American Cinematographer - May 2015 - 63

something unfold from a single point of
view. You're dealing with the pressures
and tensions of a long single take and
adding a fight, with 10 to 12 guys from
Chris Brewster's stunt team going full-on
in a very narrow hallway set."
"Initially, Phil suggested it could be
done on Steadicam or perhaps with
moving set walls," says Lloyd. "I worked
with Loren and Jimmy to devise another
option: build a very rigid set with a scaffolding shelf, reinforced by water drums,
and on top an I-beam bridge with a rail
dolly system that held A-dolly grip Dan
Beaman and a Fisher 10 dolly. The ceiling
had a 1-foot channel for an underslung
Epic on a Mini Libra head. Rigging key
grip Dave McAllister engineered the
scaffolding system that supported the set
and Jimmy built the I-beams spanning
the set, enabling the dolly to roll overhead
on an offset riser. High-tension wire was
added to reinforce the walls and prevent
any flexing or wobbling as the dolly
maneuvered above the action."
With the physical configuration
solved, the next hurdle was lighting the
narrow space as the camera made multiple 360-degree turns. "The set was built
as a real hallway with no lighting positions and nothing wild, so it became a
strategic practical situation," Lloyd
explains. "The hallway featured two side
rooms, each with two dead-hung Image
85s with Cool White fluorescent bulbs
lighting the room and pushing out into
the hall. As Daredevil busts into the
rooms and rips the doors off the hinges
and fights, you get shafts of light coming
out of the rooms.
"The hallways on either end had
open-faced 2K Blondes bouncing into 4foot-by-8-foot foamcore, creating a soft
rake at 90 degrees to the wall to bring out
the texture Loren built into the walls," he
continues. "The room at the end also had
a 2K Blonde gelled Primary Red to foreshadow Daredevil's signature costume. It
was an Expressions DMX dimmer-board
dance, because when you spin around
with a suspended camera you can't have a
light on behind you or you'll see the
camera shadow on the hall and on the
¢
actors.

Fisk, the most
feared and
powerful crime
lord in New York
City, is also
known as
Kingpin.

www.theasc.com

May 2015

63



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
American Cinematographer - May 2015 - 74
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
American Cinematographer - May 2015 - 87
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 - 95
American Cinematographer - May 2015 - 96
American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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