American Cinematographer - April 2017 - 56

◗

Street Fighter

Dojo master Colleen Wing (Jessica Henwick) proves to be a trusted ally for Danny. The
dojo, Billeter notes, "represents the street-level aspect that is so prevalent in the MarvelNetflix shows. Its warmer tones contrast with the high-end, steely cold ambience of the
corporate world."

in New York City, with stage work at
Broadway Stages in Greenpoint,
Brooklyn, from late April to early
October 2016. Panavision New York
supplied the production's camera package; local grip and lighting vendors
including Cinelease provided additional
equipment. Key crewmembers included
A-camera/Steadicam operator Francis
Spieldenner, 1st AC Marc Hillygus,
gaffer Tom Landi and key grip John
Dolan.
The crew deployed a variety of
camera supports to capture Iron Fist's
action. "Each scene required a different
56

April 2017

approach, but we kept the cameras
moving," says Billeter. "We did quite a
bit of Steadicam to keep things light
and floating. I wanted to [underscore]
the elements of air and the sky, as
they're a big part of Iron Fist's origin
story.
"In the first episode," he continues, "we meet our protagonist and start
with a lot of busy New York pedestrian
traffic. Danny's a seemingly homeless
person making his way through a landscape of steel and glass. We try to
preserve this mystery of who this character really is. We show him in quite a
American Cinematographer

fragmented way, without ever fully
revealing him. We wanted to show the
contrast between this character and his
surroundings [to illustrate] what a misfit
he has become in his own city."
For the show's wide daylight exteriors, Billeter explains, "I tried to keep the
look as naturalistic as possible, so I
focused more on lens choice and composition. In midtown Manhattan, with all
of the buildings, the ambient light can be
very toppy, which can make it difficult to
get light into the actors' eyes. So, for
closer work, I would bring in 12-by
bounces and 18K HMIs to help fill in
faces and reach into the eyes."
The Rand Enterprises set
comprised a group of office interiors with
floor-to-ceiling windows built on an
80'x60' platform that was elevated 9'
above the stage floor. (See lighting
diagram, page 63.) "I specifically asked
for this set to be built at some height, in
order to be able to look down at the city
and not be restricted in our choice of
camera angles and movement," Billeter
explains. "I wanted to be able to convey
that 'top of the world' notion.
"I also wanted the public face of
the company to be luminous, with lots of
clean and clear light streaming in
through the windows," he adds. "The set
features a 200-by-32-foot custom Rosco
SoftDrop cotton backdrop of the city,
which is visible beyond the panoramic
windows. We'd used SoftDrops previously on Jessica Jones; they photograph
much more naturalistically than vinyl
backdrops. They're a bit more finicky for
night-lighting, as the semi-transparent
cotton can read too bright for a night sky
if you're not careful with the lighting. I lit
the night skyline mostly with Lekos -
over 30 for this drop - which is laborious to set up, but it looks amazing once
they're in place, especially in HDR. It felt
as if the backdrop was three-dimensional
and a lot more realistic." Billeter
combined space lights, 20Ks and Kino
Flo Image 80s around the set to light up
the backdrop and provide daylight ambience.
"Since there was so much glass in
the design, I asked Loren to integrate



Table of Contents for the Digital Edition of American Cinematographer - April 2017

Contents
American Cinematographer - April 2017 - Intro
American Cinematographer - April 2017 - Cover1
American Cinematographer - April 2017 - Cover2
American Cinematographer - April 2017 - 1
American Cinematographer - April 2017 - 2
American Cinematographer - April 2017 - Contents
American Cinematographer - April 2017 - 4
American Cinematographer - April 2017 - 5
American Cinematographer - April 2017 - 6
American Cinematographer - April 2017 - 7
American Cinematographer - April 2017 - 8
American Cinematographer - April 2017 - 9
American Cinematographer - April 2017 - 10
American Cinematographer - April 2017 - 11
American Cinematographer - April 2017 - 12
American Cinematographer - April 2017 - 13
American Cinematographer - April 2017 - 14
American Cinematographer - April 2017 - 15
American Cinematographer - April 2017 - 16
American Cinematographer - April 2017 - 17
American Cinematographer - April 2017 - 18
American Cinematographer - April 2017 - 19
American Cinematographer - April 2017 - 20
American Cinematographer - April 2017 - 21
American Cinematographer - April 2017 - 22
American Cinematographer - April 2017 - 23
American Cinematographer - April 2017 - 24
American Cinematographer - April 2017 - 25
American Cinematographer - April 2017 - 26
American Cinematographer - April 2017 - 27
American Cinematographer - April 2017 - 28
American Cinematographer - April 2017 - 29
American Cinematographer - April 2017 - 30
American Cinematographer - April 2017 - 31
American Cinematographer - April 2017 - 32
American Cinematographer - April 2017 - 33
American Cinematographer - April 2017 - 34
American Cinematographer - April 2017 - 35
American Cinematographer - April 2017 - 35A
American Cinematographer - April 2017 - 35B
American Cinematographer - April 2017 - 36
American Cinematographer - April 2017 - 37
American Cinematographer - April 2017 - 38
American Cinematographer - April 2017 - 39
American Cinematographer - April 2017 - 40
American Cinematographer - April 2017 - 41
American Cinematographer - April 2017 - 42
American Cinematographer - April 2017 - 43
American Cinematographer - April 2017 - 44
American Cinematographer - April 2017 - 45
American Cinematographer - April 2017 - 46
American Cinematographer - April 2017 - 47
American Cinematographer - April 2017 - 48
American Cinematographer - April 2017 - 49
American Cinematographer - April 2017 - 50
American Cinematographer - April 2017 - 51
American Cinematographer - April 2017 - 52
American Cinematographer - April 2017 - 53
American Cinematographer - April 2017 - 54
American Cinematographer - April 2017 - 55
American Cinematographer - April 2017 - 56
American Cinematographer - April 2017 - 57
American Cinematographer - April 2017 - 58
American Cinematographer - April 2017 - 59
American Cinematographer - April 2017 - 60
American Cinematographer - April 2017 - 61
American Cinematographer - April 2017 - 62
American Cinematographer - April 2017 - 63
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American Cinematographer - April 2017 - 65
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American Cinematographer - April 2017 - 67
American Cinematographer - April 2017 - 68
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American Cinematographer - April 2017 - 70
American Cinematographer - April 2017 - 71
American Cinematographer - April 2017 - 72
American Cinematographer - April 2017 - 73
American Cinematographer - April 2017 - 74
American Cinematographer - April 2017 - 75
American Cinematographer - April 2017 - 76
American Cinematographer - April 2017 - 77
American Cinematographer - April 2017 - 78
American Cinematographer - April 2017 - 79
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American Cinematographer - April 2017 - 83
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American Cinematographer - April 2017 - 108
American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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