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An International Publication of the ASC

34 Sinister Sect Hoyte van Hoytema, FSF, NSC goes into the field to

track 007s exploits in Spectre

48 Questions of Perspective Dariusz Wolski, ASC details his work and collaborations

on the features The Martian and The Walk

62 Thinking Different Alwin Kchler, BSC mixes formats to chart an innovators

rise in Steve Jobs

74 Counterparts in Crime Dick Pope, BSC crafts period ambience for the criminal

Kray twins in Legend

DEPARTMENTS

FEATURES

VISIT WWW.THEASC.COM

On Our Cover: James Bond (Daniel Craig) returns to take on a nefarious criminal syndicin Spectre, shot by Hoyte van Hoytema, FSF, NSC. (Image courtesy of Metro-Goldwyn-Mayer Studios, Inc.; Danjaq, LLC; and Columbia Pictures.)

10 Editors Note 12 Presidents Desk 14 Short Takes: Best Man Wins 20 Production Slate: Victoria Jem and the Holograms 84 Filmmakers Forum 88 New Products & Services 90 International Marketplace 91 Classified Ads 92 Ad Index 94 Clubhouse News 96 ASC Close-Up: Mark Vargo

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An International Publication of the ASC

N O V E M B E R 2 0 1 5 V O L . 9 6 N O . 1 1

Look for more at www.theasc.com

Q&A: Director-Cinematographer Reed Morano, ASC onMeadowland

Jan de Bont, ASConDie Hard

and catch up with ourlatest classic podcast:

COMING SOON


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A n I n t e r n a t i o n a l P u b l i c a t i o n o f t h e A S C

Visit us online at www.theasc.com

EDITOR-IN-CHIEF and PUBLISHERStephen Pizzello

EDITORIAL

MANAGING EDITOR Jon D. Witmer

ASSOCIATE EDITORAndrew Fish

TECHNICAL EDITOR Christopher Probst

CONTRIBUTING WRITERS

Benjamin B, Douglas Bankston, John Calhoun, Mark Dillon, Michael Goldman, Simon Gray,Jay Holben, Noah Kadner, Debra Kaufman, Jean Oppenheimer, Iain Stasukevich, Patricia Thomson

ART & DESIGN

CREATIVE DIRECTOR

Marion KramerPHOTO EDITOR Kelly Brinker

ONLINE

MANAGING DIRECTOR Rachael K. Bosley

PODCASTS Jim Hemphill, Iain Stasukevich, Chase Yeremian

BLOGS

Benjamin BJohn Bailey, ASC

David Heuring

WEB DEVELOPER Jon Stout

ADVERTISING

ADVERTISING SALES DIRECTOR Angie Gollmann

323-936-3769 Fax 323-936-9188 e-mail: [email protected]

ADVERTISING SALES DIRECTOR Sanja Pearce


CLASSIFIEDS/ADVERTISING COORDINATOR Diella Peru


SUBSCRIPTIONS, BOOKS & PRODUCTS

CIRCULATION DIRECTOR Saul Molina

CIRCULATION MANAGER Alex Lopez

SHIPPING MANAGER Miguel Madrigal

ASC GENERAL MANAGER Brett Grauman

ASC EVENTS COORDINATOR Patricia Armacost

ASC PRESIDENTS ASSISTANT Delphine Figueras

ASC ACCOUNTING MANAGER Mila Basely

ASC ACCOUNTS RECEIVABLE Nelson Sandoval

American Cinematographer (ISSN 0002-7928), established 1920 and in its 95th year of publication, is published monthly in Hollywood by

ASC Holding Corp., 1782 N. Orange Dr., Hollywood, CA 90028, U.S.A.,(800) 448-0145, (323) 969-4333, Fax (323) 876-4973, direct line for subscription inquiries (323) 969-4344.

Subscriptions: U.S. $50; Canada/Mexico $70; all other foreign countries $95 a year (remit international Money Order or other exchange payable in U.S. $).Advertising: Rate card upon request from Hollywood office. Copyright 2015 ASC Holding Corp. (All rights reserved.) Periodicals postage paid at Los Angeles, CA

and at additional mailing offices. Printed in the USA.POSTMASTER: Send address change toAmerican Cinematographer, P.O. Box 2230, Hollywood, CA 90078.

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OFFICERS - 2015/2016

Richard CrudoPresident

Owen RoizmanVice President

Kees van OostrumVice President

Lowell PetersonVice President

Matthew LeonettiTreasurer

Frederic GoodichSecretary

Isidore MankofskySergeant-at-Arms

MEMBERS OF THE

BOARD

John BaileyBill Bennett

Richard CrudoGeorge Spiro Dibie

Richard EdlundFred Elmes

Michael GoiVictor J. Kemper

Daryn OkadaLowell PetersonRobert Primes

Owen Roizman

Rodney TaylorKees van Oostrum

Haskell Wexler

ALTERNATES

Isidore MankofskyKarl Walter Lindenlaub

Kenneth ZunderFrancis Kenny

John C. Flinn III

MUSEUM CURATOR

Steve Gainer

American Society of Cinematographers

The ASC is not a labor union or a guild, butan educational, cultural and professional

organization. Membership is by invitationto those who are actively engaged asdirectors of photography and have

demonstrated outstanding ability. ASCmembership has become one of the highest

honors that can be bestowed upon aprofessional cinematographer a mark

of prestige and excellence.


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James Bond is a big deal in the Pizzello household. My

9-year-old son, Nicholas, reveres 007 and once cele-brated Halloween by donning a tux and arming himselfwith a toy Walther PPK. My wife, Delphine, still laughswhenever she recalls the conversation that ensued afterNicholas and his younger brother, Matthew, hadwatched Goldfingertogether:

Nicholas: Im James Bond, but you can beFelix Leiter.

Matthew: I dont wanna be Felix Leiter. Nicholas: Hes like the American 007. Matthew: Well okay. Im Felix.

Our third son, three-year-old Tommy, is well on his wayto his own career in MI6; I recently spotted him toting the familys Bond broofcase, whichsports a 007 sticker on one side perhaps blowing the boys cover as they embark oncovert missions, but cool nonetheless. Spectre is the 24th official Bond film produced by Eon Productions. The featureteamed Hoyte van Hoytema, FSF, NSC with director Sam Mendes, who wowed global audi-ences with Skyfallin 2012. According to van Hoytema, he and Mendes sought to lend Bondslatest adventure a romantic and more classic feel. I was wondering if we could get someof that old-fashioned flair back, but in an effortless way, he toldACs senior European corre-spondent, Benjamin B, during the latters visit to the sets at Pinewood Studios in England(Sinister Sect, page 34). Bond never really has to prove himself, and I wanted to reflectthat effortless feeling in the visual language.

If 007 existed in the real world, he probably would have encountered Ronald andReginald Kray at some point during the 1950s or Swinging Sixties. The notorious twin siblingswere the imposing overlords of organized crime in Londons East End, but as West End clubowners they comingled with celebrities and ruled their empire with unrepentant bravado.Dick Pope, BSC knew these neighborhoods as a teenager in England, and took pains to makethe movies scenario feel real. We wanted to make the film accessible and polished in orderto reach out to a wide audience, but we didnt want it to look really fairy-tale glamorous,Pope tells Phil Rhodes (Counterparts in Crime, page 74). It had to be grounded in the real-ity of those Sixties pubs and clubs and often grim East End neighborhoods. The lives of real-world icons are also dramatized in two of this issues other spotlightedprojects: Steve Jobs, Danny Boyles biopic about the co-founder, chairman and CEO of AppleInc., shot with imaginative panache by Alwin Kchler, BSC (Thinking Different, by Noah

Kadner, page 62), and The Walk, for which Dariusz Wolski, ASC and director Robert Zemeckisused 3D perspectives to tell the daring tale of French high-wire artist Philippe Petit, whofamously traversed a 200' steel cable suspended between New Yorks 110-story World TradeCenter towers in 1974. Our coverage of Wolskis work, presented in a Q&A by David E.Williams (Questions of Perspective, page 48), also includes his thoughts on Ridley Scottssci-fi drama The Martian.

Stephen PizzelloEditor-in-Chief and Publisher

Editors Note

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A couple of weeks ago I was out for dinner with some friends at a place an unenlightened personmight refer to as a dive a locals-mostly bar/restaurant where the food is marginal and the decorsomewhat less so. Which is not to say it has no appeal. Fresh off the beach, after your eyes haveadjusted to the T1.4 lighting, the wood-paneled 70s makeover of this 50s original will keep youscanning the red banquettes for Jimmy Page and the rest of the Led Zeppelin entourage. Eventhough you dont smoke, the native vibe makes you wish you did, and when you park two blocksaway, the wafting smell of beef on the grill promises more than it will deliver.

Making up for that, its a serious no-hipster zone theres not a hate the man beardor touch of smarmy irony within flame-thrower range. The unpretentious patrons are moreconcerned that you mind your business and check your nonsense at the door. House RuleNumber One? Noise-making or attention-seeking of any variety are discouraged by the governingbarflies.

