American Cinematographer - March 1995 - 76

ITJS OK
TO POINT

For some shots we did a long-lens pull
through the projected image on the glass
to the primary action in soft focus in the
background," says Clark. The equipment
package included a Panastar camera and
Primo's 11:1 and 3:1 zooms in conjunc¬
tion with Primo close-focusing 27mm,
35mm, and 50mm primes.
Clark incorporated a handheld
element, using an Aaton 35mm Mark II
camera to capture close-up elements of
faces and monitors. "We basically just
kept shooting the same scene in differ¬
ent ways, using different cameras and
lenses," says Clark, who used Aaton's 35

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some

ployed Lightning Strikes units. "We did
the scene with no lighting except com¬
puter monitors and intermittent lightning
plunge them into blackness, to create an
impressionistic collage look," says Clark.
Clark did have one pre-lighting
day, but this was primarily to decide on
specifics for a second MCI spot that was
being filmed on the ground floor of the
building.
"By shooting two spots simul¬
taneously, we had our cake and ate it,
too," offers Clark. "Because we shot the
upstairs first, the cable concentration
and
we

lighting

was

done downstairs when

got there, so I didn't have to do a big

cable run for that first day's shooting.
That bought the time to do the cable run
up to the 27th floor by the time we
needed it. It was actually a very efficient
way to shoot." The crew
small platform for the 12K

also built a
on the
ground floor, which backed up to a slope.

lights

"It all comes down to logistics.
You need to always keep in mind the
time needed to do cable runs to get cam¬
eras and lights into positions you want.
If you're going all the way to the 27th

floor, that time

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Spot: MCl's "Financial Broker"
Director of photography: Curtis Clark, ASC
Director: Rocky Morton
Production company: Morton Jenkel Zander
(Los Angeles)
Agency: Messner, Vetere, Berger, McNamee
and Schmetterer (New York)
Agency producer: Chuck Carey

Agency art director: Jim Scalfone
American Cinematographer - March 1995

Table of Contents for the Digital Edition of American Cinematographer - March 1995
