American Cinematographer - January 2011 - 48
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Tough Love
Right: An overhead grid of Par 64 cans illuminates the ring in Lowell’s Paul Tsongas Arena, where all of the fight scenes were shot over three days. Below: Large “eyebrow” reflectors suspended above location windows allowed van Hoytema to bounce lighting into the interiors, creating realistic ambience.
can throw light into the room without blocking the view outside. The light will fall off quite fast the farther it goes into the room, so there is quite a dynamic when the actors move around. We just let them go dark away from windows, and a bit of smoke helped carry the light a bit further, reducing the contrast.” Van Hoytema was equally dynamic with the film’s extensive streetlighting work during night filming, because numerous sequences take place
48 January 2011
on the urban streets of Lowell. In keeping with the story’s period, van Hoytema was committed to avoiding a sodium look on the streets, so all streetlights close to the filming were fitted with metal-halide lamps (250-watt 4,000°K 90CRI) that were more neutral. Again, the goal was to light as naturally as possible, bouncing light across and around sections of streets when actors were interacting up against
American Cinematographer
or near buildings. Moyer says such scenes were largely lit with three Condors; one lifted a 20'x20' Ultrabounce, one lifted a 48-light spot Dino, and one lifted another 20'x20' Ultrabounce to capture and bounce spill from light shooting across the street. For action in boxing arenas, however, the shooting and lighting paradigm changed to emulate HBO broadcasts of three of those fights. All of the boxing scenes were shot over three days in Lowell’s Paul Tsongas Arena. This was mainly because Wahlberg wanted to do all choreographed fighting himself, and that work left him exhausted, so the filmmakers didn’t want to prolong it. Russell was also keen to find an approach to the boxing scenes that would be different from the stylized imagery in Raging Bull and Rocky. Thus, he decided to avoid bringing cameras inside the ring and close to the actors, except for a brief montage in the middle of the film and a few shots in the climactic fight. “Mark really wanted to shoot the boxing scenes so they flowed in one big sequence, rather than setting them up shot by shot,” recalls Russell. “We did shoot a small fight sequence that was stylized from the
American Cinematographer - January 2011
Table of Contents for the Digital Edition of American Cinematographer - January 2011
American Cinematographer - January 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Eye of the Storm"
Production Slate: The Tempest • All Good Things
Letting Go
Tough Love
Back to the Grid
A League of His Own
Post Focus: EFilm at Universal• HPA Awards
Filmmakers’ Forum: Jody Lee Lipes
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Michel Hugo, ASC
Clubhouse News
ASC Close-Up: Jack Couffer
American Cinematographer - January 2011 - American Cinematographer - January 2011
American Cinematographer - January 2011 - Cover2
American Cinematographer - January 2011 - 1
American Cinematographer - January 2011 - 2
American Cinematographer - January 2011 - Contents
American Cinematographer - January 2011 - 4
American Cinematographer - January 2011 - 5
American Cinematographer - January 2011 - 6
American Cinematographer - January 2011 - 7
American Cinematographer - January 2011 - Editor’s Note
American Cinematographer - January 2011 - 9
American Cinematographer - January 2011 - President’s Desk
American Cinematographer - January 2011 - 11
American Cinematographer - January 2011 - Short Takes: “Eye of the Storm"
American Cinematographer - January 2011 - 13
American Cinematographer - January 2011 - 14
American Cinematographer - January 2011 - 15
American Cinematographer - January 2011 - 16
American Cinematographer - January 2011 - 17
American Cinematographer - January 2011 - Production Slate: The Tempest • All Good Things
American Cinematographer - January 2011 - 19
American Cinematographer - January 2011 - 20
American Cinematographer - January 2011 - 21
American Cinematographer - January 2011 - 22
American Cinematographer - January 2011 - 23
American Cinematographer - January 2011 - 24
American Cinematographer - January 2011 - 25
American Cinematographer - January 2011 - 26
American Cinematographer - January 2011 - 27
American Cinematographer - January 2011 - 28
American Cinematographer - January 2011 - 29
American Cinematographer - January 2011 - Letting Go
American Cinematographer - January 2011 - 31
American Cinematographer - January 2011 - 32
American Cinematographer - January 2011 - 33
American Cinematographer - January 2011 - 34
American Cinematographer - January 2011 - 35
American Cinematographer - January 2011 - 36
American Cinematographer - January 2011 - 37
American Cinematographer - January 2011 - 38
American Cinematographer - January 2011 - 39
American Cinematographer - January 2011 - 40
American Cinematographer - January 2011 - 41
American Cinematographer - January 2011 - Tough Love
American Cinematographer - January 2011 - 43
American Cinematographer - January 2011 - 44
American Cinematographer - January 2011 - 45
American Cinematographer - January 2011 - 46
American Cinematographer - January 2011 - 47
American Cinematographer - January 2011 - 48
American Cinematographer - January 2011 - 49
American Cinematographer - January 2011 - 50
American Cinematographer - January 2011 - 51
American Cinematographer - January 2011 - Back to the Grid
American Cinematographer - January 2011 - 53
American Cinematographer - January 2011 - 54
American Cinematographer - January 2011 - 55
American Cinematographer - January 2011 - 56
American Cinematographer - January 2011 - 57
American Cinematographer - January 2011 - 58
American Cinematographer - January 2011 - 59
American Cinematographer - January 2011 - 60
American Cinematographer - January 2011 - 61
American Cinematographer - January 2011 - 62
American Cinematographer - January 2011 - 63
American Cinematographer - January 2011 - A League of His Own
American Cinematographer - January 2011 - 65
American Cinematographer - January 2011 - 66
American Cinematographer - January 2011 - 67
American Cinematographer - January 2011 - 68
American Cinematographer - January 2011 - 69
American Cinematographer - January 2011 - 70
American Cinematographer - January 2011 - 71
American Cinematographer - January 2011 - 72
American Cinematographer - January 2011 - 73
American Cinematographer - January 2011 - 74
American Cinematographer - January 2011 - 75
American Cinematographer - January 2011 - 76
American Cinematographer - January 2011 - 77
American Cinematographer - January 2011 - Post Focus: EFilm at Universal• HPA Awards
American Cinematographer - January 2011 - 79
American Cinematographer - January 2011 - 80
American Cinematographer - January 2011 - 81
American Cinematographer - January 2011 - Filmmakers’ Forum: Jody Lee Lipes
American Cinematographer - January 2011 - 83
American Cinematographer - January 2011 - New Products & Services
American Cinematographer - January 2011 - 85
American Cinematographer - January 2011 - 86
American Cinematographer - January 2011 - 87
American Cinematographer - January 2011 - International Marketplace
American Cinematographer - January 2011 - Classified Ads
American Cinematographer - January 2011 - Ad Index
American Cinematographer - January 2011 - 91
American Cinematographer - January 2011 - In Memoriam: Michel Hugo, ASC
American Cinematographer - January 2011 - 93
American Cinematographer - January 2011 - Clubhouse News
American Cinematographer - January 2011 - 95
American Cinematographer - January 2011 - ASC Close-Up: Jack Couffer
American Cinematographer - January 2011 - Cover3
American Cinematographer - January 2011 - Cover4
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