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OFFICERS - 2011/2012
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President
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Back in 1979, when I was 12 years old, I was sitting in
front of the TV when a large egg appeared on the screen.
Ominous sounds echoed through our family den, punc-
tuated by the eerie shriek of an unearthly alarm klaxon. A
crack began fracturing the egg, flashing shafts of white
light poured out, and a baritone voice intoned, Alien.
Rated R. Seconds later, I ran off to corner my bemused
father and begin a relentless, obsessive campaign to
convince him that he must accompany me to my first
R-rated movie.
My dad eventually caved and took me to our local
theater, where I was literally sweating with anticipation. I
didnt really know what I was in for, but I knew it was
gonna be scary, and that it would involve a weird creature from outer space. The lights went
down and I was not disappointed Alien kept my heart hammering for two hours, and I
shot about 2 feet out of my chair when H.R. Gigers horrifying monster sprang from John
Hurts chest, spraying bloody viscera all over the Nostromos crewmembers and walls.
Needless to say, Im excited that Ridley Scott is back in the directors chair for
Prometheus, a film he has coyly refused to refer to as a prequel. He concedes that the
movie contains strands of Aliens DNA in its plot, which concerns a group of space explor-
ers who discover an advanced extraterrestrial civilization with close ties to mankinds origins.
Dariusz Wolski, ASC joined Scott for the journey, and the two filmmakers detailed their
approach in separate interviews with Benjamin Bergery (Ancient Aliens, page 30).
Dan Mindel, ASC, BSC embarked on a different kind of odyssey with Oliver Stone on
the dramatic thriller Savages, which concerns a pair of marijuana growers whose shared girl-
friend is kidnapped by a drug cartel. Mindel embraced the chance to work on a project that
allowed him to capture most of the action on location with a variety of film stocks and in-
camera effects: After being tied to big CGI films for the past few years, Savages was a
totally refreshing experience, he tells Iain Stasukevich (High Anxiety, page 42). We kept
the digital effects to a minimum and did as much as we could practically. Running around
real locations and really blowing things up was a welcome change!
If you have fond memories of Eighties rockers with glorious coiffures, Rock of Ages
will allow you to hold on to the feelin, as Journeys Steve Perry sings in his signature tune
Dont Stop Believin. Bojan Bazelli, ASC offers Pat Thomson an overview of his approach
while also breaking down a key sequence in which Tom Cruise (as satyr-like rock god Stacee
Jaxx) gyrates his way through Bon Jovis Wanted Dead or Alive (Hair-Metal Heroes, page
54).
Eighties nostalgia may have also inspired Dallas, a reboot of the iconic television series
that scored high ratings from 1978-1991. Rodney Charters, ASC, CSC and Rob Sweeney
took Jean Oppenheimer on a verbal tour of Southfork, where scheming tycoon J.R. Ewing
(Larry Hagman) contends with the latest generation of his dysfunctional clan (Shooting
J.R., page 64).
Stephen Pizzello
Executive Editor
Editors Note
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16 July 2012 American Cinematographer
Setting a Classic Tragedy in Modern-Day India
By John Calhoun
Trishna is collaboration number 10 for director Michael
Winterbottom and Danish director of photography Marcel Zyskind,
and so, inevitably, the two covered a bit of familiar ground. It was the
pairs third time shooting in India, although unlike the earlier films,
Code 46 (AC Sept. 04) and A Mighty Heart, Trishna is entirely set
there and steeped in the countrys atmosphere and culture. It was
also shot with Winterbottoms customary tendency towards cine-
matographic improvisation and discovery, but what that means on a
practical level is that each Winterbottom experience is a fresh one for
Zyskind.
Michael wants to see how the scene evolves, and he wants
the freedom to, say, move in for a close-up at any time, says
Zyskind. We tend to cover the scenes a lot one angle here, one
angle there, a little wider, then tighter. In a sense, its conventional
coverage, but its done in an unconventional way because we have
no script for how to do it.
Rehearsals are verboten, and the shooting ratio is very high.
This strategy endures whatever format is involved, whether its the
Mini DV Sony PD-150 used for In This World (AC Dec. 03) or the
35mm rig used for The Killer Inside Me (AC July 10).
But with Trishna, says Zyskind, the filmmakers may have
found a new constant in their working lives: the 2K Arri Alexa.
Camera-wise Trishna was unusual, in that we finally used a format
I think were going to use again! says the cinematographer. In
general, he adds, digital capture is well suited for shooting on loca-
tion in places like India, where it isnt easy taking a big film crew
out. The Alexa is built for this, and in terms of the image quality, its
great.
