American cinematographer vol.90.2(2009) by The International Journal of Film & Digital Production

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This page, above: Ellen Dolan (Sarah Paulson) consoles her father, Police Commissioner Dolan (Dan Lauria). Below left: Director Frank Miller’s graphic sensibilities punctuate The Octopus’ (Samuel L. Jackson) reaction to The Spirit’s war on crime. Below right: Miller (in black) explains his vision to cinematographer Bill Pope, ASC. American Cinematographer 41 Dead Reckoning To capture The Spirit’s underwater encounter with Lorelei Rox (Jaime King), the filmmakers utilized a “dry-for-wet” technique that involved blasting the actors with air movers while recording at speeds of 200-400 fps with a Phantom HD highspeed camera.

He recalls. “Then I realized I couldn’t let anybody else touch it, that my understanding of the material was probably deeper than almost anybody’s. ” Taking a few cosmetic liberties, the film follows Eisner’s mask-, fedora- and red-tie-sporting hero from his origin as Denny Colt, an idealistic cop who becomes a vigilante when he wakes up, quite alive, after being murdered. The Spirit wages his two-fisted war on crime alongside Police Commissioner Dolan (Dan Lauria), and together, they go after the king of criminals, The Octopus (Samuel L.

Paul used rose and yellow gels on focal spots to create pools and wall scrapes, making the set bright and warm. By gradually darkening walls farther from center, he made the kitchen a stronger lure. John Ashlee’s Real World version of Dad’s Study has a rainyday window key similar to that in the kitchen but accomplished with cheater lights, as the window was too small and distant to carry the load. In one shot, we see Coraline and her father reflected in his ancient computer monitor. John tried valiantly to set it up for real, even making a 2" working display, but optical geometry wasn’t on our side.

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