About an hour into my visit just as the manhattans were kicking in somethinghappened that was so extraordinary in its effect that an exception had to be allowed. Three menand two women, middle-aged and respectful of the prevailing code, were ensconced over theirmeal in one of the booths. Youd be hard-pressed to find a more unassuming group in a placefilled with purposefully low-key souls. However, their anonymity ended when one of the gentle-

men chose just the right moment to voice a rendition of Happy Birthday. Under normal circumstances he wouldve been shushedinto silence by the village elders or, worse, told by the staff that the kitchen had closed and the lights were about to be turned off.Instead, this man, unfamiliar yet clearly a trained vocalist, continued with a warm, rich baritone that froze everyone in mid-sneer. Itcame from deep inside his chest and communicated a profundity of emotion rarely encountered in daily life. I can think of only oneword to describe the way he sounded: exquisite. And as his mesmerizing effect washed over the room, I was not alone in feelingthat I was hearing this most familiar of melodies for the very first time. As he finished, the initial sideways glances of the gin-millTaliban had been turned to full, outward appreciation. Their applause was every bit equal to his performance. But our new friend wasnt finished. A few minutes later, after the drinks were freshened and the ambience resettled, he

once again piped up, this time with The Star Spangled Banner. Unlike so many of the celebrity fools we see these days who turnit into an ego-driven vocal exercise at the ballpark or arena, his version was genuine and brought forth without artifice or referenceto himself. Leading up to a deafening appreciation at its conclusion, the entire house was on its feet, hands over hearts, with not adry eye to be found. At this point you might be asking what any of this has to do with cinematography. Well, it has everything to do with it. Under the right circumstances, the work we perform can have the identical effect on people as that nameless singer in thebar. It doesnt matter if youre shooting the most innocuous bit of tripe or a top studio release. Rest assured that someone some-where is going to be moved perhaps deeply or unexpectedly by what youre doing. Though its easy to lose sight of this criticalnotion amidst todays obsession with technology and the breakneck pace at which we work, we cant afford to let it slip away. Inan industry that is too often too short on decency and humanity, any pure motivation to do something is valuable and must bewelcomed.

ASC legends Vittorio Storaro and Haskell Wexler recently called for a more humanistic awareness within our ranks. As we

approach the end of the year, I suggest the new one start with that singer in mind. Its only through recognizing our own effect onothers that positive change can take place. And since the only thing we can fully control in life is our own behavior you got it! the effort begins with you-know-who.

Richard P. Crudo

ASC President

Presidents Desk

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Sweet Revenge By Neil Matsumoto

Best Man Wins, directed by Stphane Dumonceau, is basedon a short story of the same name by Frederick Waterman, and starsTim DeKay as Edward Stiles, a famous New York City chef who cooksup a revenge plot against his best man, Jean-Louis Vachon (FranoisVincentelli), after discovering that the latter had an affair with hiswife, Caroline (Nadia Fars). The ambitious 20-page script was shotin just three and a half days by cinematographer Wes Cardino, whowas introduced to Dumonceau by the films production designer,

Justin McClain.The film is set at JFK Airport in New York, Charles de Gaulle

Airport in Paris, on a Boeing 767, and in the kitchen of a Manhattanrestaurant. Like most short films, Best Man Wins had a limitedbudget, so instead of flying cast and crew to each location, the film-makers worked entirely in Los Angeles and took advantage ofvirtual-set technology.

To my disappointment, we werent going to France,Cardino says with amusement. One of the major things in prep wedid was to figure out how to pull off Charles de Gaulle and JFK. Alot of our time was spent discussing greenscreen elements and whatour virtual sets were going to look like. From there, it was me build-

ing a lighting scheme and [planning] camera movement within thatvirtual world. I had worked on virtual sets before and I had seenmixed results. It was really important for me to make sure we couldpull this off. With an MFA in cinematography from the American FilmInstitute, Cardino has a number of shorts, commercials and featurecredits under his belt. For Best Man Wins, he found particular inspi-ration in the work of cinematographer Robert Elswit, ASC, especiallyMichael Clayton and The Town. Elswit has a stylized naturalism,Cardino observes. It still feels very real, but its also very immediate.His lighting style is very moody. We found a lot of inspiration in that

[style and] in the way he moves his camera. We definitely wanted [Best Man Wins] to have elements ofnaturalism in terms of not feeling like a slick commercial, but we alsowanted it to have a punchiness and darkness based on the arc of thestory, Cardino continues. Stphane really wanted to make a filmwhere people are not good or bad, right or wrong everybody hasa little responsibility in all of it. There are a lot of gray areas wherethese characters live their lives, and we wanted the lighting to reflectthat. We wanted to build off of that sense that people are never[fully] in or out of the light. Cardino shot the film with two Red Epic Mysterium-Xs, fram-

ing for a 2.39:1 aspect ratio, and capturing 5K files with 5:1 compres-sion. The cinematographer notes that he doesnt like to go above 5:1with the Epic, especially for a film with a lot of visual-effects work. Ithought it was really important that the color fidelity was at the maxi-mum capacity we could accommodate in terms of running time forthe cards, he says. Cardino rented all of his camera gear from Panavision Holly-wood, with the help of Mike Carter, and used Super Speed and UltraSpeed lenses, which are part of Panavisions Legacy Primes series.Having used them on previous projects, he felt their softness wouldtake some of the edge off of the Epics sensor. He generally stuck withwider lenses I mainly used the 24mm, 29mm, 35mm and

40mm, but occasionally went wider to the 20mm, he says. Awider lens for close-ups and mediums adds additional character, andyou feel closer to [the actors], especially if youre shooting non-anamorphic 2.40:1. It also adds a little bit of flavor and texture totheir faces. The airplane interior was shot on a traditional airplane set atAir Hollywood in Pacoima, Calif., but the creation of the airport inte-riors was spearheaded by visual-effects supervisor Elliott Jobe and hiscompany There in Los Angeles. (Additional effects work wasperformed by ArsenalFX and Cosmo Street in Santa Monica, andMoondog/Hectic NY and Significant Others in New York.) I went in

Edward Stiles(Tim DeKay,

left), a famousNew York Citychef, cooks upa revenge plot

against hisfriend Jean-

Louis Vachon(Franois

Vincentelli) inthe short film

Best Man Wins.

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fully trusting Elliott and his team that it

would all work out, despite not having seenit, reflects Dumonceau. That was a hugeask for someone like myself, because I like tosee what Im getting. I wont lie I lost afew nights of sleep over that, but ultimatelyit more than worked out.

According to Jobe, Dumonceauselected the best reference images he couldfind for Charles de Gaulle Airport and thencut together a rough animatic to see howthat airports interiors would sequence

together. Once the filmmakers were satisfied

with the animatic, the team at Theremodeled, lit and rendered the sets digitallyto match the reference images, then shotthe CG plates to further refine the look ofeach scene. Jobe adds, We had alreadycaptured the JFK terminal during the day [forinitial previs work], so it was just a matter ofswitching the time of day to night and usingthe digital set to then previsualize all thecamera setups.

For both terminals, Jobe continues,

[Cardino] suggested additional lightingelements we could add to the scene thatwould enhance each angle. On set, we wereable to use the previs details to line up all ofthe blocking, lenses and lighting, so we onlyhad one major lighting change for the dayand were able to hit all 40 setups [for bothairports] in 10 hours without feelingrushed. Even though the filmmakers hadplayback capabilities on set and were able tosee a real-time composite of the actors inthe virtual environment, it was still a chal-lenge to ensure that the lighting matchedacross the real and CG worlds. Cardino

remembers wondering, Does this lightingmatch the plates, and can the visual effectsfind a medium ground [with the on-setlighting] where its all going to cometogether and feel real for the audience? Forme, it was all about selling the space via thelighting. The greenscreen scenes were shot ona stage at Thunder Studios in Long Beach,Calif., where Cardino brought in an array oflights from Mole-Richardson, including10Ks, 5Ks and Zips. He lit the greenscreen

with a series of 1,000-watt Molorama Cyclights, and for a base ambience, he used alarge overhead Fisher Light. Overall, he sayshe tried to approach the virtual set as hewould any other set, while keeping in mindthe technical requirements of pulling goodkeys. A big part of the [production] washaving a lot of dialogue with Elliott andmaking sure there wasnt greenscreenbleeding all over the actors, the cinematog-rapher notes.

Top: Edwardrushes to board a

plane. Middle: Thegreenscreen set

and lighting setupfor the scene

above. Bottom:Cinematographer

Wes Cardino (left)discusses the

scene with visual-effects supervisor

Elliott Jobe.


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The final confrontation betweenStiles and Vachon is set in a restaurantkitchen, where Cardino worked with tung-sten fixtures and Kino Flos, including5,600K 2-by-2 and 4-by-4 Kinos, an assort-ment of practical tungsten bulbs on hand-dimmers, and there were some 150-watt

Dedo lights for downward spots or accent-edge lights as well, he says. A lot of kitchens have overheadfluorescents, the cinematographer contin-ues, and then you have heat lamps that aregenerally very warm 2,700 to 2,900K so I was looking to work within those para-meters to give [the scene] a realistic feel.Another factor is that Kino Flos come inhandy in tight quarters. We were in akitchen that had limited space, and [workingwith Kino Flos] really helped us achieve thelook we wanted within [those confines]. During prep, Cardino created an in-camera LUT that he and his digital-imagingtechnician, C.J. Brion, used along withRedcine-X to create dailies. The final digi-tal grade took place at Company 3 withcolorist Tim Masick, using DaVinci Resolve.The grade was done in native resolutionand output to 2K for DCP and 1080 for Rec709 deliverables, Cardino says. I try to shoot everything as close aspossible to how I want it to look in the endso there arent a lot of surprises in the final

grade, says Cardino. I still try to approachdigital shooting like film shooting, becausethats how I started. You learn a lot of disci-pline when you shoot film, and I try to carrythat over. The main goal for the team was tomake sure the visual effects would notdistract the audience from the story, andCardino was very pleased with the endresults. People have come up to me afterscreenings and said, I cant believe you wentto Charles de Gaulle Airport, the cine-

matographer says. Its been awesome tohear people say that. It was so important forthe film to feel photorealistic, because wewanted a natural and realistic approachfrom the get-go. Best Man Wins had its worldpremiere at the 2015 Tribeca Film Festivaland has also screened at festivals in Seattle,Palm Springs and Rhode Island, and atLondons Raindance. Final frame grabs from scenes inside the airport, paired with their greenscreen beginnings.


