American Cinematographer - September 2010 - 87
Kevin gets to know the neighborhood recluse, Mr. Washington (Ice Cube).
matographer. “I also used gold and silver checkerboard lamé bounces outside and Roscoflex Featherflex Soft Gold bounces inside to sell the idea of sunlight ripping into a room and bouncing off the walls and floors.” Cady and Hussey also added warmth to mid-tones and highlights. For scenes set late in the day, more blue/cyan was added to shadows. And power windows were used to remove shadows to make it seem like certain scenes were sunnier and took place earlier in the day. “Patrick’s negative gave me a lot to work with,” Hussey remarks. Night interiors and exteriors were less of a struggle, but Cady and Hussey still pored over them. Scenes set in people’s homes often contain subtle shifts in color temperature, from warm to cool, or vice versa, depending on the tone of the scene. It was Hussey’s job to make these color transitions look natural. For a scene in which Kevin first meets the neighborhood recluse, Mr. Washington (Ice Cube), Cady used CalColor CC Cyan gels on tungstenbalanced Kino Flos to make the hallway leading to Washington’s apartment look foreboding. In the apartment, Cady employed a mix of colors, such as a Cool White fluorescent over the kitchen and warm tungsten fixtures elsewhere. The tricky part of the scene, he notes, was the “streetlight” color coming in through the windows. “We created it by gelling some tungsten fixtures with Rosco’s new Urban Vapor gel,” explains Cady. “In scenes where we wanted a true match to sodiumvapor lamps, we used Rosco’s Industrial
Vapor gel, which has more green.” The Urban Vapor (3152) gel also came into play in a scene set in the apartment of Kevin’s love interest (played by Naturi Naughton). The scene starts in her living room, which was lit with dimmed tungsten fixtures and Roscoflex Gold Soft bounce fill, and then moves into her bedroom, which looks as though it’s lit mainly by ambient sodium-vapor lighting from outside. The script calls for Kevin to make a quick exit through her bedroom window, part of a set on a soundstage, and then emerge on a rooftop, which was a practical location. “Dave’s ability to facilitate the transition from our fake streetlight to a combination of that color and real streetlight really came in handy,” says Cady. The digital-intermediate process is typically 80-100 hours for a modestly budgeted feature like Lottery Ticket. Once the producers saw what Cady and Hussey were accomplishing in the DI, they extended the total session time to 120 hours. Hussey describes Lottery Ticket as “the most challenging job I’ve ever worked on, and we could easily have spent twice as much time on it.” “When two people have their hands all over the final look of the film, it can be an anxious situation,” notes Cady. “If the colorist and cinematographer aren’t communicating well, you can end up battling instead of collaborating. Good collaboration enhances the work, and a collaboration with someone as good as Dave is the reason Lottery Ticket looks as good as it does.” ➣