{"id":10843,"date":"2021-01-07T16:16:33","date_gmt":"2021-01-08T00:16:33","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=10843"},"modified":"2021-05-28T16:53:55","modified_gmt":"2021-05-28T23:53:55","slug":"fight-of-their-lives","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/fight-of-their-lives\/","title":{"rendered":"Fight Of Their Lives"},"content":{"rendered":"

Tami Reiker, ASC, helps Director\/Producer Regina King take One Night in Miami<\/i> from stage to screen <\/span><\/span><\/p>\n

by Valentina Valentini \/ Photos by Patti Perret \/ Amazon Studios<\/span><\/span><\/p>\n

 <\/p>\n

\n

In 1964, Cassius Clay \u2013 soon to be Muhammad Ali<\/strong> \u2013 defeated heavyweight champion Sonny Liston at the Miami Convention Hall. After the event, Clay spent the night celebrating with three close friends. One Night in Miami <\/em>centers around the imagined dialogue of these four iconic Black men: Clay (Eli Goree), Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.), and Jim Brown (Aldis Hodge). Based on the award-winning play of the same name written byKemp Powers (who also penned the screenplay), the film adaptation of One Night in Miami <\/em>is the feature directorial debut of actor and producer Regina King, who boldly states: \u201cThe fact that it\u2019s a] conversation for three-quarters of the film was not a deterrent. It was a welcome challenge.\u201d<\/p>\n

Director of Photography Tami Reiker, ASC, whose past work includes The Old Guard<\/em>, High Art<\/em>, Beyond the Lights<\/em>, and Pieces of April<\/em> (two of which were Sundance premieres), is also the only woman yet to win a competition-category ASC award for her work on Carniv\u00e0le<\/em>. Reiker says she also was eager for the challenge of visually adapting the talky source material.<\/p>\n

\u201cThe bookends in the script are incredible,\u201d Reiker shares. \u201cThe fight where Cooper knocks out Clay and then the celebration in the diner after Clay wins the fight against Liston. We knew how we were going to shoot those scenes. What we had to figure out was how to shoot inside one motel room, with very long takes, for most of the film.\u201d<\/p>\n

 <\/p>\n

\"\"
Tami Reiker, ASC, says she and director Regina King knew how to shoot Clay’s fight with Liston, and the post-fight celebration. “What we had to figure out, was how to shoot inside one motel room, with very long takes, for most of the film,\u201d Reiker shares. Above: Aldis Hodge as Jim Brown and Leslie Odom, Jr. as Sam Cooke.<\/figcaption><\/figure>\n

 <\/p>\n

Viewers are inside The Hampton House, a historic Miami<\/strong> motel still in operation today, for more than half of the film\u2019s 108-minute run-time. The story serves up weighty, emotional conversations as the quartet discuss their struggles against the backdrop of the Civil Rights Movement and cultural upheaval of 1960s America. Reiker took an organic approach to let these scenes play-out in real time.<\/p>\n

\u201cWhen you see 15 pages of dialogue without any action,\u201d she continues, \u201cit can feel daunting. It was amazing, fantastic dialogue, but it\u2019s still wall-to-wall. Regina and I had to figure out how to authentically cover these scenes to fully immerse the audience, so they felt like active members of the conversation.\u201d<\/p>\n

One early decision was to shoot large-format with Alexa 65 in a 2:39 aspect ratio. The depth and detail of shooting 6K would allow King and Reiker to strategically place the actors in the frame and keep shifting focus between them, as King wanted to avoid static shots. \u201cI feel like we\u2019re such colorful people,\u201d the director describes. \u201cWhile this is a period piece, I wanted it to feel visually vibrant to match [that]. Through all we\u2019ve been up against, we\u2019re so resilient \u2013 we still manage to sing, dance, smile, and influence culture [just by] being. So, I wanted to keep the energy, the vitality in that room, but I never wanted the camera to be a distraction. No big sweeping movements or anything. That\u2019s not what this piece says to me.\u201d<\/p>\n

Reiker\u2019s solution was to keep both ALEXA 65s on jib arms, operated manually and not on hotheads, to let A-Camera Operator Chad Chamberlain, SOC, and B-Camera Operator Austin Alward maintain control. \u201cI used to do this a lot,\u201d observes Reiker, who \u2013 save for the two fight scenes and a scene on top of the motel roof, all of which were handheld \u2013 employed the ALEXAs on the manually operated arms.<\/p>\n