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Single-Take Heist By Patricia Thomson

One city, one night, one take is the tagline for Victoria,which sums up the stunning tour de force by German director Sebas-

tian Schipper and Norwegian cinematographer Sturla BrandthGrvlen, DFF. While this isnt the first one-take film 2002s RussianArk(ACJan. 03) holds that honor it is the first to bring such hard-driving, spontaneous energy to this high-wire act. Consider the magnitude: Two hours and 18 minutes of hand-held camera, 22 locations, more than 150 extras managed by sixassistant directors, seven actors followed sequentially by three soundteams, and the whole enterprise timed to end with the morning light. We first meet Victorias title character (Laia Costa) dancing byherself in an underground club. Shes a vivacious newcomer fromMadrid, open to making friends, and is soon adopted by a quartet ofrowdy rogues who say theyll show her the real Berlin. The first

hour follows them from nightclub to city streets to a rooftop hangoutto the coffee bar where Victoria works. She and the friendliest of thebunch, Sonne (Frederick Lau), hit it off, but their flirtation is inter-rupted by his ex-con pal (Franz Rogowski), who has promised afavor to the man who was his protector in jail (Andr Hennicke).Victoria is sucked into duty as a driver for the ensuing bank robbery,and the second half of the film follows them as they take the moneyand run. This hour has several dramatic set pieces in the getawaycar, celebrating at a nightclub, a police foot-chase, a hostage-taking as well as more intimate moments. When Schipper got in touch with Grvlen about the project,

I was intrigued, and a little skeptical, says the cinematographer,whod met Schipper a year earlier while shooting Anders Morgen-thalers The 11th Hour, in which Schipper acted alongside KimBasinger.

Potential funders were even more skeptical. To inspire confi-

dence, the Victoria cast and crew shot a one-take 10-minute short.That calling card got them their funding, and it was also useful forfinding the right approach to Victorias camera movement. Sturlawas already on top of his game, but I told him, You cant shootVictoria like this you cant anticipate actions, says Schipper.Instead, the director suggested he think like a war photographer. Iwas to react to things happening around me, rather than have apreconceived idea of where to look or whats [in] the frame, saysGrvlen. It was important to have the energy of being in the nowcoming through the lens, rather than trying to create a specificshot. When the four weeks of rehearsals began, there was no

script just a 12-page treatment that was meant to be fleshed outwith the actors. The story was broken into 10 segments, which thefilmmakers immediately began rehearsing on camera with a fullcrew. In that process, we learned the language of the film,Grvlen says. The actors would improvise the theme, Sebastianwould correct them, and the story would develop. I learned therhythms of the actors, which helped me to read their body languagein order to move with them. I was very tapped into their energy;when they were stressed, I got stressed, or when they were havinga quiet moment, I could relax. It went hand in hand, with theirenergy coloring my work.

Production Slate

V i c t o r i a i m a g e s c o u r t e s y o f A d o p t F i l m s

P h o t o o f S t u r l a B r a n d t h G r v l e n

D F F b y R o x y R e i s s

A newcomer from Madrid, the titular character (Laia Costa) endures an adventurous and harrowing Berlin night in the feature Victoria.

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Grvlen also wandered the neigh-borhood with his camera, getting to knowthe lighting conditions and the ergonomicsof the Canon EOS C300 PL. I did test theSony F3 and some sort of modified GoPro,where you could have interchangeablelenses, he says. But I was pretty confidentfrom the beginning that I would choose theCanon C300 [because of the cameras]ergonomics and light sensitivity and I likethe texture and image quality.

Eschewing cables of any kind,

Grvlen recorded onto a 32GB CF memorycard, which could hold two hours and 40minutes using the MPEG-2 50 Mbps 4:2:2codec. The C300 was outfitted with a ZeissStandard Speed 24mm T2.1 prime lens, anda small matte box held a 18 Tiffen Black Pro-Mist filter. The ISO was set to 2,000. Thecamera sat inside a Redrock MicroUltraCage, which held a monitor, micro-phone, top handle, side handle and light-weight Arri follow-focus. That was basi-

cally it, says Grvlen. It weighed about5.5 kilos.

Handholding 12 pounds for 138minutes is a challenge you have to experi-ence to understand, and Grvlen got a tasteduring rehearsals. For the police chase which occurs well past the one-hour mark he was expected to run flat-out with theactors. The first time we rehearsed that, Ihadnt warmed up, and after the first take,I couldnt move, Grvlen recalls with alaugh. After that, his prep included physical

training: He took up running with a 5-kiloweight, core strengthening, and half-hourwarm-ups before the full takes. It was liketraining for a marathon, he says. Thefitness paid off. Surprisingly, while I wasshooting [the full takes], I never thought,Im tired now. Its not going to work. Youjust focus on being there. But afterwards, Iwas totally gone! I would get my massageand sleep for 12 hours. For the several scenes inside a car,

they strapped a bungee to the roof, whichwould allow the camera to dangle and giveGrvlen a moments rest. But I dont think Iended up using it, he says. I wouldnt riskanything getting caught in the roof of thecar when stepping in and out. That cautionalso extended to his own wardrobe, whichincluded shoes without laces and slim-fitpants without pockets, so nothing couldsnag.

When space permitted, focus pullerBoye Klver dealt with aperture adjust-ments, steered Grvlen, and reminded himto flip the internal ND filter as he passedfrom interiors to exteriors. When space was

too cramped, like in the cars, elevator, apart-ment and hotel room, Grvlen had to fendfor himself. All locations had to be lit for 360degrees and, to lower the chances of crewgetting in frame, Grvlen decided againstany kind of handheld lights or bounceboards. Some scenes are only with avail-able light, says gaffer Mirko Fricke. We[also] did some little things while the shotwas in progress. For instance, haze in thegarage, some adjustments in the hotel and

bank, and we had one lamp that was setand removed within the take because other-wise it would have been in the frame. The films biggest units weredeployed for the club exterior and subse-quent walk-and-talk, when Victoria and theboys get to know each other. For ambientlight, a 6K Par with spot lens was positionedon a roof and bounced against the oppositebuilding, while a 5K sodium-vapor Fresnelwas hidden around the corner and directly lit

Top: Open to meeting new people, Victoria befriends Sonne (Frederick Lau), a roguish local.Bottom: Victoria soon finds herself in a predicament.


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the scene. On a more distant roof, ArriM18s and M25s with CTO gel providedadditional ambience and enhanced thestreet lamps. Par 64s with various gels tomatch specific lamp colors includingsodium, CTB and a variety of greens were mounted on roofs to serve as street-light extensions, with some boomed outwith 4-meter pipes. Fluorescent-lit bill-boards were erected to provide backgroundhighlights, while unwanted storefront lightswere scrimmed out. The most elaborate interior setupwas the nightclub set, which was usedtwice. It opens the film, with strobe effectshitting Victorias face, and then serves asrevelry central when the group triumphantlyreturns from the robbery. Built in an emptybasement, this was the only constructedset, done for proximitys sake. Two scanners

and four moving Mac 250 profile spots didthe yeomans work. The moving lightswere used for the strobe effect because weneeded a longer flash time to provide aclean effect in camera, says Fricke. AddsGrvlen, A strobe light would have createdartifacts in the form of half-exposed framesbecause of the rolling shutter of thecamera. In addition, a large soft box faced theDJ. For his face, I used two Linestra halo-gen light tubes, Fricke notes. Both the DJ

and the crowd behind him were backlit withgelled Par 56s the DJ himself with a pairof reds and the crowd with a pair of bluish-greens and another of yellow-oranges.The whole dance floor was prepared witha lot of Par 56s and Par 64s, Fricke contin-ues. We had different colors on them forthe two different moods. The biggestdifference in lighting between the gangstwo visits to the club was a switch from astroboscopic effect to a cool bluish-green

and hazy ambiance to complement thedawn, Grvlen explains. The first time the production tried afull take, it was as taxing as any robbery.The hopes were really high to nail it rightaway, says the director. The initial attemptwas technically successful, but otherwise fellflat. Everybody was holding back, saysSchipper. Nobody wanted to be the guythat made the mistake. They took a weeks pause, then triedagain. Schipper encouraged the team toembrace whatever happened and incorpo-rate that into the story. But this second trytop-sided in chaos, Schipper says. He hadpromised his funders a jump-cut version ifthe one-take approach failed, but he couldtell that an edited version, culled from fulltakes and filmed rehearsals, just wouldntwork. It would probably qualify on some

level as a product, he says, but thatwasnt their goal.

