American Cinematographer - July 2013 - 69

approach to shooting the tournament
fights “were all about the style of the
individual fights,” he says. “That scene
starts like a duel, with the two of them
very still and close together, and Bruce
repeatedly hits Bob with that quick
punch. Steely eyes staring each other
down, and then, boom! It happened. So,
you’re going to shoot that. You need to
capture the steely eyes and the speed of
the punch. We had two cameras, but
often we couldn’t put the second
camera where it needed to be to sell the
hit. In a simple fight like that, it’s pretty
easy to stage the cameras; you want to
be in close and then farther back. You
also need to see both men very clearly
as they size each other up. Then, as
Bruce hits Bob, we needed to frame
really wide so he wasn’t driven out of
the frame right away. Now, a lot of that
is Bob Wall’s talent, as he could take
the punch and just fly back. That’s a
real talent. Bruce could throw a punch
with vigor, and anyone he threw a
punch at could take it with vigor. That’s
the secret. All we did was make sure
the action was in frame and in focus.”
Outside, the filmmakers had
plenty of depth-of-field. “We probably
shot it at an f8-f11 when we could,”
says Hubbs. “Onstage, we didn’t have
an abundance of lighting, so we usually
shot with the primes wide open or
close to it. We shot the entire picture
on 100-ASA Eastman 5254. I think
we shot interiors at f2.8, 100 footcandles. For the tighter shots, when Bruce
was posing or we were emphasizing a
hit, we were probably using the zoom,
which would have needed 400 footcandles, so we probably relit those.
Focus was a real concern, particularly
inside.”
While shooting the fights,
“Bruce really understood if something
was a hit or miss,” says Hubbs. “That
was the big question after every take:
Was it a hit? And he always knew.
Often, he’d say, ‘No, going again.’ He’d
tell [his opponent] something in
Chinese, because the most important
timing was in the reaction to the blow,
whether it’s before or after the hit. If

Top: Hubbs (crouching behind camera) and his Chinese crew set up a shot of Han (Kien Shih,
seated on throne) and his female bodyguards during the tournament action.
With just three lenses in his package, the cinematographer relied heavily on his zoom.
Middle: Hubbs watches the action while Lee reacts. Bottom: Hubbs and his camera team,
which served him well, especially Charles Lowe (second from left),
who operated the show’s B camera.

www.theasc.com

July 2013

69



http://www.theasc.com

American Cinematographer - July 2013

Table of Contents for the Digital Edition of American Cinematographer - July 2013

American Cinematographer - July 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Dreamland
Production Slate: Laurence Anyways • Post Tenebras Lux
Prime Target
Wild Planet
An Indie Twist on Shakespeare
Tournament of Death
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - American Cinematographer - July 2013
American Cinematographer - July 2013 - Cover2
American Cinematographer - July 2013 - 1
American Cinematographer - July 2013 - 2
American Cinematographer - July 2013 - Contents
American Cinematographer - July 2013 - 4
American Cinematographer - July 2013 - 5
American Cinematographer - July 2013 - 6
American Cinematographer - July 2013 - 7
American Cinematographer - July 2013 - 8
American Cinematographer - July 2013 - 9
American Cinematographer - July 2013 - Editor’s Note
American Cinematographer - July 2013 - 11
American Cinematographer - July 2013 - President’s Desk
American Cinematographer - July 2013 - 13
American Cinematographer - July 2013 - Short Takes: Dreamland
American Cinematographer - July 2013 - 15
American Cinematographer - July 2013 - 16
American Cinematographer - July 2013 - 17
American Cinematographer - July 2013 - 18
American Cinematographer - July 2013 - 19
American Cinematographer - July 2013 - Production Slate: Laurence Anyways • Post Tenebras Lux
American Cinematographer - July 2013 - 21
American Cinematographer - July 2013 - 22
American Cinematographer - July 2013 - 23
American Cinematographer - July 2013 - 24
American Cinematographer - July 2013 - 25
American Cinematographer - July 2013 - 26
American Cinematographer - July 2013 - 27
American Cinematographer - July 2013 - 28
American Cinematographer - July 2013 - 29
American Cinematographer - July 2013 - 30
American Cinematographer - July 2013 - 31
American Cinematographer - July 2013 - Prime Target
American Cinematographer - July 2013 - 33
American Cinematographer - July 2013 - 34
American Cinematographer - July 2013 - 35
American Cinematographer - July 2013 - 36
American Cinematographer - July 2013 - 37
American Cinematographer - July 2013 - 38
American Cinematographer - July 2013 - 39
American Cinematographer - July 2013 - 40
American Cinematographer - July 2013 - 41
American Cinematographer - July 2013 - 42
American Cinematographer - July 2013 - 43
American Cinematographer - July 2013 - Wild Planet
American Cinematographer - July 2013 - 45
American Cinematographer - July 2013 - 46
American Cinematographer - July 2013 - 47
American Cinematographer - July 2013 - 48
American Cinematographer - July 2013 - 49
American Cinematographer - July 2013 - 50
American Cinematographer - July 2013 - 51
American Cinematographer - July 2013 - 52
American Cinematographer - July 2013 - 53
American Cinematographer - July 2013 - 54
American Cinematographer - July 2013 - 55
American Cinematographer - July 2013 - An Indie Twist on Shakespeare
American Cinematographer - July 2013 - 57
American Cinematographer - July 2013 - 58
American Cinematographer - July 2013 - 59
American Cinematographer - July 2013 - 60
American Cinematographer - July 2013 - 61
American Cinematographer - July 2013 - 62
American Cinematographer - July 2013 - 63
American Cinematographer - July 2013 - Tournament of Death
American Cinematographer - July 2013 - 65
American Cinematographer - July 2013 - 66
American Cinematographer - July 2013 - 67
American Cinematographer - July 2013 - 68
American Cinematographer - July 2013 - 69
American Cinematographer - July 2013 - 70
American Cinematographer - July 2013 - 71
American Cinematographer - July 2013 - 72
American Cinematographer - July 2013 - 73
American Cinematographer - July 2013 - 74
American Cinematographer - July 2013 - 75
American Cinematographer - July 2013 - New Products & Services
American Cinematographer - July 2013 - 77
American Cinematographer - July 2013 - 78
American Cinematographer - July 2013 - 79
American Cinematographer - July 2013 - 80
American Cinematographer - July 2013 - 81
American Cinematographer - July 2013 - International Marketplace
American Cinematographer - July 2013 - Classified Ads
American Cinematographer - July 2013 - Ad Index
American Cinematographer - July 2013 - 85
American Cinematographer - July 2013 - Clubhouse News
American Cinematographer - July 2013 - 87
American Cinematographer - July 2013 - ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - Cover3
American Cinematographer - July 2013 - Cover4
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