{"id":42536,"date":"2021-06-14T09:04:40","date_gmt":"2021-06-14T09:04:40","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&#038;p=42536"},"modified":"2026-03-05T04:45:57","modified_gmt":"2026-03-05T04:45:57","slug":"hundreds-of-stories-the-cinematography-that-weaves-them-together-for-in-the-heights","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/hundreds-of-stories-the-cinematography-that-weaves-them-together-for-in-the-heights\/","title":{"rendered":"\u201cHundreds of Stories:\u201d The Cinematography That Weaves Them Together for \u201cIn The Heights\u201d"},"content":{"rendered":"\n<div class=\"wp-block-columns article-content is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-TRLR-0004_High_Res_JPEG.jpg?ssl=1\" alt=\"A scene from Warner Bros. Pictures\u2019 \u201cIN THE HEIGHTS,\u201d a Warner Bros. Pictures release.\" class=\"wp-image-42838\"\/><figcaption class=\"wp-element-caption\">A scene from Warner Bros. Pictures\u2019 \u201cIn the Heights,\u201d a Warner Bros. Pictures release.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"In The Heights - First 8 Minutes\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/8HAR3QBuiiU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"In The Heights: A Behind the Scenes Interview with Jon M. Chu &amp; Alice Brooks, ASC\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/PAxmIlJfjVw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">As moviegoers cautiously begin to re-enter cinemas, the film adaptation of Quiara Alegr\u00eda Hudes and Lin-Manuel Miranda\u2019s multi-Tony Award-winning stage musical, <em>In the Heights<\/em>, is now enjoying a summer theatrical launch courtesy of Warner Bros. and streaming on HBO Max.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Directed by Jon M. Chu (<em>Crazy Rich Asians<\/em>), visuals for <em>In The Heights<\/em> were captured by cinematographer Alice Brooks, who shot Chu\u2019s thesis film \u2014 a musical short called <em><a href=\"https:\/\/youtu.be\/tAfGnnM9mpo\" target=\"_blank\" rel=\"noreferrer noopener\">When the Kids Are Away<\/a><\/em> \u2014 while they were both studying at USC, as well as the director\u2019s 2015 musical drama, <em>Jem and the Holograms<\/em>, and the 2010 Paramount Digital web series, <em>The LXD: The Legion of Extraordinary Dancers<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With a screenplay written by Hudes, <em>In the Heights<\/em> stars Anthony Ramos as Usnavi, a Dominican-American immigrant whose <em>sue\u00f1ito<\/em> (little dream) of leaving Washington Heights turns into something more, thanks to the magic of his New York community. The ensemble cast also includes Miranda as Piraguero, the Piragua Guy, alongside Corey Hawkins, Leslie Grace, Melissa Bareera, Olga Merediz, Daphne Rubin-Vega, Gregory Diaz IV, Stephanie Beatriz, Dascha Polanco, and Jimmy Smits.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-01859_High_Res_JPEG-LR-1.jpg?resize=1080%2C720&#038;ssl=1\" alt=\"Director of photography Alice Brooks on the set of the screen adaptation of director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-image-42527\"\/><figcaption class=\"wp-element-caption\">Director of photography Alice Brooks on the set of the screen adaptation of director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cA musical gives an audience permission to relax, imagine and not have to pay attention in such a rigid way because music does something that words alone can&#8217;t do,\u201d Hudes tells <a href=\"https:\/\/www.bbc.com\/culture\/article\/20210610-in-the-heights-and-the-new-golden-age-of-musicals\" target=\"_blank\" rel=\"noreferrer noopener\">Hanna Flint<\/a> in a interview for <em>BBC Culture<\/em>:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cWe&#8217;re humans, we need music. It&#8217;s one of our most basic instincts. Our hearts beat in rhythm. I don\u2019t know what can be more essentially human than rhythm and song. Musicals have staying power because they are not just their own subgenre \u2014 they incorporate contemporary and different genres of music that\u2019s only to the benefit of audiences.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">The film is stacked with interesting characters, Flint notes, with the ensemble cast forming a collective protagonist. \u201cThe notion of one central hero, philosophically, feels at odds with the story that I wanted to tell, which is, in a community, there is no single hero or protagonist,\u201d says Hudes. \u201cWe rise and fall together. The community is the lead character.\u201d<\/p>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" height=\"536\" width=\"1280\" decoding=\"async\" alt=\"Caption: Melissa Barrera as Vanessa in Warner Bros. Pictures\u2019 \u201cIn the Heights,\u201d a Warner Bros. Pictures Release.