Given the high stakes, their third andfinal take was supercharged, says Schip-per, who hung closer to the actors this timearound, slipping into the car off-camera andbeing in their sphere during certain troublespots. This time, they pulled it off on allfronts. Actually, I felt it wasnt the bestwork I had done, Grvlen confesses. Butafter the last shot, when Victoria is walkingaway and were about to cut, Sebastian

came over, put his hand on my shoulder andsaid, We got it. He was very clear: This hadthe best performances, the best energy. AndI have to agree. That take also included some happyaccidents. The chaos that erupts in thegetaway car, for instance, was real. Costawas driving too fast on unblocked streets, soeveryone was yelling at her to slow down.Whats more, they tried a new, shorterroute, and the actress nearly turned down

the street where craft services was located.The yelling intensified. I could see it out ofthe corner of my eye, says Grvlen, so Ijust panned the camera to Frederick Lau,who was on the floor, and stayed on him fora while. When we finally found the routeback to the club, everybody took a breath. It

was really authentic. That was somethingthat could have gone very wrong, but itmade everything so much better. Grvlens proudest moment cametoward the end, when Victoria parts withSonne. It came together perfectly, herecalls. When I moved in close on her, atear was falling. In a normal shoot, we prob-ably would have done that 20 times to getit right, and here, after two hours of shoot-ing, it was there. That was a magicalmoment. Victorias color grade was done atNHB Berlin on a FilmLight Baselight Two(Generation V), with a DPX sequencetranscode in 1920x1080 24p and Rec 709color space, for a final 2K DCP deliverable.Grvlen, producer Jan Dressler and coloristPana Argueta pursued a natural look toenhance the you are there experience.Argueta explains, My main task, and themost challenging part of my work, was toenhance the changes in the light and thecolor temperature as the characters weremoving throughout the locations, he says.

I had to use hundreds of key frames on theBaselight kind of like color dissolveswithin scenes to achieve the right moodfor every situation in the smoothest possibleway. I still get dizzy when I think about it. According to Grvlen, another bigtask was painting out the most obviouscamera shadows and crew reflections. Theyalso had one sky replacement. Up on therooftop, we wanted dawn to start being visi-ble, instead of looking into blackness.Overall, Grvlen assures, there wasnt that

much trickery. Just a lot of gumption.

TECHNICAL SPECS

2.39:1

Digital Capture

Canon EOS C300 PL

Zeiss Standard Speed

CinematographerSturla Brandth

Grvlen, DFFlines up a shot.


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d

Outrageous Fortune By Neil Matsumoto

Kids were wild about Jem and theHolograms, a TV staple in the 1980s. Thecartoon starred mild-mannered Jerrica

Benton, who would transform into theglamorous Jem and lead her truly outra-geous rock band into the breach,confronting all manner of adversity beforetaking the stage by storm. Directed by JonM. Chu and written by Ryan Landels, thelive-action reimagining of Jem and theHolograms is a modern-day tale of aYouTube sensation who rises to superstar-dom, only to find herself in a predicamentthat threatens to tear lifelong friendshipsand her family apart. And behind the scenes

is Synergy, an advanced artificial intelligencecreated by Jerricas late father, that projectscomplex holograms. The film, which stars Aubrey Peeplesas Jerrica/Jem, was shot by Alice Brooks,who first met Chu while the two wereattending the USC School of CinematicArts. The cinematographer shot Chusambitious short film When the Kids AreAwaywhile they were students, and latercollaborated with the director on the Web

of a scene, but we didnt have a specificshot list, except for the more complexscenes and concerts, she says. It becamethis organic creative process, which was amuch different way of approaching aproject than Ive done before.

The filmmakers knew they would beshooting most of the movie with Red EpicMysterium-X cameras, as Chu alreadyowned one. (They rented additional Epicsfrom Panavision Hollywood.) During prepthey visited various locations, including theSanta Monica Pier, where they tested thecameras night-exterior performance at1,600 ISO, capturing footage lit only by theexisting lights of the Ferris wheel. Although the majority of the filmwas shot with the Epic, Brooks knew from

the beginning that Jem would employmultiple formats. Jems sister, Kimber(Stefanie Scott), for example, spends a lot ofher time documenting her life, and for thesescenes Brooks used a Blackmagic PocketCinema Camera that captured 1080pProRes files to onboard SD cards. Wetested a lot of cameras, including GoPros,iPhones and Canon DSLRs, but ended upwith the Blackmagic camera, says Brooks.We shot 16:9, pillar-boxed in [2.39:1]. We

series The LXD: The Legion of ExtraordinaryDancers (AC Nov. 10). Chu had firstdiscussed Jem and the Holograms withBrooks several years before the opportunityarose to make it happen. Brooks explains that her most valu-

able preproduction experience occurredwhen she went for a supposedly quickmeeting at Chus house, while he wasgoing over script changes with Landels.They had been working on a rewrite of thescript and I ended up staying at Jons for 12hours going through it page by page, shesays, really getting to the essence of whateach moment was about. At the end of thatmeeting, I knew that Jon and I were on thesame page and we knew what story wewere telling.

There are two distinct visual styles forJem and the Holograms: concert sceneswith vibrant colors and theatrical stagelighting, and the four bandmates everydaylives. When it came to the latter, Brookswanted more of a documentary, analog,film-like feel, she explains, and thus shot90 percent of the girls non-concert sceneswith handheld cameras and muted colors.We went into everything with a beatsheet, knowing what we needed to get out

A YouTubesensation rises

to superstardom,but fame

threatens to tearher family and

friendships apartin the featureJem and the

Holograms.


I


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tested CinemaDNG but ended up withProRes because it was better for our work-flow, and in our tests we liked the wayProRes looked. We wanted Kimberscamera to feel digital, and we wanted theRed to feel more analog. Also intercut in the movie are flash-backs in the form of home movies shot byJerrica and Kimbers father when the sisterswere kids. Brooks tested out DV, Hi-8, Digi-

tal 8, and even thought about shootingwith the Epic for these scenes and degrad-ing the footage to look like VHS. In the end,she ended up shooting with an actual VHScamera from the mid 1980s the Pana-sonic OmniMovie. As we were goingthrough prep, Brooks says, we set rulesfor ourselves, and one of them was that wedidnt want anything to feel plastic or fake.When we projected the VHS, there was a

quality to it that we loved, and one of myfavorite shots in the movie is actually shoton VHS. The majority of Jem and the Holo-

grams was shot with two Epics capturing5K resolution to RedMags with 6:1compression in the 2.39:1 aspect ratio.

Brooks chose Panavision PVintage Primelenses, which are from the mid-1970s andbased on Panavisions Ultra Speed Primes.Brooks primarily shot with a 35mm on theA camera and a 50mm on the B camera,and for close-ups she used a 75mm on theA and a 100mm on the B. Wider lenseswere generally only used for concertsequences. According to Brooks, lens flares werea deciding factor in the filmmakers choiceto use PVintage Primes. When the lenses

were combined with the Epic, we ended upwith these soft, pink-like flares andalmost everything aboutJem is pink, shenotes. We loved the flares so much thatwe didnt use hard mattes; we justcompletely embraced the flares. The cine-matographer adds that the lenses softnessalso helped hide the digital-ness of theEpics. To soften even more, Brooks usedSchneider Optics and Classic Softfilters.

Top: The crewpreps for a

scene.Bottom (fromleft): Director

Jon M. Chu,cinematographerAlice Brooks andactress Stefanie

Scott (whoportrays Jemssister, Kimber)

view footage ona Blackmagic

Pocket CinemaCamera display.


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The way Jon works is once we startshooting a scene, he doesnt like to cut ashot, but rather reset. explains Brooks.The most important thing for him isgetting the performance and telling theemotion of the story. We had to be 100-percent ready on the first take. Operators

Nick Franco and Andy Waruszewskis workwas never shaky, no matter how long theyheld the camera. They both are brilliant incomposing frames and they did a trulyheroic job. For Jems concert sequences, Brookssought the expertise of a veteran concert-lighting specialist. Through Facebook shegot in contact with lighting designer MarcBrickman. Marc was one of the first peopleto use lasers in concerts, working with suchartists as Pink Floyd and Bruce Springsteen,so I knew he was the person I wanted, saysBrooks. It took a bit of convincing. I toldhim we wanted each concert to be a defin-ing moment and to feel more like an artform than a typical concert movie. Weshared our ideas, and Marc came on boardto light two of our three concerts. The onehe was really interested in was the under-ground concert because it was such a chal-lenge. He also collaborated with us on thefinale. For the final concert scenes, whichthey shot outdoors at Los Angeles Center

Studios, the crew used 18 4-watt, full-colorlasers on six independent towers set uparound the stage. There were also 60.5-milliwatt single-beam blue lasers thatwere pointed upwards, as Brooks had to becautious not to point them at the camerasand risk burning out their sensors. Theproduction also used Vari-Lite VL3500moving lights on the sides and back of thestage. It was really windy that night, so weused crazy amounts of smoke to see thelasers, Brooks adds. At one point when

the sun went down, all the smoke wasblowing away and you couldnt see thelasers and we had 500 extras piling in. Thewinds eventually died down and thespecial-effects people were able to keepthe smoke up. Perhaps the most difficult concertscene was the underground shoot in agarage, four stories down at Los AngelesCenter Studios. The biggest challenge wasthat the ceilings were only 10' high and the

Top (from left): Shana (Aurora Perrineau), Kimber, Aja (Hayley Kiyoko) and Jerrica (Aubrey Peeples)before they become Jem and the Holograms. Middle: Kimber documents Jerrica/Jems rise to stardom.

