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“This film has a lot of demanding handheld work, and operators Bruce McCallum and Dave Thompson did a great job,” continues Lesnie. “At one point, Dave managed with ease a Millennium XL with a Primo anamorphic zoom. Gregor and Bobby both did inspired jobs of pulling focus in reactive situations, not only staying sharp on Will during improvised moments, but often also negotiating me and Mo carrying beadboard or handheld eyelights [1' LED brick lights].” Exterior and interior sets were filmed in the Marcy Armory in Brooklyn and the Kingsbridge Armory in The Bronx. The Marcy Armory was home to Neville’s fortified brownstone, while the Kingsbridge played host to a 130'x400' set of Times Square. “There wasn’t a lot of time to rig the lighting for the Times Square set,” notes Lesnie. “We knew we weren’t going to get the required amount of space lights up in time, so we started thinking about using balloons. In the end, we configured 10 balloons [16K HMI cubes and 32K HMI sausages] as one long fluorescent tube, providing a stop of T2.8 1⁄2 to T4 over a huge area. We used 10K Xenons warmed with CTO as stabs of direct sunlight. Once the balloons are up and running, they’re easily moved around, and they have switchable bulbs, so it’s quick and easy to change the key-to-fill ratio. By the time the cameras are in position, the lighting’s already done. The quality of the light is lovely, and there’s plenty of stop to work with, which means the exterior sets in the studio actually look like exteriors because they have a healthy depth of field. The balloons also threw such a large ambient glow that they lit the [background] cycs as well.” The production’s hi-def dailies were graded by Sam Daley at Technicolor New York, and Lesnie graded the DI with colorist Yvan Lucas at EFilm in Hollywood. The cinematographer notes that flexibility is the key to success when dealing with the vagaries of shooting a location-based film. “Trying to constantly impose a very specific style only means you’ll have a hard time of it. By keeping in mind the general look of each scene, you’re in a position to keep the same mood when changes occur. Francis and I would talk through shots in the morning, but because he’s always thinking about coverage, he’ll get different ideas throughout the day, so I always knew other shots were going to come up. To give the director the ability to shoot the way he wants, it’s essential that the logistics are able to respond quickly and effectively.”
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TECHNICAL SPECIFICATIONS
2.40:1 Anamorphic and Super 35mm
Panaflex Platinum, Millennium XL;
PanArri 435; PanArri 235
Primo, E-Series, C-Series
and Angenieux lenses
Kodak Vision2 200T 5217,
500T 5218
Digital Intermediate
Printed on Kodak Vision 2383
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