\" class=\"wp-block-jetpack-slideshow_image wp-image-42180\" data-id=\"42180\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-TRLR2-0012_High_Res_JPEG-2.jpg?resize=1280%2C536&#038;ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Melissa Barrera as Vanessa in Warner Bros. Pictures\u2019 \u201cIn the Heights,\u201d a Warner Bros. Pictures Release.<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Melissa Barrera (center) as Vanessa in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-block-jetpack-slideshow_image wp-image-42084\" data-id=\"42084\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-02295r_High_Res_JPEG-LR.jpg?ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Melissa Barrera (center) as Vanessa in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.bbc.com\/culture\/article\/20210610-in-the-heights-and-the-new-golden-age-of-musicals\" target=\"_blank\" rel=\"noreferrer noopener\"><em>In the Heights<\/em> and the new Golden Age of musicals (BBC)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cTo capture the beauty and the depth of immigrant history in the neighborhood, Brooks chose the Panavision DXL2 with modified Panavision G series anamorphic lenses \u2014 the large-format system provided the shallow depth of field Brooks wanted for a feeling of intimacy,\u201d <a href=\"https:\/\/www.icgmagazine.com\/web\/my-suenito\/\" target=\"_blank\" rel=\"noreferrer noopener\">Valentina Valentini<\/a> writes in <em>ICG Magazine<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The logistics for filming <em>In The Heights<\/em> were \u201cdaunting,\u201d Chu admitted to Valentini. For four weeks, several blocks on either side of an intersection had to be blocked off in order to capture footage of the main bodega\u2019s exterior. Shooting also had to be scheduled to work around residents\u2019 lives.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBut Lin and Quiara were adamant about bringing it back to the place the songs were written about. And Alice and I love a challenge,\u201d Chu said. \u201cWe hadn\u2019t done big movies together yet, but we knew how to look, learn and use a space according to the story we needed to tell. [Choreographer] Chris [Scott] was included [in that process] because we had to build the dancing into each space, which made things even more interesting.\u201d<\/p>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" alt=\"Melissa Barrera, Daphne Rubin-Vega and director Jon M. Chu on the set of the screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-block-jetpack-slideshow_image wp-image-42531\" data-id=\"42531\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-05692r_High_Res_JPEG-LR-1.jpg?resize=1080%2C720&#038;ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Melissa Barrera, Daphne Rubin-Vega and director Jon M. Chu on the set of the screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" alt=\"Director of photography Alice Brooks and director Jon M. Chu on the set of the screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-block-jetpack-slideshow_image wp-image-42532\" data-id=\"42532\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-07578_High_Res_JPEG-LR-1.jpg?resize=1080%2C720&#038;ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Director of photography Alice Brooks and director Jon M. Chu on the set of the screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">There are 17 musical numbers in <em>In The Heights<\/em>, \u201call varied in style and staging,\u201d Valentini writes:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cOne number, \u2018Paciencia y Fe,\u2019 was filmed entirely underground in the New York City subway system and includes shots in a 900-foot-long, graffiti-covered tunnel. For \u2018When the Sun Goes Down,\u2019 characters dance on the side of a building; \u201896,000\u2019 was shot at the Highbridge Public Pool \u2013 the first time a movie was allowed to use the location.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"In The Heights \u2013 Powerful Trailer\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/V4CRPvel2Vc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Brooks worked closely with Scott, regularly attending choreography sessions just to soak in the atmosphere, she recounted to Valentini. For the seven-minute musical number \u201cCarnaval del Barrio,\u201d which featured 70 dancers, Brooks watched Scott rehearse for several hours without filming a thing. Once Scott was ready, he led Brooks to the center of the action so she could begin to plan the shoot.