American Cinematographer - April 2017 - 58

◗

Street Fighter

Top: Danny steels himself for a fight. Bottom: The scene unfolds in front of two cameras
mounted on dollies on a circular track.

architectural lighting into the ceiling of
the set, as setting up light sources on the
ground could get problematic, especially at night when reflections would
restrict camera or lighting placement,"
says Billeter. "He designed three round,
louvered fixtures made of wood and
frosted Plexiglas, and also one big oval
overhead light source in the conference
room to give a basic illumination. I
placed BriteShot Luminator LEDs -
which were controllable from tungsten
to daylight - bounced into beadboard
above them.
"In Danny's office, we devised
58

April 2017

long strips of LEDs integrated into the
ceiling," the cinematographer continues. "Ward and Joy's offices also had
LED strips laid into the soffit, as well as
two more round, louvered fixtures. This
strategy provided a variety of options
for lighting the rooms, and it accentuated the design of the space. The reflections in the floor-to-ceiling windows
would look elegant and clean, extending the set into the night sky of the
city."
After his first attempts to rejoin
Rand Enterprises' corporate world are
rebuffed, Danny roams the streets;
American Cinematographer

wending his way into Chinatown, he
soon encounters Colleen and her dojo.
"In a way," Billeter muses, "Colleen's dojo
represents the street-level aspect that is
so prevalent in the Marvel-Netflix
shows. Its warmer tones contrast with
the high-end, steely cold ambience of the
corporate world. The dojo had lots of
yellows and browns; we wanted it to feel
a lot more down to earth.
"I also insisted on hard ceilings in
the dojo for realism's sake," the cinematographer adds. "We had quite a few
scenes there that took place at sunset, so
I would gel the lights if needed for a
warmer tone, and I was also playing with
the color-temperature setting on the
Red. Instead of 3,200K I would go to
3,800K or 4,300K. It's a somewhat crude
way of controlling the look, but it gave
everybody a clear idea of the direction I
wanted to go in as we went into post."
Although much of the action in
the first few episodes was confined to
stage work, a series of night exteriors
finds Danny befriending a homeless
person in a street park. "That's a real park
in Manhattan," says Billeter. "Luckily, we
were shooting in spring and summer so
we didn't have to brace for any of the
arctic chills that descend upon the city in
winter. For those kinds of night exteriors,
I would light the surroundings as
needed, up-lighting some of the buildings.
"We put 80- to 120-foot lifts up in
the sky with Maxi-Brutes or 20Ks,
skinned with Super White Flame gels to
mimic the warm glow of sodium-vapor
streetlights - a natural fixture of urban
night lighting that unfortunately has
been disappearing in New York over the
past year," he continues. "On the ground,
I added some cyan backlights to go a
little more into the blue-green tone as a
nod to the color palette of the Iron Fist
comic books. Closer to frame we made
an 8-by or 12-by book light using Cineo
HS2 LEDs bounced into Ultrabounce. I
also used Lighttools Egg Crates to make
those large, soft sources controllable and
directional."
Flashbacks reveal scenes from
Danny's childhood, when he survived a



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
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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
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American Cinematographer - April 2017 - 63
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American Cinematographer - April 2017 - 67
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American Cinematographer - April 2017 - 70
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American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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