◗ A Very Tough Beat sometimes offset by a few seconds. Most importantly, by creating preset mixtures of color temperature with the RGBs, we could shift the chase sodium to mercury and even to white at the touch of a button. We designed it to run with wireless DMX so that the car could free drive and the programmer, David Slodki, could shift the chase from a follow vehicle. We also used a small Blonde through Full Grid Cloth on the back of the trailer to put a little more ambient light on their faces.” “David didn’t want the film to look lit at all,” notes Vasyanov. “He wanted to be able to shoot 360 degrees nearly all the time, and there were no marks for the actors. There was no waiting on lighting or camera; it was pretty much non-stop shooting. This was the first time in my career that I had to figure out how to light with no light. It had to look ugly, it had to look real and it had to look unlit. It was a big psychological switch for me. I grew up reading Special car rigs were used to capture shots of the cops on patrol. 62http://www.hivelighting.com http://www.hivelighting.com