American Cinematographer - August 2016 - 49

The second unit captures Bourne driving a Dodge Charger in Vegas.

Conversely, he continues, "a night
exterior over a big part of a city requires a
lot of lighting." Flexibility was key. "We
had to have a plan that wouldn't tie us
down," he attests. "We had to put
everything on rooftops, but we couldn't
'own' the rooftops, or the spaces for
cabling and generators, all the time, and
we weren't quite sure what streets would
work for us until we [arrived on location]
and started shooting. We had to have a
system that meant we could move quite
quickly from one roof to another."
Lighting equipment for night
exteriors in Tenerife was almost
exclusively tungsten, supplied by Panalux
London. The company was able to
supply traditional filmmaking equipment
in the form of 5K Fresnels and, via its
broadcast and entertainment division,
large numbers of Par cans - up to 200.
"We had another 80 short-nosed Par
cans," Wiggins recalls. "We'd put a pair
on each lamppost; generally we'd run
those at about 66 percent.
"We gelled [the Pars] with a straw
tint or a half CTO," the gaffer continues.
"I love using Par cans because they are
lightweight, robust, [and] they have a
dirty beam with a lumpy shape to it,
[which] feels more authentic. If you use
a Fresnel, sure you have a lovely falloff on
the beam, but it's false."
When more firepower was

needed, the production used the LRX
Scorpion, a 23.4K cluster of 36 650-watt
DWE bulbs with remotely controllable
robotic pan and tilt; these were mounted
on cherry pickers to provide backlight as
required. Additionally, Wiggins notes, an
LED Flyer - a boom-mounted bi-color
LED soft light manufactured by BBS
Lighting - was used on the ground,
close to camera, with "a couple of
California Sunbounce swatters to take out
ugly shadows from street lamps we
couldn't turn off."
The main unit used up to six
generators on the Tenerife portion of the
shoot, with two at 200K, two at 110K,
and "another couple of Spanish ones that
were probably 60s," the gaffer recalls.
Including lighting-desk operators and
standby scaffolders, Wiggins' crew totaled
12. "It was lean," he says. "My guys ran a
lot of stairs at night."
A riot sequence set in Athens
presented its own special requirements.
"Panalux built some LED cubes," says
Wiggins. "They over-cranked the LEDs
so they were super-bright. We ran them
on V-lock batteries, put them down in the
crowd and fired them from a remote
trigger via the desk." This and other
applications used wireless DMX control.
Also, the production "had to generate fire
effects for burning cars, explosions,
Molotovs," Wiggins adds. For those
49



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American Cinematographer - August 2016

Table of Contents for the Digital Edition of American Cinematographer - August 2016

Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
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