Bottom: Jem and the Holograms perform.


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length of the space was 400' deep, andBrooks wanted to feel the depth withoutseeing the actual source lights. Brickmancame up with the idea to light the ceilingand the floor rather than the columns, asChu and Brooks had originally planned. Brooks and gaffer Jay Muranaka

relied heavily on the Cineo HS line. Theywere one of our workhorses for the wholemovie, Brooks enthuses. We used themmainly as booklights, sometimes with up tofive frames of diffusion in front of them. Iloved their output and that we couldchange the color temperature. The qualityof the light on the skin is beautiful, as well.

Along with the Cineos, Brooks andMuranaka also used a multitude of Arrifixtures, including M18s, M40s and M90s.For a couple of night scenes, the cinematog-

rapher brought out an 18K HMI. During asequence in which the band was lit entirelyby audience members holding up their cellphones, Brooks tested LiteGear LED ribbonsbut instead used flashlight apps from 80Samsung mobile phones. Light Iron handled post for the film,and Brooks and digital-imaging technicianChase Abrams used the companys Outpostsystem to handle the productions massivedata workflow. (They were often capturing

up to seven hours of footage a day.) Fordailies they used the Pix system, with whichAbrams loaded shots onto multiple iPads forthe crew. Brooks would also watch dailieswith the director on the weekend. Brooks completed the color grade atLight Iron with colorist Ian Vertovec. Ian

and I have been working together for fiveyears, says Brooks, and we have a reallygreat shorthand and incredible collabora-tion. Hes an amazing artist. All throughoutprep I would send him images, as well as therules we had created for ourselves. Iancreated a LUT from our test footage that weused for all of our Epic dailies. We had lotsof bright pink, red and purple hair, and itwas really important for us that the real-lifefootage feel grounded and not fake in anyway. Sometimes the hair was just too color-

ful, so we pulled quite a bit of saturation forour dailies. We didnt have much time [forthe final grade], but at this point its a prettyeasy process working with Ian. The projectwas graded using Quantels Pablo for a 2KDCP final deliverable. Jem and the Holograms was a dreamproject for Brooks, who as a child was a bigfan of the animated series. I wascompletely obsessed, she reveals. Idressed up as Kimber for Halloween one

year. My sister and I were always dancing onthe coffee tables singing songs from theshow, so it was incredibly exciting to get toactually make the live-action version.

TECHNICAL SPECS

2.39:1

Digital Capture

Red Epic Mysterium-X,Blackmagic Pocket Cinema Camera,Panasonic OmniMovie, GoPro Hero 3+

Panavision PVintage

The camera crew shoots Jem performing solo.

ERRATA

The photo credit for our September 2015cover (Straight Outta Compton) was incor-rect and should have read, Photo byJaimie Trueblood, SMPSP, courtesy ofUniversal Pictures.

The aspect ratio of The Man FromU.N.C.L.E. (also covered in September) is2.39:1 not 1.33:1, as our TechnicalSpecs on page 67 assert.


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Hoyte van Hoytema, FSF, NSCcombines classic and contemporary styles

for the James Bond film Spectre.

By Benjamin B

|

Daniel Craig stands on a narrow ledge some 30' off theground. A security cable stretches out the back of theactors elegant jacket and fastens to a point roughly 20'above, where a crewmember monitors the rig atten-

tively. The set comprises four walls of a blown-out building,and the action is a simple gag: 007 grabs at a light fixture onthe wall to steady himself, the fixture comes off, and he fallson the ledge. Director Sam Mendes yells, Cut!

AC is visiting director of photography Hoyte van

Sinister SectSinister Sect


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www.theasc.com November 2015

Hoytema, FSF, NSC and his crew onthe back lot of Pinewood Studios, on theset of Spectre, the latest film in the long-running James Bond franchise. Filmedby a Technocrane-mounted PanavisionMillennium XL2 camera, Craigperforms several takes in this perilousposition, and when at last the scene isdone, he descends and introduces

Opposite and thispage, top: JamesBond (Daniel Craigbattles an oldnemesis in the new007 thriller, SpectreMiddle:CinematographerHoyte van HoytemFSF, NSC (left)studies a scene witdirector SamMendes. Bottom:

The crew captures helicopter sequencin Mexico City.


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Sinister Secthimself, adding, You have to put ourfilm on the cover of AmericanCinematographer!

We joke that Bond might get thecover if Craig provides an exclusive, tell-all interview. The notoriously private

actor responds with a good-naturedsmile and goes back to shooting. Werepleasantly surprised, however, when hedoes return to offer his thoughts aboutthe importance of shooting on film. Asfar as Im concerned, nothing beatsshooting on 35mm film, the actoropines. Film is so much more beautifulthan digital; it gives so many moretextures and variations. I dont know verymuch, but the amount of work that goesinto working on digital to make it looklike film after the event seems like a great

waste of time. Why not just shoot onfilm? Indeed, if theres a single themethat emerges from our time with vanHoytema, its his unconditional devotionto film negative. After the production

wraps, the cinematographer kindlyinvitesACto appreciate the films grainand texture during the DI at Company 3in London, where he reads amusingstatistics about the production sent by 1st

AC Julian Bucknall: TheSpectrecamera

crew used 30 cameras, 280 lenses,consumed 1,800 espressos and almosta million feet of film! Spectre was shot over sevenmonths in Mexico City, London, Rome,

Austria and Morocco. In addition, giantsets were built at several facilities atPinewood Studios, including the famous007 Stage, the back lot and the Paddock

Tank. Van Hoytema worked mainlywith Panavision C Series anamorphiclenses, with exceptions including the

opening sequence, which was filmedwith spherical Primos, and a nocturnalboat chase along miles of the Thamesriverfront in London; for reasons ofexposure, the latter was shot withPanavisions new Primo 70s on Arrisnew Alexa 65 digital camera (see sidebar,p. 44). The cinematographer used threeKodak Vision3 negatives on Spectre: 50D5203, 250D 5207 and 500T 5219. The

Top: Bondinspects his newcar. Middle: The

camera crewpreps the car

reveal. Bottom:A Performance

Filmworks Edgecrane trails

Bonds vehicle.


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dailies were transferred on a Spirit, andthe negative selects were rescanned at4K on an Arriscan. The DI was gradedby colorist Greg Fisher, who worked in4K using Blackmagic Designs DaVinciResolve.

AC

s interview with vanHoytema was complemented by discus-sions with Fisher and Panavisions DanSasaki. A special thanks goes to gafferDavid Smith for taking time to detailthe lighting setups, and to HeatherCallow for coordinating visits to the setand DI suite.

American Cinematographer:What indications did director SamMendes give you about the visual styleand look of Spectre? Hoyte van Hoytema, FSF,NSC: Sam wanted the different[points] on Bonds journey to have adistinctive feel. They all had to carry aspecific mood, suitable to the locationand, of course, the story. The visuallanguage of the film wasnt somethingthat had a certain mandate or rulebookattached to it from the start, but wassomething that evolved as we movedforward. It was a very organic process ofeliminating what felt wrong, and adding

what felt appropriate. How did you decide to shootfilm negative? Van Hoytema: I suggested filmfrom the start, but I think that Sam hadbeen living with the same thought. Ihad the feeling that Sam really had agreat interest in finding a medium thathis cinematographer was comfortable

with, and I have always felt his respectregarding the choice. Why did you choose to shoot

anamorphic? Van Hoytema: Shootinganamorphic for a project like this is ano-brainer. However, we also playedaround with the thought of shootingImax, and I did extensive testing. But itbecame impossible for us to pursueImax on this kind of scale we shotalmost a million feet, and our secondunit sometimes used more than sevencamera bodies simultaneously so we

Top: PanaluxFloBanksilluminate theTranslight thatsurrounds the

Austrian-spa sebuilt atPinewoodStudios (seesidebar, p. 38).Middle andbottom: Mr.Hinx (DaveBautista)pursues Bondthrough thestreets of Rom


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decided on 35mm anamorphic. What was it like working withMendes? Van Hoytema: I enjoyed everymoment with him. Sam is smart, wittyand a pure film craftsman. He is very

knowledgeable and is genuinely inter-ested in all the aspects of filmmaking a fanatical storyteller. Sam told me oncethat, within the whole machinery offilmmaking, cinematography was veryclose to his heart. I can confirm that.His love for cinematography createdgreat companionship, trust and access. There is a classic feel to the lookof Spectre. How did you and Mendesarrive at that style? Van Hoytema:We wanted it tofeel more romantic and more classic.Since Bond used to be a style icon, I was

wondering if we could get some of thatold-fashioned flair back but in an effort-less way, not having to try too hard,

without feeling forced and unnatural.Bond never really has to prove himself,and I wanted to reflect that effortlessfeeling in the visual language. I believethat we got more powerful results bybeing more settled and restrained. How did you and Mendes worktogether to define the camera angles

and movement? Van Hoytema:We tried to placethe camera exactly where its supposedto be, without trying to jazz things upby putting it in weird positions orcomplicated moves. We wanted cameramovement to be functional rather thandecorative.

In the action scenes, we were verymeticulous about screen directions. Itsimportant that the viewer is able tounderstand whats going on. As a result,

you can cut very fast, but you dont getconfused, and the film can be punchier.

