American Cinematographer - October 2013 - 63

Redheads behind each streetlight to
augment that light a bit. We also set up
the streetlights themselves, as none
existed at the location; basically, we
started with nothing. By the time we
came in to shoot, the backgrounds were
done, and we could shoot from virtually
any angle. It’s all lit by what you see in
shot, with a little extra floor lighting on
the day.”
“We were getting away from the
standard night-exterior look of a huge
backlight coming down on a wet street,
you know?” says Napolitano. “This
approach was more suited to this type of
neighborhood. Our local crew guys
were kind of blown away by this practical-heavy approach! And Roger’s attention to detail is incredible. The crew
might set 30 gags in an area, but if one
was missing, he’d turn to me and say,
‘Chris, that overhang there doesn’t have
the light I need.’”
Many of these gags comprised a
practical that would be visible on
camera surrounded by a ring of smaller
lights that would be just out of sight.
“And then, inside some of the houses
and garages we’d drop a batten strip of
150-watt RFL globes to create a soft
push of light coming out of, say, a
kitchen window into the back yard,”
says Napolitano. “We also placed lights
off in the distance, at different levels, to
add something in the background for
depth.”
In addition to the practicals built
into the houses and streetlamps, the
electricians sometimes added securitytype fixtures bought from a local hardware store and rewired for higher
output. “We could use those anywhere,”
Napolitano says, “and sometimes we’d
use a few 1K Nooks raking across a
yard, or, at most, a couple of 2K Juniors
and Babies. But household incandescents were our go-to for much of the
scene, and we used a lot of gold bounce
cards to give a nice, soft push of light
coming from the corner to enhance
whatever fixture was working off the
house.”
Napolitano adds that although
the production made extensive use of

dimmers to control lighting, the
approach was decidedly low-tech. “I’ve
done some huge movies that relied on
massive dimmer-board systems, but on
this movie we used old-school 1K and
2K Variacs pre-rigged into position and
marked so we could reset them as necessary. We also installed a lot of dimmers
in walls on our locations, wherever we
needed a dimmer on a practical, and
then wired another light with it. So, if

there was a bedroom light on a switch,
we would wire into it another light so
that when the actor came in, he’d just hit
that switch on the wall, and it would
light the practical and our light with it.”
One of Deakins’ biggest lighting
challenges was a night scene at the end
of the picture that shows a character
trapped in a cave-like bunker, and Loki
searching just yards away from it. The
policeman is on the verge of giving up


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American Cinematographer - October 2013

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

Contents
American Cinematographer - October 2013 - Cover1
American Cinematographer - October 2013 - Cover2
American Cinematographer - October 2013 - 1
American Cinematographer - October 2013 - 2
American Cinematographer - October 2013 - Contents
American Cinematographer - October 2013 - 4
American Cinematographer - October 2013 - 5
American Cinematographer - October 2013 - 6
American Cinematographer - October 2013 - 7
American Cinematographer - October 2013 - 8
American Cinematographer - October 2013 - 9
American Cinematographer - October 2013 - 10
American Cinematographer - October 2013 - 11
American Cinematographer - October 2013 - 12
American Cinematographer - October 2013 - 13
American Cinematographer - October 2013 - 14
American Cinematographer - October 2013 - 15
American Cinematographer - October 2013 - 16
American Cinematographer - October 2013 - 17
American Cinematographer - October 2013 - 18
American Cinematographer - October 2013 - 19
American Cinematographer - October 2013 - 20
American Cinematographer - October 2013 - 21
American Cinematographer - October 2013 - 22
American Cinematographer - October 2013 - 23
American Cinematographer - October 2013 - 24
American Cinematographer - October 2013 - 25
American Cinematographer - October 2013 - 26
American Cinematographer - October 2013 - 27
American Cinematographer - October 2013 - 28
American Cinematographer - October 2013 - 29
American Cinematographer - October 2013 - 30
American Cinematographer - October 2013 - 31
American Cinematographer - October 2013 - 32
American Cinematographer - October 2013 - 33
American Cinematographer - October 2013 - 34
American Cinematographer - October 2013 - 35
American Cinematographer - October 2013 - 36
American Cinematographer - October 2013 - 37
American Cinematographer - October 2013 - 38
American Cinematographer - October 2013 - 39
American Cinematographer - October 2013 - 40
American Cinematographer - October 2013 - 41
American Cinematographer - October 2013 - 42
American Cinematographer - October 2013 - 43
American Cinematographer - October 2013 - 44
American Cinematographer - October 2013 - 45
American Cinematographer - October 2013 - 46
American Cinematographer - October 2013 - 47
American Cinematographer - October 2013 - 48
American Cinematographer - October 2013 - 49
American Cinematographer - October 2013 - 50
American Cinematographer - October 2013 - 51
American Cinematographer - October 2013 - 52
American Cinematographer - October 2013 - 53
American Cinematographer - October 2013 - 54
American Cinematographer - October 2013 - 55
American Cinematographer - October 2013 - 56
American Cinematographer - October 2013 - 57
American Cinematographer - October 2013 - 58
American Cinematographer - October 2013 - 59
American Cinematographer - October 2013 - 60
American Cinematographer - October 2013 - 61
American Cinematographer - October 2013 - 62
American Cinematographer - October 2013 - 63
American Cinematographer - October 2013 - 64
American Cinematographer - October 2013 - 65
American Cinematographer - October 2013 - 66
American Cinematographer - October 2013 - 67
American Cinematographer - October 2013 - 68
American Cinematographer - October 2013 - 69
American Cinematographer - October 2013 - 70
American Cinematographer - October 2013 - 71
American Cinematographer - October 2013 - 72
American Cinematographer - October 2013 - 73
American Cinematographer - October 2013 - 74
American Cinematographer - October 2013 - 75
American Cinematographer - October 2013 - 76
American Cinematographer - October 2013 - 77
American Cinematographer - October 2013 - 78
American Cinematographer - October 2013 - 79
American Cinematographer - October 2013 - 80
American Cinematographer - October 2013 - 81
American Cinematographer - October 2013 - 82
American Cinematographer - October 2013 - 83
American Cinematographer - October 2013 - 84
American Cinematographer - October 2013 - 85
American Cinematographer - October 2013 - 86
American Cinematographer - October 2013 - 87
American Cinematographer - October 2013 - 88
American Cinematographer - October 2013 - 89
American Cinematographer - October 2013 - 90
American Cinematographer - October 2013 - 91
American Cinematographer - October 2013 - 92
American Cinematographer - October 2013 - 93
American Cinematographer - October 2013 - 94
American Cinematographer - October 2013 - 95
American Cinematographer - October 2013 - 96
American Cinematographer - October 2013 - 97
American Cinematographer - October 2013 - 98
American Cinematographer - October 2013 - 99
American Cinematographer - October 2013 - 100
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