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cHe held my shoulders to orient me spatially, and I used my iPhone to film the rehearsal,\u201d Brooks recounts:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cHe turned me in the direction he wanted the camera to face in each moment, and at one point whispered in my ear, \u2018Go figure out where you want to be\u2019 and left the circle. The energy of the dance number was so extraordinary \u2014 Daniela reminds her people of the power they have inside of them, encouraging them to be proud of who they are, where they came from, and where they\u2019re going.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Interior scenes of a taxi dispatch office, which were captured early in production, provided Books with the inspiration for how other interior shots should be treated, including the recreation of a bodega on a sound stage. \u201cBrooks loved the way the reflected sun bounced off of different surfaces in the dispatch,\u201d Valentini writes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cA car would drive by and create a beautiful anamorphic flare for a brief moment,\u201d Brooks said. \u201cWhen that happened, I said to the gaffer, let\u2019s make sure we have lots of reflective surfaces outside the window on the bodega set.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Accurately portraying the color temperature of the sun and the ambient light in Washington Heights was a central concern for the filmmakers. Brooks asked chief lighting technician Charles Grubbs to pay especially close attention to the time of day and weather conditions of the neighborhood in order to attempt to re-create them at the production\u2019s Marcy Armory stage.<\/p>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Anthony Ramos as Usnavi in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-block-jetpack-slideshow_image wp-image-42175\" data-id=\"42175\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-TRLR-0001_High_Res_JPEG.jpg?ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Anthony Ramos as Usnavi in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Gregory Diaz IV as Sonny and Leslie Grace as Nina Rosario in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-block-jetpack-slideshow_image wp-image-42083\" data-id=\"42083\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-FP-0024_High_Res_JPEG-LR.jpg?ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Gregory Diaz IV as Sonny and Leslie Grace as Nina Rosario in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cHaving that control of sky color temperature and the degree of warmth and direction of sun was key to [matching stage and location work], the true motivator was the sun path in the summer season in Washington Heights,\u201d Grubbs recalled. \u201cIt lines up with the streets at dawn and especially at sunset. The contrasting colors of the cool sky with the warm late-day sun created some beautiful lighting challenges. We made a sky source with more than 200 ARRI S60s through large grid cloth rags. The sun sources were an array of 20K Fresnel and 20K Mole beams.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The experience of filming <em>In The Heights<\/em> fulfilled a long held goal for Brooks. \u201cWhen Jon and I were at USC doing <em>When the Kids Are Away<\/em>, we were shooting in Pasadena one late afternoon, and we shut down the street for a dance number,\u201d she told Valentini.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cIt was the first time I\u2019d ever shut down a street for filming; I was on a crane and operating, there were 30 dancers in the streets and it was thrilling. That was 19 years ago! It\u2019s hard to believe that almost two decades later, I\u2019d be in the middle of a shut-down street again, only instead of 30 dancers, there were 300 dancers in a massive dance number for a Warner Bros. musical. At that moment, I realized this was my <em>sue\u00f1ito<\/em> \u2014 my little dream. And it had come true.\u201d<\/p>\n<\/blockquote>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" alt=\"Behind the scenes of director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-block-jetpack-slideshow_image wp-image-42528\" data-id=\"42528\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-03567_High_Res_JPEG-LR-1.jpg?resize=1080%2C720&#038;ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Behind the scenes of director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" alt=\"Corey Hawkins, Leslie Grace and director Jon M. Chu on the set of the screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-block-jetpack-slideshow_image wp-image-42526\" data-id=\"42526\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-01800_High_Res_JPEG-LR-1.jpg?resize=1080%2C720&#038;ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Corey Hawkins, Leslie Grace and director Jon M. Chu on the set of the screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" alt=\"Leslie