American Cinematographer - May 2015 - 62

Q

Without Fear

Top: Lloyd (holding bounce board) adjusts the lighting on actor Vincent D'Onofrio.
Bottom: D'Onofrio portrays Wilson Fisk.

anything higher than that becomes eye
candy."
"That was the darkest scene of the
series and the darkest thing I've ever
shot," notes Lloyd. "We started in
Karen's apartment with people fighting
in the dark against windows. There was
a heavily diffused Arri T12 with a
mercury-vapor gel pack on the front
above each window creating pools of
light and long bay lights with household
62

May 2015

bulbs dimmed to just above zero IRE
inside.
"Next, the fight moves outside
onto a scaffolding that Loren built both
into the set and onto the real building
exterior to bridge the two locations," the
cinematographer continues. "The scaffolding included practical overhead fluorescent lamps combined with 4-foot
two-bank Cool White Kino Flos
wrapped in diffuse plastic. Across the
American Cinematographer

street, we used Arri M90 lightweight 9K
HMIs with Max reflectors to create a
huge overall wash.
"The fighting continues at a
construction site," Lloyd adds. "We
brought back in the SourceMaker
mercury-vapor cube from the opening
scene, along with pairs of M90s in a
120-foot Condor on the other side of
the block. Everything ended up incredibly high up in the air due to all the rain
towers in play. They were at 60 feet, so
we had to put our lights at 80 to 100 feet
to keep them dry. There was so much
second-unit work on those fight scenes
- Jim's contribution as our second-unit
director of photography cannot be overstated."
To depict Daredevil's signature
heightened perception at key moments,
Lloyd chose an old-school optical
approach. "We used a Century Optics
Swing/Shift system," he reveals. The
system, Lloyd explains, included "rehoused Hasselblad lenses; you adjust the
tilt and pan of the focal plane by sliding
[and/or tilting] the lens itself away from
the sensor. It was like making a
daguerreotype, with the actors holding
very still as I adjusted dials and the
bellows. You end up with a shot where
you have very shallow focus, say on
Daredevil's eyes, and then some important detail very far off in the distance and
nothing else. [The effect is] like a variable split-field diopter."
A final major fight scene, which
bookends Daredevil 's second episode, is
a nearly six-minute-long continuous
take. The camera follows Daredevil as he
fights his way through successions of
baddies in a basement hallway to rescue
human-trafficking victims. Once the
creative team signed off on the concept,
it was up to Abraham and Lloyd to
practically achieve the shot.
"The idea, subconsciously or not,
probably initially came from the
extended, single-take fight sequence in
Oldboy," notes Abraham. "Otto
Preminger also used a lot of long,
languid takes in Where the Sidewalk Ends
and Laura. It adds real tension to the
performances because you're witnessing



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
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American Cinematographer - May 2015 - 14
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American Cinematographer - May 2015 - 17
American Cinematographer - May 2015 - 18
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