American Cinematographer - June 2008 - (Page 66)

Women’s World they filmed. They then hid singleshot Pars and small HMIs to create accents on background buildings and wet the streets to catch the reflections. “I picked up on that blue to make the street a little less industrial-looking and more happening,” says Thomas. Adds Marzovilla, “We wanted to create as much depth and life in that environment as possible.” To light the four women as they approach the restaurant, “we started them in silhouette, then had them in a 10K that was up on the corner and focused on that area so it only lit the four of them,” says Marzovilla. “We tried to keep the background as dark as possible so the women would pop.” “For electric and grip, that was probably the biggest lighting setup,” notes Thomas. Plus, the crew was challenged by high wind, which made the use of Condors tricky. Nevertheless, they managed to get a sweeping Technocrane shot of the women’s arrival, and the deep, atmospheric background lighting makes that corner of Gansevoort look like a glamorous hot spot. Throughout the film, Manhattan enters the frame in ways that weren’t possible in the series. The coffeeshop where Carrie and her friends spend endless hours, for instance, was originally built on a soundstage at Silvercup Studios in Queens, as were the women’s apartments. But in the film, that same coffeeshop interior was reconstructed in an empty storefront in SoHo. From that location, “you can actually see cars moving outside the window, a nice touch,” says Thomas. Likewise, the apartment Miranda moves into on the Lower East Side was a practical location. “It was so small the camera had nowhere to go except the stairwell, but it had real windows that looked into the On location in California, the B unit films Parker for a scene set in Mexico. Likewise, when Carrie and her friends arrive at a restaurant in the Meatpacking District, the prerigging team had to work with local building owners to coordinate the lighting. On that stretch of Gansevoort Street, one hotel had LEDs in the windows that constantly changed color, creating the potential for a continuity nightmare; Thomas and his team convinced the owner to keep the lights blue while 66 http://www.congofilms.tv

Table of Contents Feed for the Digital Edition of American Cinematographer - June 2008

American Cinematographer - June 2008 Contents Editor's Note Short Takes: "100 Days, " Sharon Jones and the Dap-Kings Production Slate: Mongol Production Slate: Greensburg Vintage Indy A Prince in Peril Women's World 90 Years of Precision Post Focus: A 3-D Imax Work Flow for Wild Ocean Post Focus: 3cP Incorporates ASC CDL on State of Play Filmmakers' Forum: John Baily, ASC New Products & Services International Marketplace Classified Ads Ad Index ASC Membership Roster In Memoriam: Gayne Rescher, ASC Clubhouse News ASC Close-Up: Rob McLachlan

American Cinematographer - June 2008

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