Freely adapted from Thomas Hardys novel Tess of the
dUrbervilles, Trishna is set in the Indian state of Rajasthan and in
Mumbai, contrasting environments that embody the conflicts expe-
rienced by the title character (played by Freida Pinto). Trishna is a
traditional village girl who goes to work in a nearby resort and
becomes involved with the owners British-educated son, Jay (Riz
Ahmed). Trishna becomes pregnant and has an abortion, a fact she
hides from Jay, and eventually moves with him to Mumbai. But the
differences between the two and the familial and social expecta-
tions that weigh on them set the stage for disaster.
Apart from some tweaks in the final color correction, Zyskind
Production Slate
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Trishna (Freida Pinto) and Jay (Riz Ahmed) steal a moment together in Trishna, shot by Marcel Zyskind.
I
18 July 2012 American Cinematographer
and Winterbottom did not create a major
visual separation between country and city.
What changes mostly is the backdrop
itself, whether its Trishnas village, the hotel
or Mumbai, which is always crazy with traf-
fic and people, says the cinematographer.
More noticeable distinctions are present
between exteriors, which are frequently
shot with longer lenses and on dolly or
Steadicam, and interiors, which are more
often handheld and close on the actors.
Because Winterbottom likes to
shoot fast and from a number of vantage
points, two cameras were always needed,
though they were never running simultane-
ously. Because only one Alexa was available
when shooting commenced, the filmmak-
ers supplemented with a Red One, which
was later replaced by a Red One MX, and
then finally by another Alexa. Zyskind
recalls, The main camera was always the
Alexa, but during the first couple of weeks
we used the Red quite a lot; the Alexa
would be on the Steadicam or doing
handheld shots, and the Red would be
prepared to quickly grab a dolly shot. (A
few shots were captured with a Canon EOS
5D Mark II.)
Because of speed and financial
considerations, the ProRes 4:4:4 images
were recorded to SxS cards rather than a
recording device.
The lenses were Zeiss Ultra Primes
and Angenieux 15-40mm and 24-290mm
Optimo zooms; the latter were used mostly
for quick focal-length changes rather than
zooming within shot. Zyskind kept a
1
8
Tiffen White Pro-Mist filter on the lens just
to soften the image slightly.
The small-scale production was typi-
cal of Winterbottoms method. Zyskinds
crew included Winterbottom veterans 1st
AC Henry Landgrebe and 2nd AC Stefano
Barabino, both of whom knew what to
expect, says Zyskind. When we work
with new people, theyre sometimes a little
surprised at how fast we actually work.
Henry was my second AC on three or four
of Michaels films, and this was his first film
as focus puller. On a Michael Winterbottom
film, where you have no rehearsals and a lot
of handheld with wide-open lenses, pulling
focus is quite a feat!
The lighting package on Trishna was
similarly spare, and a local gaffer and light-
ing crew were employed only for larger
setups. The rest of the time, Zyskind set up
the lighting. Transportation of equipment
was also a bit ad-libbed. We took the seats
out of a local bus that was slightly bigger
than a minibus, and we fit all the [lighting
and] camera gear in the back, he says.
What I had with me at all times were a
1.2K HMI, some small Kino Flos, some
Litepanels LED lights and a couple of China
balls. The bus was inconspicuous enough
that we could leave it in the background
of certain shots, and it was fine.
Above: Trishna
spends time
with her family
and others in
their village.
Right: She and
Jay continue
their affair in
secret at his
fathers hotel.
20 July 2012 American Cinematographer
Crowd control was a constant chal-
lenge, especially in Mumbai. In certain
locations, like a busy train station or bus
station, wed go in and quickly grab a
couple of shots with the Canon 5D before
wed start with the Alexa, Zyskind recalls.
Then wed bring in the Alexa and shoot
the scene again. When youve got a big
camera, you can suddenly have 50 people
crowding around you. When we had the
Red with us, wed sometimes send an oper-
ator out with it to shoot somewhere else as
a decoy, and then wed quickly take the
Alexa handheld and shoot in another part
of the station. We didnt use any extras;
those are all just people in the background.
We try to catch them in real situations, and
then place our actors in amongst them.
The main hotel setting was actually
the hotel where the crew stayed in
Rajasthan. Wed wake up in the morning,
step outside and start shooting, the cine-
matographer recalls. At other times wed
go into Jaipur to film, and it would take us
45 minutes to get there. Because the traffic
is so bad, you cant get around in big trucks,
so wed put the actors in smaller cars, come
in with our little equipment bus, and set up
and shoot.
