American Cinematographer - May 2015 - 60

Q

Without Fear
virtuosos at hitting focus under
extremely challenging conditions."
The production also carried a set
of Angenieux Optimo zooms, including
the 15-40mm (T2.6), 28-76mm (T2.6)
and 45-120mm (T2.8). Panavision New
York provided all of the production's
lenses. Lloyd shot at a 16:9 aspect ratio,
mostly handheld, along with some
Steadicam, 25' and 50' Technocrane, and
40' Louma Crane work. Key collaborators included Lloyd's longtime key grip
Jim McMillan (who also served as
action-unit cinematographer), Acamera focus puller Marc Hillygus, digital-imaging technician Patrick Cecilian,
gaffer Rusty Engles and production
designer Loren Weeks.
The first episode of Daredevil
opens with a major fight scene featuring
a shadowy figure battling a series of
thugs on a waterfront dock, shot in the
Red Hook neighborhood of Brooklyn
with a view of Manhattan across the
river. "The script has [Daredevil]
popping in and out of very deep shadows, pulling bad guys out of the light,
knocking them out off camera and then
throwing them back out into the light,"
Lloyd explains. "I knew we'd get killed if
we tried to do localized lighting for all
those scenes, so instead we placed huge
units very far away. Peter Girolami at
SourceMaker custom-built an 8-footby-8-foot air-filled balloon cube with
two independently controlled 1,000watt sodium-vapor football globes
inside.
"I had the crew frame the cube
with speed rail, like a soft box, with an
LCD egg crate on the bottom," he
continues. "It was a very soft, directional
box that gimbaled off the end of our
Jekko crane. The cube included a 5K
tungsten globe on a dimmer to help
clean up the parts of the color spectrum
where sodium vapor peaks. It provided a
nice, focused, authentic night light.
"Rusty and his team also ran
cables along the rooftops and set up a
variety of Arri T12 tungsten Fresnels,"
Lloyd adds. "We also had a couple of 60foot scissor lifts with 12 very narrowspot Par cans per lift. We used Lee 179

Top: Murdock
with colleague
Karen Page
(Deborah Ann
Woll). Bottom:
Murdock uses a
cane to navigate
New York City
by day.

60

May 2015

American Cinematographer



American Cinematographer - May 2015

Table of Contents for the Digital Edition of American Cinematographer - May 2015

Contents
American Cinematographer - May 2015 - Intro
American Cinematographer - May 2015 - Cover1
American Cinematographer - May 2015 - Cover2
American Cinematographer - May 2015 - 1
American Cinematographer - May 2015 - 2
American Cinematographer - May 2015 - Contents
American Cinematographer - May 2015 - 4
American Cinematographer - May 2015 - 5
American Cinematographer - May 2015 - 6
American Cinematographer - May 2015 - 7
American Cinematographer - May 2015 - 8
American Cinematographer - May 2015 - 9
American Cinematographer - May 2015 - 10
American Cinematographer - May 2015 - 11
American Cinematographer - May 2015 - 12
American Cinematographer - May 2015 - 13
American Cinematographer - May 2015 - 14
American Cinematographer - May 2015 - 15
American Cinematographer - May 2015 - 16
American Cinematographer - May 2015 - 17
American Cinematographer - May 2015 - 18
American Cinematographer - May 2015 - 19
American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
American Cinematographer - May 2015 - 22
American Cinematographer - May 2015 - 23
American Cinematographer - May 2015 - 24
American Cinematographer - May 2015 - 25
American Cinematographer - May 2015 - 26
American Cinematographer - May 2015 - 27
American Cinematographer - May 2015 - 28
American Cinematographer - May 2015 - 29
American Cinematographer - May 2015 - 30
American Cinematographer - May 2015 - 31
American Cinematographer - May 2015 - 32
American Cinematographer - May 2015 - 33
American Cinematographer - May 2015 - 34
American Cinematographer - May 2015 - 35
American Cinematographer - May 2015 - 36
American Cinematographer - May 2015 - 37
American Cinematographer - May 2015 - 38
American Cinematographer - May 2015 - 39
American Cinematographer - May 2015 - 40
American Cinematographer - May 2015 - 41
American Cinematographer - May 2015 - 42
American Cinematographer - May 2015 - 43
American Cinematographer - May 2015 - 44
American Cinematographer - May 2015 - 45
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American Cinematographer - May 2015 - 47
American Cinematographer - May 2015 - 48
American Cinematographer - May 2015 - 49
American Cinematographer - May 2015 - 50
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American Cinematographer - May 2015 - 53
American Cinematographer - May 2015 - 54
American Cinematographer - May 2015 - 55
American Cinematographer - May 2015 - 56
American Cinematographer - May 2015 - 57
American Cinematographer - May 2015 - 58
American Cinematographer - May 2015 - 59
American Cinematographer - May 2015 - 60
American Cinematographer - May 2015 - 61
American Cinematographer - May 2015 - 62
American Cinematographer - May 2015 - 63
American Cinematographer - May 2015 - 64
American Cinematographer - May 2015 - 65
American Cinematographer - May 2015 - 66
American Cinematographer - May 2015 - 67
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American Cinematographer - May 2015 - 70
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American Cinematographer - May 2015 - 73
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American Cinematographer - May 2015 - 84
American Cinematographer - May 2015 - 85
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American Cinematographer - May 2015 - 92
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American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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