This is something I never used to do,and is very much due to Sam. And there is no slow motion? Van Hoytema: Hardly any. Onceagain, the idea was to have no unneces-sary decoration, just to focus on thestory. Theres a phrase by Goethe that Ilike a lot: So fhlt man Absicht, undman ist verstimmt, which translates

Sinister Sect

American Cinematographer: Can youtalk about the huge Austrian-spa

set in Pinewood? Hoyte van Hoytema, FSF,NSC: The building was three storieshigh and mostly glass, and a Translightbackground of snowy mountains went360 degrees around it, from floor toceiling. To get convincing Translights,

you need big sizes and distances. Theglass panes in the building also helpedhere, because we got reflections of the

Translight from all sides. How did you and gaffer DavidSmith light the Translights for the spaset? Van Hoytema: The scene wasmeant to [take place on] a clear, overcastday, so I wanted to light it with daylightsources to be naturalistic. With a big

Translight, you have to take tempera-

ture into consideration with tung-sten or HMI lights, the stage wouldhave become unlivable. Also we couldntuse big light sources behind [the

Translight] because we had to keep thefootprint as small as possible. So wemade a giant rib of fluorescents allaround the set. David, could you detail thefixtures used on this big glass set?

David Smith: Everything wasdaylight-balanced. All the fluorescentsand LEDs were fully dimmable andDMX-controlled. We used PanaluxFloBank fixtures behind the Translight;FloBanks have two groups of four 54-

watt tubes.To give an overall ambient light

and in case we saw reflections of the

sky in the glass we had a silk abovethe set roof with Panalux HiLightslighting from above. The HiLightshave eight 55-watt tubes. We also hadrows of [Panalux] 2-by-2 LED

TekTiles to give a sense of light direc-tion from the two brighter sides of thebuilding, and we had six K5600 4KAlphas beaming down the centralatrium, which we used because you can[position] them pointing straightdown.

Not pictured on the diagram are16 18K Arrimax Pars that we movedaround on the floor of the stage outsidethe building. They were aimed atUltrabounce frames on trusses abovethe Translights. We could lower andangle the frames as needed with electricmotors to get a soft daylight key intothe building.

Benjamin B

| Lighting the Austrian Spa |

L i g h t i n g d i a g r a m

c o u r t e s y o f D a v i d S m i t h


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roughly to: As soon as one becomesaware of the intention, the senses arenumbed. Youre not used to working with acamera operator? Van Hoytema: I have worked

with operators, but I always did thehandheld it has always been a verypersonal and organic thing. I rememberin the beginning of this film, when [A-camera operator] Lukasz Bielan oper-ated a scene, I looked at what he wasdoing and I thought, Oh, its so nice tohave an operator who is better than Iam! It made me very comfortable andhelped me to handle the magnitude ofthe production. Sam and I would talk alot about the mise-en-scne and whichlenses to use and so on, but Lukasz wasalways there, listening in the back-ground, and he added his energy andideas. How was handheld employed inthe movie? Van Hoytema: There are veryformal parts in the film, but there is alsoa sort of warm-blooded storyline thatstarts to evolve with James Bond actuallyfalling in love! We felt that it was inter-esting to gradually step away from theformalism, to loosen the camera up a

little and add some handheld in thosescenes. But in the action scenes, like thecar chase in Rome, we wanted theframes to be more elegant and settled.

We wanted to convey speed withoutshaking the visuals. So we had thecamera mounted to the car, and we useda Russian Arm a lot.

Although the camera feels classi-cal, the lighting is more contemporary.For example, there is no fill light.

Van Hoytema: Exactly. Wewanted to give the film a retro feeling,but that doesnt mean making a retrofilm. So we used very modern elementsand technology, with a slightly old-fash-ioned laid-backness. Its a mixture, ablending of both worlds. In general, Im not big on fill. Ilove the idea of just putting the lightsource in the right place. There havebeen [Bond films] in the past where his


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face is lit in the same meticulous way indifferent scenes: a frontal with a littlebit of fill. When you find the perfectlight for a face all the time, you stepaway from reality. For this Bond I

wanted close-ups to have different feels,

and I also used different tools: Rifa-Lites, fluorescents, LED panels. I like to do dynamic close-ups,

where the light on the faces changesbecause of the mise-en-scne. Forexample, when Bond and Madeleine[La Seydoux] are in the back room ofthe hotel in Morocco, theyre standingin half-darkness, in a very soft ambientlight, and then they have a confronta-tion as they step into the light of anoverhead lightbulb hanging above atable.

The Day of the Dead openingsequence in Mexico City is shot with-out direct sunlight, and with a lot ofsmoke. That gives the day exterior aunique look. Van Hoytema: We wanted tomake Mexico like an exotic, strangedream. We would literally wait for thesun to disappear, add smoke and shoot.

We added a lot of smoke, because wereally wanted to disperse the light, tomake the air feel heavy. We shot in

Mexico in [4-perf] Super 35 with acombination of the 50 and 250 [stocks]. We tried to shoot everything inMexico overcast, but we werent alwayssuccessful; there are parts where the sunbreaks out. We wanted to reserve directsunlight for Morocco. Why did you shoot Mexico City

with spherical Primos instead ofanamorphics? Van Hoytema: I wanted to makethe image a little softer and grittier, as

well as help visual effects with someextra negative at the top and bottom toassist with their transitions for themaster shot. Spherical always feels alittle more rounded off; the edges aretaken off a little bit. Anamorphic is somuch sharper.

Some people feel that sphericalis sharper than anamorphic. Van Hoytema: Not if youre

working with extremely well-tuned

Sinister Sect

Top andmiddle: M

(Ralph Fiennes)meets with

Bond. Bottom:Mendes

prepares atrain-car

interior withCraig and La

Seydoux.


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anamorphic lenses. A good anamorphiclens has much better resolution in[2.39:1] than a Super 35 image. But its

very hard to create anamorphic glass thatis good, so its true that you come across alot of lenses that feel soft. People often

use anamorphics in commercials to makesoft images with lots of flare. [ASC asso-ciate and Panavisions vice president ofoptical engineering], Dan Sasaki, tunedour anamorphic lenses so that flares dontoccur as much in sunlight, but they dooccur in artificial light.

For the [nighttime chase scene inRome], we used a big collection oflenses. Our workhorse set [for thesesequences] was actually the Arri Master

Anamorphics, to avoid extreme head-light flares and still be able to shoot inlow light, as they are a [T1.9] across theset. All the other [footage] in Rome wasshot with the Panavisions. This playfulness with theformats, mixing spherical and anamor-phic, is very much a part of modernfilmmaking. Van Hoytema: I think so, too, andI love it. The mantra that I got at theclassic film school in dz [Poland] and also read in old AmericanCinematographer interviews was that

it doesnt matter what you do as long asyoure consistent. I take pleasure in tryingto be inconsistent! How did you light the interiorsin the Roman car chase at night? Van Hoytema:The car interiors

were shot on a stage with a mixture ofrear-screen projection, LED panels andclassic light gags. Rear screen disap-peared because of greenscreen, but thebig problem with greenscreen is that

youre always lighting the foreground

and background separately. Rear screengives you reflections in the car and lighton peoples faces that you wouldnt get

with greenscreen. We added rotatingmirrors and classic light gags withmoving panels to sell the effect. We alsofed the content of the rear projection tobright, low-resolution LED screens andused them off-camera as a light source. You used Translights a lot on

your sets.

Sinister Sect

Top and bottom:Franz Oberhauser(Christoph Waltz)chairs a meeting.Middle: The crewcaptures an angle

from atop theboardroom table.

For moreinformation onthis scene, visitThe Film Book

blog at theasc.com


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Although Hoyte van Hoytema,FSF, NSC is a confirmed film

aficionado, he decided that, due to theextremely low light levels, it was moreprudent to shoot Spectres nighttimeboat chase on the Thames with a digi-tal camera. He opted to shoot withArris recently introduced Alexa 65because of its resolution, and he

wanted to pair the camera withPanavisions new Primo 70 lensesbecause they open to T2.

ASC associate Dan Sasaki,Panavisions VP of optical engineer-ing, explains that Arri ManagingDirector Franz Kraus and PanavisionCEO Kim Snyder both of whomare also ASC associate members agreed to work together to deliver thiscross-company equipment package tothe Spectrefilmmakers. American Cinematographer:Putting the Primo 70 lenses on theAlexa 65 involved a historic collabo-

ration between Arri and Panavision. Dan Sasaki:We had a dinnertogether when we finished, and FranzKraus commented that, for years,neither of us would have allowed acompetitors employee into the build-ing! We had a great collaboration

with Arri. A small team fromPanavision went to Munich prior to

the principal photography of Spectre toensure that the adaptation of the Primo70s for the Alexa 65 went well. We met

with the Arri design team and wefound some optical problems, becausethere were a lot of unknowns. So we didsome research and development thereto figure out what we needed to modifyor change. Everything worked out verynicely, and things went pretty smoothlyfor Spectre.

What kind of modifications did

you make? Sasaki: The Primo 70s weredeveloped for a different optical lowpass filter scheme than the Alexa 65s, so

we had to include compensationelements in the optical path behind thelenses. This was on the adapter insidethe camera. We also changed somecoatings. Did you do any mechanicalmodifications? Sasaki: Arri made a universal

base for the Alexa 65, which made itadaptable to our Panavision 70 mount.So we made half the mechanicalcoupling and Arri made the other half. What were van Hoytemasrequirements? Sasaki:The fact that the Primo70s performed well at T2 was veryimportant to Hoyte. He was happy

with the way the lenses handled flares

and random glare during his initial tests,but he was shooting down the Thames

where he didnt have control of all thelights, and he didnt want unforeseensurprises showing up. So we did anotherbattery of tests to look at the flare andglare, and that was another factor thatprompted a change in the coatings to amuch higher tolerance than we origi-nally had. Will there be more projectspairing the Primo 70s and Alexa 65?