Jaipur, the Rajasthan capital, was the
location for several motorcycle-riding scenes
with Trishna and Jay. Zyskind shot most of
these from another motorcycle. I sat
behind the driver, like the Tour de France,
he says. We used the Canon 5D for a
couple of shots, just to get angles that
would be quite impossible to get otherwise.
There were times when holding out the
Alexa with one arm wouldnt have been
wise!
For night street scenes in both Jaipur
and Mumbai, the workhorse lights were
four battery-powered Litepanels 1x1 LED
fixtures. Whats very nice about them is
that theyre bi-color, which means I could
turn the knob one way for daylight color,
another way for tungsten, keep it in the
middle for a mix, and slide a little diffusion
in front if I wanted it to be softer, Zyskind
says. Going into the streets at night, we
were trying to not attract too much atten-
tion, and those lights were great because
we could put them on rooftops here and
there and in alleys to throw some sidelight
on our actors. Of course, wed use available
light from the shops as much as possible
and just add a little bit to bring up the
actors faces. We shot wide open at night
always, but with a base of 800 ASA, and
with the Ultra Primes, the Alexa is a really
fast camera.
In one scene, Trishna is pursued
through the streets of Jaipur at night by a
group of young men. We put up a few
lights, did a Steadicam shot in front of her,
and then I quickly ran a little farther up the
street, put the lights in a couple of other
positions, and did another angle, says
Zyskind. The sequence continues as Jay zips
in on his motorcycle and rescues Trishna,
and then drives her into the countryside,
where they kiss for the first time. The
moonlight ambience required the
productions largest lighting setup: three
HMIs (a 12K, a 6K and a 1.2K), supple-
mented by the Litepanels.
Litepanels units were also used for
many interiors. They were augmented by a
Kino Flo Diva-Lite during the important
scene in which Trishna reveals to Jay that she
has had an abortion. It can be quite diffi-
cult filming two people cuddled up in bed
against a flat wall, says Zyskind, who used
the Diva-Lite with some diffusion to suggest
ambient window light on the actors. The
scene played out for 10- or 12-minute takes,
and it was quite emotional, so I knew I
wouldnt be able to change around the
lighting after one take. Because we dont do
any rehearsals, Im sort of judging before-
hand whats going to happen in the scene.
In that sense, working with Michael can be
tricky sometimes youd like to scrim the
light or close the flag a little bit! Thankfully,
digital grading enables you to make quite a
lot of changes like that in post.
The post process on Trishna was
completed at Prime Focus in London, where
the filmmakers worked with colorist Tom
Russell. It was quite a simple grade, says
Zyskind. We added warmth and contrast
to some scenes because the Alexa can look
flat. We kept Mumbai cooler than the coun-
tryside just to give it a less personal, slightly
more modern feeling.
Since completing Trishna, Zyskind
has mainly stayed close to home in Copen-
hagen, where he recently wrapped the first
two episodes of the latest season of
Denmarks hit TV series Forbrydelsen (The
Killing). Its the first time Ive shot in my
home country in awhile, he says. I can
sleep in my own bed at night, which is a
pleasure!
TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa; Red One, One MX;
Canon EOS 5D Mark II
Zeiss Ultra Prime, Angenieux Optimo
Trishna searches for a way out as she becomes increasingly unhappy with Jay.
Sitcoms Are Easy? Sure.
By Steven V. Silver, ASC
When executive producer Chuck
Lorre first called to say he wanted me to
shoot his new multi-camera sitcom, Two and
a Half Men, I was ecstatic. He told me the
show would be set in Malibu and would star
Charlie Sheen as hedonistic, womanizing
jingle writer Charlie Harper and Jon Cryer as
his more sensible, uptight brother and house-
mate, Alan. Id grown up watching both
actors and had always been a fan. Better still,
I love Malibu and have lived there for most of
my life. I would be leaving it every morning,
driving across town, and attempting to re-
create its beauty on a Warner Bros. sound-
stage.
The shows main setting is the living
room of Charlies spacious beachfront house.
My lighting for the series was originally
inspired by the color palette and texture of a
vintage still photo that shows Hugh Hefner
and some Playboy Bunnies in the den of his
bachelor pad. Ive always loved that photo,
which looks like it was taken in the early
1960s. The tone is soft and cosmetically
smooth, but the image also has some
cool tones and deep contrast. Warm,
incandescent light emanates from stylish
practicals; turquoise and teal colors accent
the rooms dark corners and serve to highlight
the cabinets and shelves in the background.
Using a similarly sexy approach to Charlies
home seemed to work with the Malibu I
knew, and the style also became a point of
development for his womanizing-but-still-
charming character.
