AmericanCinematographer201201

◗ Lord of War
Fiennes blocks out a shot with B-camera/Steadicam operator Svetomir Pajic-Kivi
and Ackroyd (right). Standing at left is script supervisor Susanna Lenton.
outskirts of Belgrade. Firelight keyed
the night scenes. “We had a couple of
real ragers burning,” recalls Ackroyd.
“We used some tricks to push the
light from the bonfire further into the
shot,” says Wiggins. “We built timberwood
boxes with six 300-watt Par 36
bulbs inside, going back to a desk
control for the fire effect. Each bulb was
on a channel, and they were coming
through Full CTO and 251 diffusion.”
(For some scenes, a tungsten 12K on a
Genie boom provided an easily
adjustable overhead backlight.)
For day scenes in the factory, the
8.8K lighting balloon was floated into
the open ceiling and wrangled with
wires from the upper floor. 4K and 6K
HMIs supplied soft backlight at ground
level, and a 4x4 Kino Flo was used for
fill.
Just as Coriolanus and Aufidius
are about to descend on Rome,
Coriolanus’ mother, wife and son arrive
to plead with him to reconsider.
Volumnia kneels before her son and
begs him to make peace with the
Romans.
The dialogue-heavy scene took
two days to capture, with the two
cameras cross-shooting Chastain,
Redgrave and Fiennes much of the
time. The second day was dedicated
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