\u201cIt was my favorite way to operate because it\u2019s underslung on a Lambda head, so you\u2019re not having to tell the dolly grip to move back or forward,\u201d she continues. \u201cYou have a four- or five-foot arch, and you can go from the ground to nine feet in the air while floating and following the talent, creating moves organically with what\u2019s happening in front of you, as opposed to a rehearsed dolly move.\u201d<\/p>\n

 <\/p>\n

\"\"
King (above with Kingsley Ben-Adir as Malcolm X) “never wanted the camera to distract from the energy of the performances,” so Reiker had A-Camera Operator Chad Chamberlain, SOC, and B-Camera Operator Austin Alward manually operate the ALEXA 65s on jib arms. “They’re\u00a0underslung on a Lambda head, so you\u2019re not having to tell the dolly grip to move back or forward,\u201d Reiker explains.<\/figcaption><\/figure>\n

 <\/p>\n

Chamberlain, whose recent credits include <\/strong>Bill & Ted Face the Music<\/em> and Project Power<\/em>, remembers talking with Tami about the bulk of the film being shot on a jib arm and assuming he\u2019d be outside the room operating a remote head.<\/p>\n

\u201cBut Tami always sees ten steps ahead,\u201d he smiles. \u201cThe Lambda head was the right choice here \u2013 being in the room with the actors and having the ability to move the jib and head mechanically, while physically challenging, was freeing in many ways.\u201d<\/p>\n

A big key to Reiker\u2019s approach was Dolly Grip Wayne Sharp, who was fully in sync with the operator to react and move in instinctual ways. Chamberlain was also on a track, which gave him and Sharp the flexibility to move in and around the characters throughout the long stretches of dialogue. A-Camera 1st AC Sarah Brandes also played a vital role. Chamberlain says Brandes \u201callowed us to go for creative choices that would evolve mid-scene, particularly during the roof and boxing scenes, where we were no longer anchored to anything.\u201d<\/p>\n

Brandes, who has worked with Reiker for 14 years, first as her loader, then as 2nd AC, and now as focus puller, says the beauty in her work comes from finding the beauty in the moment. \u201cAnd that\u2019s kind of the point of the build with the dolly, mini jib arm, Lambda head being underslung,\u201d Brandes notes. \u201cIt provides this floating feel that allows you to happen upon moments.\u201d<\/p>\n

\u201cThe goal was to try to create a continuous omniscient movement nearly the entire film,\u201d Chamberlain adds. \u201cEven as the characters would pause, we would attempt small, sometimes imperceptible and uncomfortable movements. This perpetual motion made our static frames that much more powerful. That was another brilliant decision by Tami that went against my instincts, and was, once again, the perfect choice for this project.\u201d<\/p>\n

 <\/p>\n

\"\"
1st AC Sarah Brandes was continually adjusting the ALEXA’s build for A-Camera Operator Chamberlin (above). “It’s fairly large, so my goal was to get [the camera] as comfortable and maneuverable as possible. And to not have things get in the way,” Brandes describes, “like the Teradek or the MDR, which can get so hot they can burn an arm.\u201d<\/figcaption><\/figure>\n

Though Miami<\/em>\u00a0is based on a stage play, the<\/strong> 1960s play-out continuously in the film, including in Malcolm X\u2019s family home and at a Sam Cooke concert in Boston. For Production Designer Barry Robison, recreating these locations wasn\u2019t necessarily difficult, given the wealth of visual archival material. But he still kept a meticulous eye on bringing King\u2019s vision to life. \u201cThis is such an important piece of history,\u201d Robison describes, \u201cthat I did not want to take many liberties. I knew if we were going to be faithful to the exact specifications of the motel room, that would be impossible to shoot in. Without over-scaling it, I suggested we increase the size of the walls incrementally.\u201d<\/p>\n

Robison laid out the markings on the floor in the art department and put up partitions so that King and Reiker could begin to feel the space, but the room was still going to be small. The Hampton House did have special rooms for special guests, so, Robison calculated, Malcolm X was given such a suite \u2013 he used the empty room off the main room to enlarge the space and give King more flexibility in blocking the actors.<\/p>\n