My general approach to the shows
lighting is fairly straightforward: for day
scenes, I allow sunlight to stream into the
rooms and around window areas; for night
scenes, I add practical units in the frame and
then augment those with keylights. I allow the
sources to play several stops over, and I create
an acceptable fill level to control the mood
throughout the show. I project soft lighting at
the shows female characters when the story
calls for that additional cosmetic touch. Were
still shooting on film (Kodak Vision2 500T
5218), and I light by eye except in very low-
light situations. (I dont like the key level to
slide below 6 footcandles.)
One of the most unique aspects of the
living-room set is the ocean backdrop. A few
years before I started working on the show, I
was doing some tests with an 8x10 bellows
camera. One of the test shots showed Point
Dume as seen from Paradise Cove, and that
shot has served as our 70' ocean backing for
all these years. During the first season, we did
our best to shoot around this static backdrop.
Chuck asked me to make the water move
for the following season.
I researched several ways to do this,
but it wasnt until I saw the Gam SX4
(Professional Scenic Projection System with
Loop Tray) that I became truly inspired. By
teaming this with ETC Source Four Revolu-
tion units, we could create an effect that
looked like the vertically dancing flames of a
campfire, and we could project this fire unit
horizontally onto the back of our water. It
looked great to the eye, and test footage
helped me sell the effect to the producers.
We now use 19 of those units across our 70'
backing.
One episode, A Fishbowl Full of
Glass Eyes, called mostly for swing sets,
built from the ground up for the week.
Although this is usually the case, instead of
having our normal two days to light for a
massive amount of shooting, we were cut
down to one. The other prep day was dedi-
cated to an on-location night shoot at the
beach in Malibu.
To fully tell this story, I have to begin
where all shooting concepts begin: the
script. The first time I read a script, I clear my
mind and try to visualize the final image.
What is the mood of the scene? The tonal
quality? The emotional weight and density
of the image? Going through this mental
22 July 2012 American Cinematographer
Left: In a scene from the Two and a Half Men episode A Fishbowl Full of Glass Eyes, Alan (Jon Cryer) returns the expensive wedding ring that his divorced
friend Walden (Ashton Kutcher) has gifted to him in frustration. Right: Cinematographer Steven V. Silvers sketch depicting his idea for lighting the beach scene,
which required a moonlit-night look.
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24 July 2012 American Cinematographer
process helps me leave the real world for a
moment and shift my brain toward cinema
fantasy and a what could be state of
mind. I read the script again, this time pictur-
ing the blocking of the actors and where I
think they might be in relation to the set. I
then build a shot sequence in my head,
which helps me to quickly begin conversa-
tions with the director and other depart-
ments. By preparing this way, I can have an
intelligent opinion on various topics, such as
where and how I think the sets should be
laid out; what the perimeters of the back-
grounds may be for the art department; the
size and scope of the production, and how
that will affect the hiring of extra crew and
the ordering of specialty equipment, and so
on.
As the show progressed, Sheens
character was replaced by a new character,
Walden Schmidt (Ashton Kutcher), who
buys the beach house and befriends Alan.
Walden is going through a divorce and gifts
his valuable wedding ring to Alan, who
thinks about pawning it but eventually
returns it to Walden. Here is the scene Id like
to discuss:
BEACH LOCATION
EXT. BEACH CONTINUOUS (NIGHT 2)
(Alan, Walden)
A somber Walden is standing and looking
at the ocean. Alan crosses in and hands
him the ring.
ALAN
Here.
WALDEN
My ring. Thanks.
Walden puts the ring back on his finger,
then:
WALDEN
You know what? I was right the first time.
I dont need this anymore.
ALAN
Are you sure?
WALDEN
Positive.
Walden takes off his ring and throws it into
the ocean.
WALDEN
I feel better already.
ALAN
(whimpers) Oh, good.
Walden crosses off. Alan watches him for a
beat, then turns and runs into the ocean.
ALAN
My precious! My precious! My precious!
He dives into the waves over and over,
searching for the ring.
In my minds eye, this initially seemed
like a straightforward scene. Had I not
already shot the ocean for the show a few
years prior, Id have simply treated this scene
like any other location, albeit with its inher-
ent challenges. However, I had shot a night
swimming sequence in the ocean years
earlier. I was more fortunate then, because
the scene called for the swimmer to be
revealed by a helicopter searchlight, which
set up a source we could use as our key. For
this scene, though, the audience had to
somehow believe Alan could see into the
night ocean well enough to search for a ring.
The last time Id shot the ocean, I
pounded the water with 18K HMIs from
both sides of the beach. The foam from the
breaking waves read fine, but beyond the
breakers the water registered as entirely
black. The illusion that Alan could find or
would even bother to search for a ring in
that darkness seemed improbable.
