American Cinematographer - December 2015 - 70
◗
Darkest Days
Top: Henning's photo of the Camp Hope set at dusk. Middle: The crew shoots a scene at the
camp. Bottom: María Segovia (Juliette Binoche) holds out hope for the miners.
70
December 2015
American Cinematographer
feet of heavy mains cable with ladders
and flashlights - it was physically and
psychologically grueling." Nemocón
proved somewhat less problematic, as
the first set was only 350' inside the
mouth of the tunnel and a generator
could be placed just outside the
entrance. "But there were other sets
much deeper into the mine," Lee notes.
"As in Zipaquirá, we still had to run a
huge amount of cable, much of it at 440
volts to compensate for line loss."
Taking a bit of poetic license that
they nevertheless hope will feel authentic, the filmmakers opted to hang practicals on the tunnel walls. Cool White
fluorescents ran along one side, while
mercury-vapor bulbs lined the opposite
wall. Varese explains the strategy: "In
places like hospitals and submarines, the
color of the wall on the left side is different from the color on the right side, so
that you always know which direction
you are going. We used two different
types of bulbs [to achieve a similar
effect]."
Varese designed four phases for
the mine lighting, each corresponding
to what was happening in the story.
When the movie opens, the mine is a
typical work site illuminated by industrial fixtures - fluorescents, mercury
vapor and sodium vapor. "We added
practical lights so we could better see
the place and the men working," says
Riggen, who spoke to AC by phone.
With a laugh she adds, "That way the
audience gets to really know the place
American Cinematographer - December 2015
Table of Contents for the Digital Edition of American Cinematographer - December 2015
Contents
American Cinematographer - December 2015 - Cover1
American Cinematographer - December 2015 - Cover2
American Cinematographer - December 2015 - 1
American Cinematographer - December 2015 - 2
American Cinematographer - December 2015 - Contents
American Cinematographer - December 2015 - 4
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