American Cinematographer - June 2016 - 77

we had on this film, they proved to be
very useful."
The unpredictable fall weather in
Atlanta made it difficult to use lighting
balloons, so 6K Skyballs were rigged to
Mombo Combos and bathed large areas
with soft light. Jem Lighting 14" and 19"
rigid Paper Lantern Harps were mounted
on C-stands for eye lights, or to carbonfiber boom poles for walk-and-talks. If a
tungsten light needed any adjustment,
one of three things would happen: It was
moved, diffused, or, as Stern explains, "the
most likely scenario is you'll dim it down,
which warms it up." Stern did away with
much of the need for CTO or diffusion of
any kind on his hybrid LEDs - which
were used primarily for lighting actors -
by engineering them with adjustable color
temperature ranging from 2,800 degrees
to 6,500 degrees Kelvin. Rousselot also
relied on RGB and RGBAW LED Par
cans, as well as Philips Color Kinetics
ColorBlast TRXs. Tungsten Fresnels and
Source Fours were bounced onto walls
and ceiling corners for background separation when desired.
The Nice Guys is set in Los Angeles,
but most of the film was shot in and
around Atlanta, Ga., where March's
house, Healy's apartment above the
Comedy Store, process shots for driving
scenes, and many other interiors were
constructed on stages in converted warehouses around the city. Rousselot spent
three weeks in Los Angeles filming the
exteriors of March's house, the Comedy
Store, City Hall, House of Blues and the
Burbank Holiday Inn, as well as Griffith
Park and various city streets.
"We had a lot of conversations with
our visual-effects team about set extensions and modifying the streets," says
Rousselot. Lead visual-effects supervisor
Josh Saeta worked closely with Lipsync
Post's visual-effects supervisor George
Zwier to create a near-seamless composite of the two cities - with Saeta often
communicating via FaceTime from the
set in L.A. or Atlanta with Zwier at the
post house in London.
Saeta was also tasked with coordinating the L.A. background plates for
process shots, as well as the opening heli-

copter shot - photographed by cinematographer Ryan Hosking - during
which the camera swoops up the
Hollywood side of Mt. Lee and ends
inside a set in Atlanta. The Hollywood
sign was digitally re-created in its crumbling late-1970s condition, and even a
heavy blanket of brown smog, which
plays a small background role in the
film's story, was painted back into wide
shots of the city. "We were 'periodizing'

Los Angeles with an eye to smog both
during the day and at night when it
dissipates, as well as population density
and architectural replacement," says
Saeta.
The scene in which Healy and
March investigate a swinging Bel Air
bacchanal was filmed in Sandy Springs,
Ga., at a mid-century home surrounded
by dense woods. "We put greenscreens
all around the house because it's



American Cinematographer - June 2016

Table of Contents for the Digital Edition of American Cinematographer - June 2016

Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
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