American Cinematographer - August 2008 - (Page 37) ing beds and heat lamps mounted on the walls. “I’d say 90 percent of the lights inside the compound were practicals or made to look like that,” recalls Bill Kassis, who stepped in as gaffer on this portion of the shoot when Tickell had to depart for a previous commitment. “The heat lamps were 4-foot Kinos built into practical fixtures with silver reflectors and gelled with Lee 019 Fire, and we sometimes had a red Kino on a stand off-camera for added fill or reflection. The lights over the beds were actual operating lamps that could be armed over beds or equipment; they had standard screw-in sockets with big reflectors, and we put our brightest bulbs, 213s, in them.” To light another compound interior, a narrow kennel in which kidnap victims are imprisoned, Kassis and his crew put Par 30 spots in several hanging China hats “to get the classic X-Files look: hot and spotty,” he says. “We then put those same bulbs in Pinzas and hung them in backlight positions for the cages relative to each camera position.” 4'x4' Kino Flos on the floor behind the cages provided low back fill. Despite the trials of mounting a 54-day wintertime shoot in British Columbia, Roe says it was “a real thrill” to help bring The X-Files back to the big screen. “When I saw the first cut, I realized how well it still works. After all these years, David and Gillian still have that great chemistry together; actually, I think it’s stronger than ever.” Waiting six years to revisit Mulder and Scully had other benefits, too, according to Carter. In terms of storytelling, “it liberated us to an extent because we got to imagine the six years that have passed since the series ended, and I think that made the characters richer and more interesting,” he says. “It also gave the audience and us a chance to catch our breath and develop an appetite for The X-Files again.” I TECHNICAL SPECS 2.40:1 Super 35mm (3-perf) High-Definition Video Panaflex Millennium XL, Platinum; Arri 435; Panavision Genesis; Panasonic AG-HVX200 Panavision Primo and Angenieux lenses Kodak Vision2 500T 5218, 200T 5217 Digital Intermediate Printed on Kodak Vision Premier 2393 and Vision 2383 www.theragplace.com FABRICS, EQUIPMENT & SERVICES FOR THE MOTION PICTURE & ENTERTAINMENT INDUSTRY 13160 Raymer Street, North Hollywood, CA 91605 PH 818-765-3338 FX 818-765-3860 37 http://www.theragplace.com http://www.theragplace.com
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