinematographer - February 2011 - 6
American Cinematographer - February 2011 - 7
American Cinematographer - February 2011 - Editor’s Note
American Cinematographer - February 2011 - 9
American Cinematographer - February 2011 - President’s Desk
American Cinematographer - February 2011 - 11
American Cinematographer - February 2011 - Short Takes: God of Love
American Cinematographer - February 2011 - 13
American Cinematographer - February 2011 - 14
American Cinematographer - February 2011 - 15
American Cinematographer - February 2011 - Production Slate: The Way BackThe Last Lions
American Cinematographer - February 2011 - 17
American Cinematographer - February 2011 - 18
American Cinematographer - February 2011 - 19
American Cinematographer - February 2011 - 20
American Cinematographer - February 2011 - 21
American Cinematographer - February 2011 - 22
American Cinematographer - February 2011 - 23
American Cinematographer - February 2011 - 24
American Cinematographer - February 2011 - 25
American Cinematographer - February 2011 - Masked Men
American Cinematographer - February 2011 - 27
American Cinematographer - February 2011 - 28
American Cinematographer - February 2011 - 29
American Cinematographer - February 2011 - 30
American Cinematographer - February 2011 - 31
American Cinematographer - February 2011 - 32
American Cinematographer - February 2011 - 33
American Cinematographer - February 2011 - 34
American Cinematographer - February 2011 - 35
American Cinematographer - February 2011 - Total Immersion
American Cinematographer - February 2011 - 37
American Cinematographer - February 2011 - 38
American Cinematographer - February 2011 - 39
American Cinematographer - February 2011 - 40
American Cinematographer - February 2011 - 41
American Cinematographer - February 2011 - 42
American Cinematographer - February 2011 - 43
American Cinematographer - February 2011 - 44
American Cinematographer - February 2011 - 45
American Cinematographer - February 2011 - Behind the Music
American Cinematographer - February 2011 - 47
American Cinematographer - February 2011 - 48
American Cinematographer - February 2011 - 49
American Cinematographer - February 2011 - 50
American Cinematographer - February 2011 - 51
American Cinematographer - February 2011 - 52
American Cinematographer - February 2011 - 53
American Cinematographer - February 2011 - A Cinematic Passport
American Cinematographer - February 2011 - 55
American Cinematographer - February 2011 - 56
American Cinematographer - February 2011 - 57
American Cinematographer - February 2011 - 58
American Cinematographer - February 2011 - 59
American Cinematographer - February 2011 - 60
American Cinematographer - February 2011 - 61
American Cinematographer - February 2011 - 62
American Cinematographer - February 2011 - 63
American Cinematographer - February 2011 - Post Focus: MTI Films
American Cinematographer - February 2011 - 65
American Cinematographer - February 2011 - 66
American Cinematographer - February 2011 - 67
American Cinematographer - February 2011 - New Products & Services
American Cinematographer - February 2011 - 69
American Cinematographer - February 2011 - 70
American Cinematographer - February 2011 - 71
American Cinematographer - February 2011 - 72
American Cinematographer - February 2011 - 73
American Cinematographer - February 2011 - 74
American Cinematographer - February 2011 - 75
American Cinematographer - February 2011 - International Marketplace
American Cinematographer - February 2011 - Classified Ads
American Cinematographer - February 2011 - Ad Index
American Cinematographer - February 2011 - 79
American Cinematographer - February 2011 - In Memoriam: Robert Steadman, ASC
American Cinematographer - February 2011 - 81
American Cinematographer - February 2011 - Clubhouse News
American Cinematographer - February 2011 - 83
American Cinematographer - February 2011 - ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - Cover3
American Cinematographer - February 2011 - Cover4
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