Grace and director Jon M. Chu on the set of the screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-block-jetpack-slideshow_image wp-image-42525\" data-id=\"42525\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-00492_High_Res_JPEG-LR-1.jpg?resize=1080%2C720&#038;ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Leslie Grace and director Jon M. Chu on the set of the screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Concept\/music &amp; lyrics\/producer Lin-Manuel Miranda and Quiara Alegr\u00eda Hudes on the set of director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-block-jetpack-slideshow_image wp-image-42524\" data-id=\"42524\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-BROLL-0014_High_Res_JPEG-LR-1.jpg?ssl=1\"\/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Concept\/music &amp; lyrics\/producer Lin-Manuel Miranda and Quiara Alegr\u00eda Hudes on the set of director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.icgmagazine.com\/web\/my-suenito\/\" target=\"_blank\" rel=\"noreferrer noopener\">My Sue\u00f1ito (ICG Magazine)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In an article on the <a href=\"https:\/\/www.panavision.com\/celebrating-community\" target=\"_blank\" rel=\"noreferrer noopener\">Panavision website<\/a>, Brooks detailed her decision to shoot with Panavision\u2019s Millennium DXL2 camera, which she had previously employed on the Apple TV+ series, <em>Home Before Dark<\/em>. Production designer Nelson Coates, editor Myron Kerstein and costume designer Mitchell Travers had all worked with Brooks on the series, which helped streamline things for <em>In The Heights<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIt was great that Nelson, Mitchell and I had all done <em>Home Before Dark<\/em> together, because we very quickly understood the aesthetic of the movie,\u201d she said. \u201cWe all knew the camera and understood how the colors were going to render.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Following extensive camera testing, Brooks opted to pair the camera with Panavision G Series anamorphic lenses:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThis movie is a celebration of Washington Heights and of immigrants,\u201d she reflected. \u201cJon said, \u2018These are people with big dreams,\u2019 and he wanted the movie to feel as big as possible. In the movie, Abuela Claudia [Olga Merediz] talks about \u2018little details that tell the world we are not invisible.\u2019 The details we picked, like anamorphic and shooting widescreen, were about saying, \u2018This is a big movie about people with big dreams.\u2019\u201d<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/Alice-Brooks-ITH.jpg?ssl=1\" alt=\"Cinematographer Alice Brooks on the set of director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-image-44305\" style=\"width:840px;height:auto\"\/><figcaption class=\"wp-element-caption\">Cinematographer Alice Brooks on the set of director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.panavision.com\/celebrating-community\" target=\"_blank\" rel=\"noreferrer noopener\">Celebrating Community (Panavision)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The most complex musical number in the film is \u201c96,000,\u201d which gathers the entire Washington Heights neighborhood to the public pool, where they dream of what they\u2019d do if they won the lottery.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The scene was filmed at Highbridge Pool in Washington Heights in early June 2019, just before it was scheduled to reopen to the public for the season, Brookes recounted to <a href=\"https:\/\/filmmakermagazine.com\/111828-600-extras-on-a-hot-summer-day-dp-alice-brooks-on-in-the-heights\/\" target=\"_blank\" rel=\"noreferrer noopener\">Daniel Eagan<\/a> in an interview for <em>Filmmaker Magazine<\/em>. \u201cIt was a tricky location,\u201d she said \u201cWe were the first movie to film there. We started on a Monday in early June. It was cold, and it rained for two days, so we ended up shooting there for four days. Once they opened for the summer, we couldn\u2019t shoot there anymore.\u201d Brooks continued:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThe production did a huge outreach to the neighborhood to get them involved [and] feel a part of the movie. There were, I believe, 500 extras, many of them members of the community. That day we had three cameras, including a Steadicam with a wonderful operator named Mark Schmidt. Jon loves to do long, long takes, or just reset, not cut, because he knows he will lose people\u2019s attention. Mark sometimes held that camera for 20 minutes without complaining.