Sasaki: Yes, for examplePassengers, an upcoming film to be shotby Rodrigo Prieto, ASC, AMC. Hoyte tells us that you alsotuned his anamorphic lenses. Sasaki: Yes, we did optical andmechanical adjustments to his C Series[lenses] which were first used onInterstellar[ACDec. 14] to get closefocus to about 2 feet, and wecustomized the coating to make theflare more diffuse and reduce its blue

component. We also built a custom65mm lens for Hoyte that is very closefocus.

Benjamin B

| A Collaboration Among Vendors |


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Van Hoytema: Im very much fordoing things in-camera. I want theimages to guide post more than theother way around; thats why I like to use

Translights. I love to create environ-ments on the soundstage that are as real-istic as possible for the actors. Its such a

wonderful feeling to have actors walk onto a set and start settling in as if theyrereally in a location, without having to

use their imagination.Thats also the reason I love

working with low light levels, and why Ilove to keep my lights outside the set.Even on a soundstage, I like to have mysources come through the windows. I tryto have as few lights on set as possible,because they break the magic theypop the balloon. The night exterior along the

Thames required an epic lighting instal-lation that only a James Bond film couldget away with. Van Hoytema: Its the biggestlighting setup Ive ever done, and it mightbe one for The Guinness Book of World

Records! It took five weeks to set up. Mygaffer, David Smith, and his crew set upeight construction cranes and two float-ing pontoons on the Thames, plusdozens of other fixtures on the shore. Wehad 28 generators.

[Editors note: The full lighting rigfor the Thames shoot included 30 20Ks,primarily on rooftops; eight Full Wendyson cranes and barges; 24 Quarter

Wendys, mainly on rooftops; 25 T12s,rigged on rooftops and on stands alongthe water; 16 10Ks, 12 5Ks and 50Blondes, mostly on stands along the river;and 150 1,250-watt Atlas fittings, whichtook a crew three weeks working atnight to rig beneath the bridges.] Why did you do the DI in 4K? Van Hoytema: 2K is not enough

Sinister Sect

The crew prepsa car scene asNaomie Harris

receives atouch-up.

6


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resolution to render the shape and depthof the grain. I love grain. Its very organic;it feels round. In my opinion, if yourender grain in 2K, it turns into noise some sort of digital interpretation ofgrain.

You feel that you need the 4K torender the grain even though youregoing to go back out to 2K later? Van Hoytema: Yes, its better tooversample. Its a lot of data, but its totallydoable. To be honest, I think its quitestrange that the 2K workflow has held onfor so long. For a lot of post houses, itscheaper business-wise, but I think thatthe 2K format is not going to last, becauseits not enough resolution.

Making a film involves so muchcollaboration. Gaffer David Smith,colorist Greg Fisher and PanavisionsDan Sasaki have given us importantproduction details. Who are some of theother people you would like to thank? Van Hoytema: I owe so much to somany! Operator Lukasz Bielan, AC

Julian Bucknall, second-unit directorAlexander Witt and cinematographerJallo Faber, production designer DennisGassner, and also Hugh Whittaker andCharlie Todman from Panavision andRob Garvie from Panalux. My key grip,

Gary Hymns, was a fantastic source ofenergy. No matter how stressed orgnarly the situation was, in the heat of itall, he would turn to me with a glint inhis eye and say, God, I love this job. Ithrive when people around me havethat kind of love and energy! I also have to thank Sam. He hasan awe-provoking command over everyaspect of filmmaking, yet he puts a lot oftrust in his co-workers, and he is verysecure and humble about letting peopleinfluence him. Sam Mendes is a direc-tor in the most complete sense of the

word.

For additional Spectre coverage,visit www.theasc.com/site/blog/thefilmbook beginning in November.

TECHNICAL SPECS

2.39:1

Anamorphic 35mm,4-perf Super 35mm,Digital Capture

Panavision Millennium XL2,Arriflex 235, Arri Alexa 65

Panavision C Series, Primo,Primo 70;Arri Master Anamorphic

Kodak Vision3 50D 5203,250D 5207, 500T 5219

Digital Intermediate


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Things are about to start getting crazy here, warns

cinematographer Dariusz Wolski, ASC, speaking toACfrom London, where hes in the final week of prepbefore shooting the upcoming Netflix-produced

political satire War Machine, directed by David Michd. Its ablack comedy about the Afghan War. And every film has thatstage, just before the beginning of production. There are justso many creative decisions to be made, he notes, adding thatthe show will later move to the United Arab Emirates forexterior work. With credits that have included all four Pirates of theCaribbean adventures (ACAug. 03, June 07), Sweeney Todd:

Dariusz Wolski, ASC examineshis experiences on two distinctlyambitious projects: The Walk and

The Martian.

By David E. Williams

|

The Demon Barber of Fleet Street (ACJan. 08) and Alice inWonderland(ACApril 10), Wolski is no stranger to imagina-tive, complex productions, but his two most recent projectshave proved to be visual showcases not only for his technicalprowess but his ability to carefully mesh his own artistic sensi-bility with those of his directors. Equally fanciful and historically accurate,The Walk is aninspiring period drama set in the 1970s, detailing the exploitsof French high-wire walker Philippe Petit (Joseph Gordon-Levitt) and his obsession with the World Trade Center; thefeature marks Wolskis first film with director RobertZemeckis. In contrast, the futuristic yet science-based drama

The Martian, which follows a castaway NASA scientist (MattDamon) as he fights for survival after being stranded alone onthe Red Planet, is Wolskis fourth collaboration with directorRidley Scott, following Prometheus(ACJuly 12),The CounselorandExodus: Gods and Kings (ACJan. 15). With just days to go before the start of principalphotography for War Machine which he describes as a seri-ous change of pace after a series of big-budget studio assign-ments Wolski opened up about his work with Zemeckisand Scott, and how he approached each picture to help achievetheir singular storytelling visions.


Questions ofPerspective

Questions ofPerspective


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www.theasc.com November 2015 4

making everything up later. There wasa lot of study and design that went intoit, and those scouts in Jordan madethat possible. Part of that included not

only the colors of the landscape, butour exterior lighting approach onstage, which was essentially one bigsingle source standing in for the sun comprising five Arrimax 18/12KHMI Par units punching throughlayers of Rosco Soft Frost diffusion so I had just one shadow. And thenI did a lot of the modeling withbounce and negative fill. Of course, because of the stages

in Jordan. Our main stage [Stage 6 atKorda Studios, just west of Budapest]

was 65 feet tall and wider than the Bondstage [at Pinewood Studios], so it was

huge, and we could re-create Mars therewith all the dirt and the full-size Hubhabitat building. We could even driveour rover around. So we really onlyneeded greenscreen to add the[computer-generated] mountains in thedistance, which were completed with360-degree plates we shot in Jordanduring our scout there in prep. Theresult is quite realistic, as opposed toshooting on a greenscreen stage and just

American Cinematographer:Thematically, there are a lot of similar-ities between The Walk and TheMartian. They would make quite adouble feature.

Dariusz Wolski, ASC: Thatsinteresting, because theyre very differ-ent pictures from two directors with

completely different styles. And I hadan established relationship with Ridleythat helped me understand his way ofthinking using multiple cameras,setting up the event and capturing it

while Bobs way of thinking iscompletely different, working with verylong, design-intensive shots. Photo-graphically, though, both films were

very challenging but a lot of fun to do.After having seen both films

one set largely on Mars and the other

high above Manhattan I can onlyimagine how many days you spent thatyear shooting on greenscreen stages. Wolski:Actually, not as many as

you might think, specifically because ofthe way Ridley and Bob wanted toshoot both pictures. They both wantedtheir stories to feel real, which meantbuilding as much as we could for real. On The Martian, much of what

we shot for Mars was done on locationTheWalkphotosbyTakashiSeida,courtesyofSonyPicturesEntertainment.TheMartianphotosbyGilesKeyteandAidanMonaghan,

courtesyofTwentiethCenturyFox.

Opposite:Philippe Petit(Joseph Gordon-Levitt) tests hishigh-wire skills inThe Walk. Thispage, top: NASA

scientist MarkWatney (MattDamon) struggleto survive inThe Martian.Left: DariuszWolski, ASC.


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height limit, my sun never went superhigh, which was great, so we had adaylight that was at a constant of some-

where between 9:30 to 11 a.m. Whenwe finally wrapped on stage and went to

Jordan for our location work, we tried tomaintain that angle as much as wecould. This approach, of shooting onstage first, was only possible because ofthe detailed location scout we did inprep. The only other extensive green-screen work we did was for the scenesset in space for example, aboard theNASA ship, [where we had] to have theceilings replaced and extended due to all

the wire work we did with the actors tosimulate zero-gravity weightlessness.Virtually everything else was shot onreal physical locations around Budapestor on stage.

