Call sheet from the last day of shooting…           In the final installment of the Presumed Innocent lighting diagram series: Harrison Ford and Bonnie Bedelia: husband and wife share a tough moment – the climax of the film, actually.  (find it at 01:54:50)             Everything here is heavily supported by Willis’ lighting…or lack thereof.  It’s … Continue reading “LIGHTING DIAGRAM #18 – PRESUMED INNOCENT”

            (This post previously appeared in a recent issue of British Cinematographer)             I grew up in New York City – in one of the outer boroughs, to be exact – and believe me, I was Brooklyn when Brooklyn wasn’t cool.  The Borough of Churches was the fourth largest city in the U.S. for most … Continue reading “NEW YORK IN THE 1970’S”

            Harrison Ford’s character has been cleared of the murder charge but there’s still a shocking surprise left for him, as revealed by his cop buddy John Spencer on a ferry ride home (find it at 1:51:09).             This scene used genuine, honest-to-goodness, old-school rear projection; it was brought aboard by the expert Bill Hansard, … Continue reading “LIGHTING DIAGRAM #17 – PRESUMED INNOCENT”

            I believe strongly in the vital, indispensable role of the camera operator.  Here are a few reasons why.             Camera operating is a full-time, full-attention job.             Maintaining composition, enforcing eyelines, executing smooth moves, watching focus, noting errant shadows and objects, flagging anomalies in hair, makeup, costume and set dressing – all of these … Continue reading “IN PRAISE OF THE CAMERA OPERATOR”

            Murder suspect Rusty Sabich conspires with an ally; his wife overhears and they discuss the dire situation (locate this clip at the 1:15:42 mark).             The camera is static and there’s hardly any movement within the frame – but the lighting of these shots once again reflect an admirable simplicity.  The only item of … Continue reading “LIGHTING DIAGRAM #16 – PRESUMED INNOCENT”

A Hidden History of Film Style: Cinematographers, Directors, and the             Collaborative Process by Christopher Beach 2015, University of California Press             Beach was one of two Film Scholars named by the Academy of Motion Picture Arts and Sciences in 2013.  He does perhaps the best job to date of poking holes in the theory … Continue reading “READ THIS BOOK #2”

            This scene occurs at the 01:07:30 mark.  Bonnie Bedelia joins Harrison Ford at the table on the backyard deck adjacent to their kitchen; they discuss their tenuous situation.             Photographically, the scene is unremarkable save for the changing out of 85ND filters to accommodate the fading mid-September light.  It was purposely shot late in … Continue reading “LIGHTING DIAGRAM #15 – PRESUMED INNOCENT”

            I don’t know.             The better question might be, “Isn’t Photoshop amazing?“             For its constituency it surely ranks with the greatest inventions of all time.  Like the cell phone and laptop, it has become so indispensible to me that I often question how I got along without it.  And to apply the ultimate … Continue reading “ISN’T PHOTOSHOP COOL?”

            This scene between Raul Julia’s character Sandy Stern and Harrison Ford’s Rusty Sabich was shot inside the National Arts Club, located on Gramercy Park in New York City.  It takes place at the 0:58:28 mark.             The camera pans Julia left to right and dollies in on him as he enters the restaurant through … Continue reading “LIGHTING DIAGRAM #14 – PRESUMED INNOCENT”

            Given our all-consuming involvement with what we do, it’s easy to overlook the contributions of the other departments we collaborate with each day.  We often forget that a huge part of how our images turn out is dependent upon what’s served up before the lens.  To that end, production designers and set decorators deserve … Continue reading “PRODUCTION DESIGN(ERS)”