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Capturing overhead shots was particularly challenging, Brooks revealed to Eagan: \u201cNew York City has a no-drone policy \u2014 we would have loved to use one at the Highbridge pool. It was originally part of the reservoir system for the city, so you have to cope with all these tunnels underneath. The size and weight of the cranes we could put on the pool deck were limited. We actually had to switch to spherical lenses for one overhead shot to get a larger field of view.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"In The Heights - 96,000\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/etqN4QSXUyQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/filmmakermagazine.com\/111828-600-extras-on-a-hot-summer-day-dp-alice-brooks-on-in-the-heights\/\" target=\"_blank\" rel=\"noreferrer noopener\">600 Extras on a Hot Summer Day: DP Alice Brooks on <em>In the Heights<\/em> (Filmmaker Magazine)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Brooks further detailed how the production compensated for New York\u2019s no-drone policy while filming \u201c96,000\u201d in an interview with <a href=\"https:\/\/www.vulture.com\/article\/in-the-heights-pool-scene-process.html\" target=\"_blank\" rel=\"noreferrer noopener\">Jackson McHenry<\/a> for <em>Vulture<\/em>. &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThey imagined an overhead shot of Vanessa surrounded by synchronized swimmers that would typically be accomplished by putting a camera on a drone, but it\u2019s illegal to pilot drones within New York City. Next idea: Get the biggest crane possible,\u201d McHenry writes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBut there\u2019s a reservoir system of tunnels under the pool deck, and the weight of the crane was going to be too heavy,\u201d Brooks told McHenry. \u201cSo we worked with all these engineers to figure out the exact weight allowed to get the height we needed. It was a big science experiment to figure out how many people we could fit in the frame based on the height we could get.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Filming a water-based dance sequence presented other challenges as well, choreographer Chris Scott told McHenry. \u201cIf they wanted to get a shot of a dancer (Brandon Rosario) doing a jump and twist into the pool, that also meant calculating just how fast a camera could follow him \u2014 it would need to dunk into the water with enough force to overwhelm its natural buoyancy and fully submerge,\u201d McHenry explains. \u201cThe scene climaxes with a sweeping overhead shot of a large group of dancers splashing in the water in unison, which Scott and his team of choreographers workshopped in a separate pool.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe level of the water was the biggest factor \u2014 if it\u2019s too low, it looks dumb,\u201d said Scott. \u201cWe had about 20 versions of that choreography.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"IN THE HEIGHTS - Official Trailer\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/U0CL-ZSuCrQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.vulture.com\/article\/in-the-heights-pool-scene-process.html\" target=\"_blank\" rel=\"noreferrer noopener\">Jon M. Chu on the Pool Scene From \u2018In the Heights\u2019 (Vulture)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cPaciencia y Fe,\u201d Abuela Claudia\u2019s moving number about her immigrant journey moving from Cuba to New York, was \u201cendlessly gratifying\u201d for Brooks. \u201cThe first time I saw the dance number, when Abuela is shoved in the seat of the subway car, I started shaking,\u201d she revealed to <a href=\"https:\/\/www.indiewire.com\/2021\/06\/in-the-heights-cinematography-alice-brooks-shooting-on-location-1234643923\/\" target=\"_blank\" rel=\"noreferrer noopener\">Carlos Aguilar<\/a> in an interview for <em>IndieWire<\/em>. I knew the scene was going to be incredibly powerful,\u201d Brooks said.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chu initially envisioned the sequence as \u201celegant light show,\u201d but the idea of a subway train kept popping into the directors head. \u201cWe then started looking at subways and we looked at all these platforms that the MTA allows you to shoot on, but they all just felt very confined,\u201d Brooks told Aguilar.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The production eventually learned of an abandoned MTA station in Brooklyn, bringing in both modern and older train cars so they could utilize both sides of the platform. \u201cWhen she comes out in one platform we have one lighting set up that refers to Cuba,\u201d Brooks said. \u201cThe color of Cuba is a warm, yellowish light. Then the color of New York is cold.