American Cinematographer - January 1993 - 57

Motorola Radius
ing through the window, so I put a

2-Way Radios

5K Fresnel outside and took the

glass out of it, which gave me very
hard shadows.
"I basically lit this scene
with one light from the street and a

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just a hint of a glow from the street.
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Alex had Aldolpho, Sam and the
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of the window. The problem here

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that Steve Buscemi, who

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16/35mm cameras.

whenever I had to photograph him
in a

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with other actors. For one

light, I had to build a massive rig of
flags and nets and dots in order to
even out the
exposure, so when
Steve stood up into a brighter light,
he wasn't two stops brighter than
the other guys. Talk about hard
light; that is the hardest light in the
movie
a
single point source with
no lens. It's
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movie."
Once the shooting stop¬
ped, Parmet's real task began -
finding a stock on which to make
the release print. "Alex wanted a
really high-contrast look that
would approach what we were
getting on ST8 but also would reg¬

of the middle tones,"
Parmet recalls. After dealing with
several labs both domestically and
ister

some

overseas,

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Comandini at YCM told Parmet
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A

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American Cinematographer - January 1993

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