The designer also used framing devices \u2013 doorways or archways, or a mid-century modern Japanese-style screen on a track so Reiker could close the space down or open it up. He had fly walls for Reiker to get longer lensing and more depth into the room, and added camera ports \u2013 windows cut into the wall and covered by a photograph or a painting. All of these created different challenges for Chief Lighting Technician Allen Parks, who says \u201cthe ceilings were very low and dressed to look like concrete. The art department helped us out by leaving the center ceiling panels open for lighting; and given the need for low-profile lights, we chose Astera Titan and Helios tubes in dual tube holders with Honeycrate fabric grids.\u201d<\/p>\n

Parks rigged the tube arrays into the ceiling in each corner of the hotel bedroom set. Reiker also requested baby scoop lights with snoots, so Parks built four 10-inch disc-shaped units with LiteGear bi-color LED\u2019s, 1\/4 CTS, and Magic Cloth diffusion. They were contained by 18-inch black corrugated plastic snoots and plastic honeycomb grids, which allowed Parks\u2019 team to throw a tight fill light on the cast members without overexposing the surrounding set. \u201cThose lights, strategically placed along with some LiteGear LiteMats and KinoFlo Freestyle LED fixtures,” Parks adds, “allowed the actors and camera to move freely through the set during lengthy and emotional takes.\u201d<\/p>\n

 <\/p>\n

\"\"
Reiker worked closely with Production Designer Barry Robison and Costume Designer Francine Jamison-Tanchuck to create a palette of vibrant blues, greens and warm tones, as in this Boston-set concert scene with Sam Cooke (Leslie Odom Jr.).<\/figcaption><\/figure>\n

 <\/p>\n

Reiker worked closely with Robison and Costume Designer<\/strong> Francine Jamison-Tanchuck to create a palette of vibrant blues, greens and warm tones throughout the story. As Light Iron Supervising Colorist Ian Vertovec recalls: \u201cI worked with Tami to bring out depth and shape to complement the complex choreography established between the actors\u2019 blocking and the camera movement.\u201d<\/p>\n

Many crucial scenes shot outside of the motel room were shot in LaPlace, Louisiana, and at Second Line Stages in New Orleans. Robison found a hotel an hour outside of the city that suited the motel\u2019s exterior hallways, dining space, the phone booth in the parking lot, and the pool. For Cooke\u2019s Boston concert and an existing club for the Copacabana, both of which only needed surface changes to make them period-correct, a French Quarter theater was used. For a tense, nine-minute rooftop scene, Robison came up with a unique solution.<\/p>\n

\u201cRegina and I wanted to shoot outside at night,\u201d Reiker recounts. \u201cAnd we did not want to shoot on a green screen. But every roof we scouted, the actors would have to have been on wires because of safety. Barry came up with this genius idea to build the roof on shipping containers right outside the sound stage. We were outside the city, so there was nothing around it, and we had 280 degrees of total darkness. I put little pinpoints of light all around \u2013 from a few hundred yards away to a quarter-mile away \u2013 to help recreate the Miami skyline, so you felt the life out there. VFX added buildings and fireworks in post.\u201d<\/p>\n

Clay\u2019s boxing fights took place in an arena built on the soundstage. They were recreated faithfully with the help of the Taschen book GOAT (Greatest of All Time): A Tribute to Mohammad Ali<\/em>, which chronicles Muhammad Ali\u2019s career, and which Reiker describes as their Bible for those scenes. Parks carefully studied the Taschen book, recreating a period lighting grid, including the same 1K scoops.<\/p>\n

 <\/p>\n

\"\"
\u00a0“Every roof we scouted,” Reiker recounts about a key 10-minute night scene, “the actors would have been on safety wires. Barry [Robison] came up with the genius idea to build the roof on shipping containers outside the sound stage. We had 280 degrees of total darkness, and I used pinpoints of light \u2013 from a few hundred yards to a quarter-mile away \u2013 to recreate the Miami skyline.” Above:\u00a0<\/span>Malcolm X (Kingsley Ben-Adair).<\/figcaption><\/figure>\n