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.indiewire.com\/2021\/06\/in-the-heights-cinematography-alice-brooks-shooting-on-location-1234643923\/\" target=\"_blank\" rel=\"noreferrer noopener\">How Alice Brooks Shoot on Location (IndieWire)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"In The Heights - Change The World\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/bAX-4208L5A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The neighborhood of Washington Heights stands as a character in the film, playing itself to perfection. \u201cI think the neighborhood spoke for itself. Washington Heights wasn\u2019t just a cast member \u2014 it was a crew member, it was a co-writer, it was all those things,\u201d Chu tells <a href=\"https:\/\/www.vox.com\/22522628\/in-the-heights-interview-miranda-hudes-chu\" target=\"_blank\" rel=\"noreferrer noopener\">Alissa Wilkinson<\/a> in an interview for <em>Vox<\/em>. \u201cEven right now, it\u2019s our biggest fan. The people who come from there, the way they are pumping up our movie \u2014 you can feel their spirit,\u201d he says.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe biggest compliment we get is this movie feels so New York,\u201d Chu adds. The reason it feels New York is because of that community. That\u2019s New York. That\u2019s not the Empire State Building New York. That\u2019s Washington Heights.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Spike Lee\u2019s seminal <em>Do the Right Thing<\/em> \u201cis an inspiration to all movies in New York,\u201d as well as to him, personally, Chu remarks, \u201cBut the reality was, I didn\u2019t know what it was going to be like until I got to Washington Heights, and I was shown this neighborhood by Lin and Quiara. They were the best tour guides you could ask for. Lin would say, \u2018This is where I shot my home videos, in this tunnel at 191st Street \u2014 this is the spot.\u2019\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.vox.com\/22522628\/in-the-heights-interview-miranda-hudes-chu\" target=\"_blank\" rel=\"noreferrer noopener\"><em>In the Heights<\/em> movie interview: Lin-Manuel Miranda and others on adapting the hit musical (Vox)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"In The Heights - Washington Heights Trailer\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/u5pTICZ2oeg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Brooks had wanted to shoot an <em>In The Heights<\/em> adaptation for years, long before Chu had been signed to direct the film, she revealed in an interview with <a href=\"https:\/\/www.btlnews.com\/crafts\/camera\/in-the-heights-alice-brooks\/\" target=\"_blank\" rel=\"noreferrer noopener\">Danielle Solzman<\/a> for <em>Below The Line<\/em>:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cI had wanted to shoot this movie for years before being signed on to the film, but I had never seen the stage show on Broadway at all. I was very aware of the project and when Jon Chu became attached to it \u2014 Jon and I went to USC film school together and we did a short musical in college called <em>When The Kids Are Away<\/em>. We bonded over our love of musicals. When I knew Jon was going to do a musical and that it was going to be in New York, where I grew up, I knew immediately I wanted to be a part of that.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">The cinematographer also made a conscious effort not to watch any musicals while they were prepping the film. \u201cOr anything current or modern,\u201d she says. \u201cI think the most recent film I watched was probably made in the late \u201880s or probably early \u201890s. What I did look at were classic New York movies and that was an inspiration to me. I also took a lot of my own stills while scouting and the biggest influence visually for the movie was the community itself.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/rev-1-ITH-05051r_High_Res_JPEG-LR-1.jpg?resize=1080%2C720&#038;ssl=1\" alt=\"Director of photography Alice Brooks (foreground), director Jon M. Chu, Stephanie Beatriz and Daphne Rubin-Vega on the set of director Jon Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-image-42530\"\/><figcaption class=\"wp-element-caption\">Director of photography Alice Brooks (foreground), director Jon M. Chu, Stephanie Beatriz and Daphne Rubin-Vega on the set of director Jon Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Her next project, Brooks tells Solzman, is Miranda\u2019s upcoming directorial debut, <em>tick, tick\u2026BOOM!<\/em> Arriving this fall, production for the Netflix feature was interrupted by the COVID pandemic, but Brooks is looking forward to finally returning to work.