American Cinematographer - August 2014 - 48

◗

Capturing All 4 Seasons

Valli sings at the
Roostertail
nightclub in
Detroit.
Opposite: This
diagram
illustrates the
lighting for the
Roostertail set,
which was built
inside the
Dorothy
Chandler
Pavilion.

in Detroit. Another old theater nearby
became the stage for The Ed Sullivan
Show, and a third became a club in Las
Vegas," the cinematographer continues.
Due to the period nature of the performances, the crew religiously avoided
modern rock-and-roll lighting techniques such as moving LEDs. Echoing
Stern's sentiments, Dunkerley notes,
"In the old days, it was pretty much just
Par cans. For every different color you
wanted, you needed a different battery
of lights. You might need 20 lights of
one color, but then if you wanted four
colors, you needed 80 lights, which
meant more generators and cables.
Even though you might think the
period look would be simpler, we actually had to put in a lot more lights and
cables than a modern touring band
would use."
The quest for period-accurate
lighting frequently required Stern and
Dunkerley to work against their
impulses. As an example, the gaffer
points to a sequence in which The Four
Seasons perform on the American
Bandstand television show for the first
time. Dunkerley says his research into
48

August 2014

the show's lighting made it clear that
for the most part, the series had
featured "some of the most appallingly
flat, ugly lighting, with sloppily rigged
cables and lights everywhere.
Collectively, we decided to embrace
this look.
"I encouraged [Fitzgerald] to
help us go for it, and we found some of
the oldest theatrical lights around -
Pars, Fresnels, ellipsoidals and so on,"
Dunkerley continues. "We had to dig
deep just to find some of them. I was
proud of Jason - when I came to set
the day we shot the scene, I saw two
old chicken-coop lights hanging about
20 feet above the other lights. I never
requested those units, so I asked Jason
what their purpose was and he
responded that they were there to light
all the vintage fixtures and the rat's
nest of cables. That's when I knew we
were completely on the same page. I
loved doing that scene - the challenge of making something look
authentic."
According to A-camera/Steadicam operator Stephen Campanelli,
shooting
digitally
encouraged
American Cinematographer

Eastwood to fully embrace his love for
extended takes with the camera on the
Steadicam, even beyond the musical
performances. As a particular highlight
of the job, Campanelli describes an
"epic, three-take Steadicam scene" in
which The Four Seasons attend a
raucous party. The scene involved six
pages of dialogue and was originally
slated for an entire day of shooting, to
begin with a 45-second Steadicam shot
of the characters as they enter the room
and head to the bar.
Recognizing that the situation
was ripe for Eastwood to experiment,
Stern and his crew lit the set with soft
light all around, using practicals built
into the set as well as 6K space lights
overhead, to permit 360-degree coverage. As it turned out, this was the
perfect approach, because Eastwood
unleashed Campanelli, wearing the
Steadicam, to roll without stopping.
They finished the entire scene in just a
few hours.
"Clint never called 'cut,' so we
just kept shooting," Campanelli recalls.
"As usual, he trusted me to find some
really cool shots and angles while the



American Cinematographer - August 2014

Table of Contents for the Digital Edition of American Cinematographer - August 2014

Contents
American Cinematographer - August 2014 - Cover1
American Cinematographer - August 2014 - Cover2
American Cinematographer - August 2014 - 1
American Cinematographer - August 2014 - 2
American Cinematographer - August 2014 - Contents
American Cinematographer - August 2014 - 4
American Cinematographer - August 2014 - 5
American Cinematographer - August 2014 - 6
American Cinematographer - August 2014 - 7
American Cinematographer - August 2014 - 8
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