◗ Natural Bourne Killer A variety of special vehicles and rigs, including a specially equipped bus (top) and Go Mobiles (middle and bottom) were used to execute portions of the movie’s complex motorcycle-chase sequence, designed by second-unit director Dan Bradley. The prop dummies on the motorcycle (top) were used for safety reasons in a portion that was augmented with visual effects. continues. “To facilitate the blend, I felt it was important to get the color temp and light level on the set as close as possible to the values we’d had on the exterior location. Making the set bright enough required four 18K Arrimax units bouncing into muslins 15 feet above the top of the set.” Another major set in the New York area was situated inside the massive New York Times printing plant in the College Point area of Queens. The facility’s large production floor was transformed into a pharmaceutical manufacturing plant, where the filmmakers shot a scene with 400 extras each morning for several days. To light the space, they relied primarily on the facility’s existing sodium-vapor and metal-halide lighting fixtures. “We were largely balancing to the existing light,” Day confirms. “Because there were so many fixtures, it would have been costprohibitive to change them all out.” Day explains that during the scene, “Jeremy and Rachel’s characters are trying to escape from the manufacturing facility. They’re pursued by security and Jeremy shoots out a lighting control panel on the factory floor. It was a big job coordinating with the electricians at the facility to create a ‘lights off ’ 42 September 2012 American Cinematographer