American Cinematographer - May 2008 - (Page 43)

feet in the air, right up against our lighting rig.” In the middle of the rooftop, a 50'-wide window overlooks the reactor. “We projected lighting effects up from below, and for the moment when the reactor explodes, we used some 500K and 250K Lightning Strikes heads,” says Bauman. The explosion and EMP short-circuit Iron Monger’s suit and shut down the surrounding electrical grid, plunging the city into darkness except for ambient moonlight. To effect this change quickly, the crew hung Image 80s in the ceiling, outfitting each with three daylight tubes, three tungsten tubes, one Cool White tube and one Warm White tube. “That moonlight had to happen in an instant, and it was really clever of Mike to put those lights up,” says Libatique. “There couldn’t have been any units up there that had a hard quality because there was no distance for the light to travel. The only way we were able to get away with it was to use something soft.” At press time, Libatique had begun to work on the digital intermediate (DI) with colorist Steve Scott at EFilm. He and Scott previously collaborated on parts of The Fountain (AC Nov. ’06) and Inside Man (AC April ’06). “The challenge in the DI is to not be seduced by the tools,” notes the cinematographer. “The hard work everyone put into creating the film’s reality would be destroyed through over-correction.” Having watched Iron Man save mankind, Libatique confesses that there were times on the show when he felt the cold finger of doom creeping up his spine, a sensation he attributes to his improvisational approach. “I remember being on set and feeling that I was unprepared from a lighting standpoint. That’s the worst feeling, and I still carry that anxiety. But sometimes, I find that when I go in with a plan and deviate from it, [my original strategy] is still discernible onscreen. 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Table of Contents Feed for the Digital Edition of American Cinematographer - May 2008

American Cinematographer - May 2008 Contents Editor’s Note Global Village: The Fall Short Takes: ASC Laszlo Kovacs Short Takes: Heritage Award Winners Production Slate: Anamorph Production Slate: Fugitive Pieces Heavy-Metal Hero A Need for Speed Kink and the City Beautiful Minds A Hollywood Homecoming Post Focus: Paramount Restores The Godfather Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Antonio Calvache

American Cinematographer - May 2008

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