This would have led to some unwelcome problems:
Sync-sound recording required the air conditioning to be turned off, but if extra lighting were to be used it would produce a lot of heat and without AC the heat could become unbearable for actors and crew.
Additionally, the area the actors had available to move around in would be diminished by the space taken up by big HMI lights and their stands and flags. Besides creating unwanted shadows, the lights would be reflected in the windows as well---a lose-lose-lose situation for everyone involved.
Producer Neil Dodson and his team greenlit the acquisition of about ten Roscolex ND.6 and ND.9 panels after the first day. However, one more inventive step was required.
The windows at One Penn Plaza in Manhattan, where the filming took place, ranged in width from 50" to 52". Since the Roscolex panels are 48" wide there was a gap. DeMarco’s solution was to ask production designer John Paino to make removable pilasters to hide the gaps.
"Once we installed the ND panels, we could take these pilasters and Velcro them against the window", says DeMarco. "They not only hid the gaps, but they also looked great as vertical window dividers. As exterior lighting changed, particularly at the end of the day, it was a breeze for key grip Caswell Cooke and his crew to quickly change the panels."
In the end it was clear to the producers and the crew that the use of Roscolex neutral density panels ("hard" gels) provided welcome savings in time, heat generation and space availability. Three very good reasons to greenlight the extra cost.
|