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAll the studios have done an excellent job getting people back to work, and it\u2019s very impressive how well taken care of and safe an environment productions have become,\u201d she said:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cI hear it across the board \u2014 people feel really, really well taken care of and that is wonderful. I\u2019m looking forward to shooting now that I\u2019m fully vaccinated. I\u2019m looking forward to shooting something in about six weeks. I know we\u2019ll still have all the same protocols with mask wearing, social distancing, and being tested. I think, overall, the studio wanted everyone to feel safe so that they could do their job really well and I think they\u2019re achieving that.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.btlnews.com\/crafts\/camera\/in-the-heights-alice-brooks\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>In the Heights<\/em> Cinematographer Alice Brooks Fulfills Her Dream to Film the Musical (Below The Line)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/In-the-Heights-How-They-Dance-Up-Building.jpg?ssl=1\" alt=\"Corey Hawkins as Benny and Leslie Grace as Nina in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-image-44314\"\/><figcaption class=\"wp-element-caption\">Corey Hawkins as Benny and Leslie Grace as Nina in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">For the Fred Astaire and Ginger Rogers-inspired musical number, \u201cWhen the Sun Goes Down,\u201d two young lovers drenched in the golden light of \u201cmagic hour\u201d \u2014 Nina (Leslie Grace) and Benny (Corey Hawkins) \u2014 dance up the side of a Washington Heights apartment building. director Jon M. Chu, cinematographer Alice Brooks, and choreographer Christopher Scott discussed how the sequence was achieved on a recent episode of <em>IndieWire<\/em>\u2019s \u201cFilmmaker Toolkit\u201d podcast hosted by <a href=\"https:\/\/www.indiewire.com\/2021\/06\/in-the-heights-behind-the-scenes-dance-up-side-of-building-1234645393\/\" target=\"_blank\" rel=\"noreferrer noopener\">Chris O\u2019Falt<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">An homage to the iconic \u201canti-gravity\u201d dance number <a href=\"https:\/\/youtu.be\/CNSHjZmvZTM\" target=\"_blank\" rel=\"noreferrer noopener\">performed by Astaire<\/a> in <em>Royal Wedding<\/em>, the sequence is a perfect blend of cinematography and visual effects.<\/p>\n\n\n\n<iframe loading=\"lazy\" frameborder=\"0\" height=\"182\" scrolling=\"no\" src=\"https:\/\/playlist.megaphone.fm\/?e=PMC9344201522&amp;light=true\" width=\"100%\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">To help ground the VFX, the filmmakers opted to begin the sequence with a lengthy minute-and-a-half shot that relied on practical effects. The production team reconstructed the exterior of the building with a moveable wall that could be folded to the floor. Special effects coordinator Jeff Brink created a hydraulics-powered platform that could support the weight of the dancers and set as it went from vertical to horizontal.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWhat happens is we start with a vertical wall, with Benny and Nina standing on the fire escape, and as the fire escape starts to slowly tilt, the camera is slowly moving, and suddenly we\u2019ve completely hidden the fact that wall has tipped completely flat,\u201d Brooks recounted.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Deciding on which camera moves to employ for the number proved to be a challenge, the DP admitted:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cInitially we thought, \u201cOK, we\u2019ll attach the camera to the wall and that would be the easiest way to do it,\u201d but when we did this previsualization we realized that wasn\u2019t the best way to do it. They created this whole setup in a VR world where we wore googles, and we had the camera and we had two dancers working with us, so we spent a Saturday doing this, where it was our test shoot basically.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWe wanted to know where the horizon should be vertical and where it should be horizontal, what would be the most effective, and what kind of moves, between the camera and the dancers would actual sell this anti-gravity feeling and also the feeling like would Nina fall at some point. So when she reaches down to touch the water dripping we dip with her.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWhat we discovered here was that the best way to sell this shift was to have as long a first shot as possible. Once the wall is down, the shot is dead, but we had another 30 seconds of them dancing in the oner, so we shot it on a technocrane, so we\u2019re telescoping at the same time we\u2019re booming.