\u201cIn the photos of the fight,\u201d Parks describes,<\/strong> \u201cthe lighting rig appears to contain randomly placed scoop lights, but upon further examination, we were able to discern a patterned plot. The set decorators were a major help with research and drafting plans. Sourcing the period scoop lights \u201318-inch Altman 1K Scoops \u2013 was surprisingly easy since MBS Equipment Company happened to have 30 or so gathering dust in Burbank. We also employed some vintage MoleRichardson 12-inch 2K studio Fresnels from them, too.\u201d<\/p>\n

Pulling focus for the fight scenes was no easy task for Brandes, as Reiker\u2019s \u201cfinding beauty in the moment\u201d approach did not change for handheld boxing scenes, with choreography and rehearsals. But Brandes\u2019 skill in building up and breaking down the Alexa 65 (so that Chamberlain and Alward had a maximum comfort level) was a boon to the Guild camera team.<\/p>\n

\u201cI think initially Chad thought the camera would be on his shoulder and he\u2019d shoot it from up high, like the human-head perspective,\u201d Brandes relates. \u201cBut as we got into shooting, everyone agreed it made more sense to bring the camera down lower so that you were in with the action. This meant Chad was cradling [the ALEXA] a lot, which gave him a bit more stability. But it also meant I was constantly adjusting the build \u2013 shape handles, easy rigs, no easy rigs, no handles \u2013 just sort of building it so you could fire it like it was a machine gun with one handle. The Alexa 65 is fairly large, so my goal was to get it as comfortable and maneuverable as possible, and to not have things get in the way, like the Teradek or the MDR, which can get so hot they could burn an arm.\u201d<\/p>\n

As for King\u2019s feature directing debut, those who assumed adapting a stage play to the screen would be a tough ask were right. But as King concludes, \u201cI could not not <\/em>do this film. I was very much aware of what I was getting myself into,\u201d she shares. \u201cAnd at the end of the day, someone\u2019s always going to say that it feels like a play. But I would challenge those people to go and read the play, and they will see that Tami and the camera crew did an exceptional job of keeping just enough energy in the images to not distract from Kemp\u2019s hard-hitting dialogue, which is, of course, the essence of the film.\u201d<\/p>\n

 <\/p>\n

\"\"
Clay\u2019s boxing fights, which took place in an arena built on a soundstage, were faithfully recreated with the help of the Taschen book,\u00a0GOAT (Greatest of All Time): A Tribute to Mohammad Ali. <\/em>Gaffer Allen Parks carefully studied GOAT<\/em>, even recreating a period lighting grid that included the same 1K scoops. Above: Cassius Clay (Eli Goree) in his corner with trainer Angelo Dundee (Michael Imperioli).<\/figcaption><\/figure>\n

 <\/p>\n

Local 600 Camera Team – One Night In Miami<\/strong><\/span><\/p>\n

Director of Photography: Tami Reiker, ASC<\/p>\n

A-Camera Operator: Chad Chamberlain, SOC<\/p>\n

A-Camera 1st<\/sup> AC: Sarah Brandes<\/p>\n

A-Camera 2nd<\/sup> AC: Sienna Pinderhughes<\/p>\n

B-Camera Operator: Austin Alward<\/p>\n

B-Camera 1st<\/sup> AC: Zach Blosser<\/p>\n

B-Camera 2nd<\/sup> AC: Haley Turk<\/p>\n

Loader: Ben Maner<\/p>\n

DIT: Tyler Blackwell<\/p>\n

Still Photographer: Patti Perret<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Tami Reiker, ASC, helps Director\/Producer Regina King take One Night in Miami from stage to screen by Valentina Valentini \/ Photos by Patti Perret \/ Amazon Studios   In 1964, Cassius Clay \u2013 soon to be Muhammad Ali \u2013 defeated heavyweight champion Sonny Liston at the Miami Convention Hall. After the event, Clay spent the night celebrating with three close friends. One Night in Miami centers around the imagined dialogue of these four iconic Black men: Clay (Eli Goree), Malcolm […]<\/p>\n","protected":false},"author":2,"featured_media":10861,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-10843","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nFight Of Their Lives - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/fight-of-their-lives\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fight Of Their Lives - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Tami Reiker, ASC, helps Director\/Producer Regina King take One Night in Miami from stage to screen by Valentina Valentini \/ Photos by Patti Perret \/ Amazon Studios   In 1964, Cassius Clay \u2013 soon to be Muhammad Ali \u2013 defeated heavyweight champion Sonny Liston at the Miami Convention Hall. 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