On The Walk, we obviously hadquite a bit of greenscreen work, but wedid build an entire rooftop set for the

Trade Center. With some adjustments,we just used the same set for both roofs.But the length of the wire we used onstage was exactly the length of thedistance between the real Twin Towers:140 feet. So a realistic sense of perspec-tive between Joseph Gordon-Levitt andthe physical rooftop set was maintained

throughout that scene as he walksbetween the buildings. Thats a verysubtle thing, but it delivers an illusion ofrealism that would be ruined if we werenot consistent. Sure, we cheated it a littlebit sometimes, but we always knew

where we could do that because weunderstood what the reality was. The Martian seemed to call for a

very realistic lighting and photo-graphic approach to support a more

realistic story as opposed to, say,Prometheus. Is that how you read thescript? Wolski: Prometheus is a sci-fifilm, while The Martian is a dramaabout science thats set in the near future[of 2035], and everything is plausible.

We had experts from NASA and JPLand the European Space Agency. Thereare some elements that are not quitereal, of course, but 90 percent isabsolutely plausible. And that was in the

back of my mind whenever we had alighting issue. The Hub, for example,

was lit almost entirely with practicalsbuilt into the sets [by productiondesigner Arthur Maxs department].

And this was done in a way to alsocontrast our interiors with the Martianexteriors. Inside, we are quite mono-chromatic, clean and modern, while theexterior is so vibrant. Even the Marsdaylight we have coming into the

Questions of Perspective

Petits dream ofwalking a wire

suspendedbetween the

twin towers ofthe World TradeCenter is madepossible by his

diverse team ofcollaborators

(below).


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Hubs translucent dome ceiling isneutral, as we assumed that there wouldbe some sort of built-in filtration tocounter the reddish light from outside.So, inside, our character is protected andsafe, but this interior-exterior contrast isalso for the audience, so their eyes donot become immune to the redness ofMars. That would gradually remove theimpact of the hostile environment. The Walk is your first feature

with Zemeckis while The Martian isyour fourth with Scott. How are those

working relationships different, andhow did they impact your approach oneach respective film? Wolski: Theres always a firsttime with every director you work with.

You try to understand how they think inorder to sell them on your ideas, and thefirst step is to listen and understandtheir vision. Then you can graduallyshow them what you can bring to that,

what you can do to achieve or enhancethat. The primary difference between

Ridley and Bob is that Ridley likes touse multiple cameras it was notunusual to have three of our 3D unitsrolling and cover the action in a veryobjective manner. He likes to have thecamera back slightly, observing what istaking place. That also allows for a lot ofspontaneity from the actors, as youllhave the coverage you need if somethinggood comes of it.

Bob narrates his story with the

camera. It can be the POV of a charac-ter, and we see through those eyes andexperience the scene as they do. Forexample, when Philippe is finally walk-ing on the wire between the Trade

Center towers, we experience much of itthrough his eyes, giving us the feeling ofbeing up there. Neither storytellingapproach is better than the other; theyare just different. [Laughs.] Fortunately,

Top: Petit stepsout onto hiswire amid earlymorning fog.Middle: GordonLevitt makes hi

move on thegreenscreen setBelow: Wolskiand directorRobert Zemeck(left, gesturing)designed eachshot in The Wato takeadvantage ofthe films 3Dpresentation.


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hes Bob Zemeckis, a pretty prolificfilmmaker, and Ive studied his work for

years and know his movies well, so Iknew his style and what he likes. There

was no Ah-ha! moment in our discus-sions about the movie. I knew Bob

would want to design these very long,atmospheric shots as he had in movieslike Forrest Gump[ACOct. 94]. Thatshis visual style.

It was the same situation withRidley when I shot my first movie withhim. I was a student of Blade Runner[ACJuly 82] andAlien [ACAug. 79]and all those movies. I knew I wouldhave amazing visuals to photograph. Asa cinematographer, you grow up study-ing the films of your favorite directors,and I have been lucky enough to work

with two of mine. Zemeckis is one of the few

feature-film directors who has alsodirected animated features ThePolar Express [AC Nov. 04], BeowulfandA Christmas Carol so does thatgive him a different way of workingwith the camera?

Wolski: I think those mo-capfilms Bob made were very interestingexperiments, but he was telling stories

with those long takes and elaborate

camera moves well before that as Imentioned, in Forrest Gump and alsoCast Away [ACJan. 01]. But theanimated projects were a way for him tolearn new technology and try a differentstorytelling approach. That said, whatsgreat about Bob is that his experience indoing his 3D animated movies

where he had complete control overcamera and performances taughthim exactly how to compose in 3D, and

Ive done enough 3D work so that thetwo of us could really do it right in TheWalk and fully take advantage of theformat.

The Walk has a very whimsicalframing device featuring Gordon-Levitt directly addressing the audiencewhile standing on the Statue ofLibertys torch which graduallytransitions to a magic-hour look at theend of the picture. Can you describeshooting those sequences?

Wolski: Its a little theatrical, butI think it works nicely because of thecharacter of Philippe. He is a showman.

We also shot our close-ups on Josephquite wide with the camera very close tohim to bring the audience into the story,into this personal space and his perspec-tive. Thats Bobs style. Having an actordirectly addressing the camera is notusual, but, interestingly, Matt Damonalso does quite a bit of it in The Martianas he is recording his video diary. In that

case, of course, there is a device, and thatsupports the realistic approach to thestory; there are cameras everywhere,documenting everything. And this givesus a way to communicate what he isdoing and feeling to the audience, as heis alone while in The Walk, this ispurely Bobs storytelling device. Itsfunny that both movies have this directperformance.

The height of the Trade Center



Right: Petit takesa knee above

Manhattan.Below: The

greenscreensetup for the

shot.


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towers is very dramatically depictedthroughout The Walk. Was that apriority throughout the production?How did Zemeckis communicatethis? And how did the eventual 3Dpresentation play a part in achieving

those vertiginous perspectives? Wolski: Well, its interesting.We shot both films in 6K with RedEpic Dragons, but The Walkwas shotin 2D and converted with a postpro-duction 3D process [by Legend3D in

Toronto] while The Martianwas shotin 3D [using 3ality Technica stereorigs]. But the conversion process hasimproved to the point where it canseem even more dimensional thansomething shot in actual 3D, just by

virtue of the way the image isprocessed and composed in depth. If

you shoot very carefully in 2D, design-ing the shots correctly, the illusion of3D is quite good. Today, if you see a2D film converted to 3D that looksterrible, its probably not because ofthe conversion process its that thefilm simply was not conceived to beseen in 3D.

As far as the towers areconcerned, there was nothing toaccentuate, as they were so bloody

high! [Laughs.] Im kidding a little;there was a lot of care taken incomposing shots of the towers [thefull heights of which were computergenerated], either from above orbelow, by using their entire height inthe composition, if possible, to alwaysaccentuate that distance. We didbriefly use an on-set previs system atfirst to help that process, but after wemade the mental adjustment, wedidnt use it very much.

Part of Bobs visual approach toshooting The Walk had to do withalways finding the right elements totake advantage of the 3D, especially inmore subtle ways. For example, asPhilippe steps out onto the wirebetween the towers, the wire itself isused as a dimensional element, cuttingthe image diagonally and accentuatingthe depth in the composition. In othershots, the balancing pole Philippe uses


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achieves the same thing, as does theangular architecture of the Trade Centeritself. Sometimes [these elements work]in combination as the camera movesaround him out there in space on the

wire, transitioning from one dimen-sional element to another in three-dimensional space.

Ridley, on the other hand, doesntthink that way. He loves the dimension-ality of 3D for the big, wide shots, buthes not as particular about the effect

overall, so its more subdued and natu-ralistic, which better fits his objectiveapproach. Unlike Bob, he also pulls backa bit when shooting people to reduce thestereo effect, because he doesnt feelhuman beings need it so much. But

when he does want to accentuate it,Ridley is a master of designing epiclandscapes that look spectacular in 3D.

What lenses did you rely on foreach film? Wolski:When shooting in 3D, I

always use zooms, because changinglenses becomes a time issue. On The

Martian, I had one camera [rig fitted]with wide zooms and another with longzooms. So we mostly used the

Angenieux Optimo 15-40mm [T2.6]and the Optimo DP 30-80mm [T2.8]zooms, but we also had the Fujinon 19-90mm [T2.9] Cabrio Premiers just tosometimes have a wider range.

With Bob on The Walk, I mostly


For The Martian,the interior ofNASAs habitat

was purposefullyplanned byproduction

designer ArthurMax to be

neutral in colorto offer dramatic

contrast to thered-hued surface

of Mars.


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used Zeiss [T1.9] Ultra Primes, in partbecause they are so small and light, butalso because we could get so close to oursubjects and the combination withthe Epic makes for a very handy setup.[The Walk used Angenieux Optimo 15-40mm and Optimo DP 30-80mmzooms as well.] We never considered shootingThe Walk in real 3D. Bob wasnt ready todo it, and its actually very expensive to

do. Ridley has the experience and ahandpicked team of experts from allover the world to help him. And theresmore prep as well. The Walkwas just asmaller film. But there are other consid-erations as well. For instance, we knew

we would have enough time to do aproper postproduction 3D conversion ofThe Walk, while, given our schedule andthe number of visual effects that had tobe completed,we did not have enoughtime to do that on The Martian. So we

had to shoot in 3D. The Trade Center wire walktakes place largely in cold, overcast,almost shadowless daylight. How wasthat approach decided? And can youdescribe the overall stage lightingsetup for this? Wolski: It was in part for histori-cal accuracy, because [the conditions]

were like that [over the course of 45minutes on t

american cinematographer_ac1115

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