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">The sequence was shot against green screen on a sound stage, and later composited with VFX plates of the real Washington Heights block with the George Washington Bridge in the backdrop. Matching the quality of the light and the precise angle of the sun on the sound stage was also challenging for Brooks:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThe lighting source for the sky source was very easy to keep in sync because they were LEDs attached to our dimmer board, so they were locked into the soundtrack, into the music, so the moment in the music where the wall started going, those lights started going.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBut the light source for the sun, a 20k Fresnel on the crane, had to be timed exactly perfectly, and not only that, the wall is on a hydraulics, so that it not always perfect.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">The sequence was \u201cprobably the most expensive piece that we had in our movie, but also the most risky.,\u201d Chu said. \u201cIt pressed to work hard, to be more creative, to really question why. Why are we spending all this money on a turning building? Because we want to show that Fred and Ginger could have been Corey and Leslie back then if they were allowed to, it could have been, but we didn\u2019t allow that.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/When-the-Sungoes-Down.jpg?ssl=1\" alt=\"Leslie Grace as Nina and Corey Hawkins as Benny in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.\" class=\"wp-image-44311\" style=\"width:840px;height:auto\"\/><figcaption class=\"wp-element-caption\">Leslie Grace as Nina and Corey Hawkins as Benny in director Jon M. Chu\u2019s screen adaptation of \u201cIn The Heights.\u201d Cr: Macall Polay\/Warner Bros.<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.indiewire.com\/2021\/06\/in-the-heights-behind-the-scenes-dance-up-side-of-building-1234645393\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u2018In the Heights\u2019: How They Danced Up the Side of a Building (IndieWire)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Want more? Watch the <em>Go Creative Show<\/em> podcast episode, \u201cIn The Heights Cinematography with Alice Brooks,\u201d in the player below. During the episode, the DP shares her cinematic approach adapting Lin-Manuel Miranda\u2019s hit Broadway show to the big screen, including the challenges of filming musical numbers on location, visuals inspired by local photographers, and the Panavision DXL2 camera and NYC lighting. There are also breakdowns for \u201c96,000,\u201d \u201cWhen the Sun Goes Down,\u201d \u201cChampagne,\u201d and \u201cPaciencia y Fe,\u201d as well as advice for young and female DPs:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"In The Heights Cinematography (with Alice Brooks) GCS274\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/S39mCYMG0zo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Listen to this episode of the Pro Video Coalition\u2019s \u201c<a href=\"https:\/\/www.provideocoalition.com\/crossing-the-180-podcast-with-in-the-heights-dp-alice-brooks\/\" target=\"_blank\" rel=\"noreferrer noopener\">Crossing the 180<\/a>\u201d with <em>In The Heights<\/em> director of photography Alice Brooks, which delves into the complexity in shooting musicals and choreographed dancing, how they performed some of those more complex scenes from the movie (like the dancing on the side of the building scene), and some of the technical challenges they faced and how they were overcome:<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/episode\/4zM3HJjAZ95UbO14JPw5o3\" width=\"100%\" height=\"232\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">You can also watch \u201cAnatomy of a Scene,\u201d from <em>The New York Times<\/em>. In the video, <em>In The Heights<\/em> director Jon M. Chu details the shoot for the opening sequence for the film, including staging Anthony Ramos\u2019 performance, and how the production used a real bodega for exteriors but recreated a bodega on a set for the interiors:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Watch Anthony Ramos Perform in \u2018In the Heights\u2019 | Anatomy of a Scene\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/g29gdNxsb1Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>DP Alice Brooks employs the Panavision DXL2 to shoot the film adaptation of Lin-Manuel Miranda\u2019s multi-Tony Award-winning stage musical.<\/p>\n","protected":false},"author":2,"featured_media":42836,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":""},"categories":[248],"class_list":["post-42536","articles","type-articles","status-publish","has-post-thumbnail","hentry","category-amplify"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - 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