American Cinematographer - May 2015 - 61

Chrome Orange, 100 Spring Yellow and
combinations of Half CTB and Half
Plus Green to match the tungsten lights
to the industrial vapor units. Phil was
also very specific about [the look] being
very patchy in terms of what you'd see
and not see. So we used the big units to
pick up a nice background piece behind
the characters and let everything else fall
off to darkness."
"Dark is a subjective thing,"
observes Abraham. "Matt and I
provided each other with the moral
support and confidence against that
creeping notion that things were getting
too dark. A cinematographer needs to
feel empowered to go for it and be
daring, as that's how great things are
achieved. With film you also have the
doubt of not knowing exactly how
underexposed you might be, but shooting digitally, everyone is seeing the image
on the monitor."
Throughout the first two
episodes, flashbacks portray Murdock's
childhood as he slowly goes blind, braving the ordeal accompanied by his father,
a morally upstanding professional boxer.
The production chose a compact, splitlevel "railroad" apartment with narrow
hallways in Queens to represent the
hero's childhood home. "It was the
smallest set we had to work with by far,"
Lloyd says. "We tried to do as much as
possible through the windows and via
motivated sources. We removed all the
fixtures from the ceiling and wired
everything through existing house power
to avoid cables, crossovers and boxes.
Inside, we built covered wagons with
skirted, unbleached muslin and batten
strips of four to eight household sockets
with a variety of globes to produce a
slightly uneven soft source.
"To augment the overheads, we
added SourceMaker 2-foot-by-2-foot
LED Blankets in closets and washing
down stairways," he adds. "Outside the
apartment, we horizontally mounted
[Kino Flo] Image 85s gelled [with]
Industrial Green aiming onto the flat
blinds that the art department added.
The set also had a lot of practicals and a
Kelvin Tile LED fixture to simulate the

Top: The crew preps a scene with Cox. Bottom: Murdock ventures out at night as his vigilante alter ego.

modulated wash from a TV as Matt
watches his dad boxing. It was our best
attempt at a Gordon Willis look -
with everything very dark and motivated."
Abraham adds, "We liked the
idea of being mostly handheld in
present time while the flashbacks could
be a little more rooted on traditional
dollies or a crane. I had a lot of reticence
about filming in an actual apartment
due to the size, but it really made the
www.theasc.com

relationship between father and son
resonate."
Another key fight sequence ends
the first episode, as Daredevil defends
Karen Page from assassins at her apartment. "It was a running fight that goes
from a studio set of Karen's apartment,
continues down the side of a building on
location, and ends up at a construction
site nearby - all in pouring rain,"
Abraham explains. "We shot some parts
of it at 96 fps to heighten the action;
May 2015

61


http://www.theasc.com

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
American Cinematographer - May 2015 - 46
American Cinematographer - May 2015 - 47
American Cinematographer - May 2015 - 48
American Cinematographer - May 2015 - 49
American Cinematographer - May 2015 - 50
American Cinematographer - May 2015 - 51
American Cinematographer - May 2015 - 52
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
American Cinematographer - May 2015 - 68
American Cinematographer - May 2015 - 69
American Cinematographer - May 2015 - 70
American Cinematographer - May 2015 - 71
American Cinematographer - May 2015 - 72
American Cinematographer - May 2015 - 73
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American Cinematographer - May 2015 - 75
American Cinematographer - May 2015 - 76
American Cinematographer - May 2015 - 77
American Cinematographer - May 2015 - 78
American Cinematographer - May 2015 - 79
American Cinematographer - May 2015 - 80
American Cinematographer - May 2015 - 81
American Cinematographer - May 2015 - 82
American Cinematographer - May 2015 - 83
American Cinematographer - May 2015 - 84
American Cinematographer - May 2015 - 85
American Cinematographer - May 2015 - 86
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American Cinematographer - May 2015 - 88
American Cinematographer - May 2015 - 89
American Cinematographer - May 2015 - 90
American Cinematographer - May 2015 - 91
American Cinematographer - May 2015 - 92
American Cinematographer - May 2015 - 93
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American Cinematographer - May 2015 - 96
American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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