I live out by the beach and grew up
taking night swims during full moons with
friends. On those evenings, theres enough
ambient light to see your way around on the
beach. The moons reflection shimmering off
the waters surface helps to silhouette the
horizon from the night sky. On summer
nights, if there were waves and the tide was
high enough to cover the rocks, wed surf all
night. Remembering this inspired my what
could be approach and helped develop the
way our beach scene would be shot.
I researched shooting day-for-night
and checked with the producers to see if
Silvers technical solution to the scenes requirements involved a Sourcemaker tube light
tethered to a boat to create reflections on the ocean, as well as a large fixture mounted to a
Champion crane to provide background moonlight along the beach.
they were open to chroma-key work
onstage for sound-recording considera-
tions. However, we all agreed that the best
visual outcome would be achieved by going
out on a night location. Fortunately, the
producers shared my concern about the
actors seeing into the darkness of the water,
and they remained open to any and all ideas
of lighting techniques. I pursued my vision,
guided by the memory of those full-moon
summer nights and my rough storyboard
ideas.
After reviewing the storyboards with
the director, we decided the scene coverage
would be mastered both from the house
view to the ocean and looking back at the
house with four cameras rolling on each
direction for the dialogue. There would be a
separate setup that would carry Jon to the
ocean and film him swimming in the moon-
light.
I knew I needed to create the illusion
of the full moon, and that it needed to be
framed low in the sky, directly above the
horizon. I booked a barge from Long Beach
that had been used on Pirates of the
Caribbean and planned to load a Bebee
Night Light on it as our moonlight
source. Because there was a limit as to how
close the barge would be able to anchor
offshore, I also researched the possibility of
tethering Sourcemakers 10'x26' tube light
to a ship. I noted that the weather forecast
called for higher winds and a chance of rain.
The rest of my research yielded little
information. I decided to cancel the barge
and Bebee light and book the Sourcemaker
balloon and two boats, one to fly the
balloon and the other to accommodate a
tag line in case the wind wouldnt allow the
balloon to stay still in the night sky. The idea
was to accept the boat and balloon in the
frame and paint them out later, leaving in
their place the reflection for a digitally
created moon.
In addition, I ordered a 160' Cham-
pion crane so wed have something rigid to
project from the beach if the wind came up
and the balloon was a bust. The crane was
reportedly able to reach 40' from where it
stood; this would allow us to stretch it out
over the water and shoot lights from the
ocean side back at us.
Leading up to the shoot, I checked
the winds on Windfinder.com several times
a day. At night, after very long days, I would
go down to the beach and test the accuracy
of the Windfinder website. I knew I might
have to pull the plug at any time, cancel
some of the gear Id ordered and adjust the
plan.
Two days before the Malibu shoot,
the weather took a promising turn. Wind
reports alluded to possible low winds for a
few hours during our shoot. I crossed my
fingers and told production to confirm all of
the equipment.
When I arrived at our location, the
crane was at full extension out over the
ocean, and I immediately saw that the arm
was about 50' too short to do the job as
wed conceived it. Fortunately, I had a
contingency plan: the crane would act as
our background moonlight source, project-
ing down the beach in both directions. For
the purposes of our setup, it worked
perfectly.
I then turned my attention to the
balloon on the boat. I asked the boat crew
how close they could get to the shore
because at that point, they seemed way out
in the ocean. We got them in as close as
possible and had them anchor up. It was still
light out, and we were waiting for the wind
to drop down. Whether our moonlight was
going to be effective was still a question.
Around 5 p.m., clouds began gather-
ing far out at sea. The winds died down, and
I instructed the techs on the boat to begin
inflating the balloon, which required 13
tanks of helium and about an hour to
become fully filled. I could tell before the
balloon was filled that the effect would be
successful.
The wind cooperated and held still.
Within two hours, the shoot was finished,
and the producers were satisfied and on
their way home. I drove home late and
woke early the next morning. That was one
of the most interesting weeks of my career.
TECHNICAL SPECS
1.78:1
35mm
Panaflex Gold II
Panavision Primo
Kodak Vision2 500T 5218
The crew prepares for the setup as Silver
(right) coordinates logistics.
26 July 2012 American Cinematographer
DP Lights
Ancient Aliens
Top: The missions
android, David
(Michael Fassbender,
center), accompanies
Holloway and Shaw
as they investigate a
temple dominated
by a giant, sculpted
head and filled with
mysterious ampules.
Middle: Toplight for
the temple set was
created by a 40'
cluster of space
lights suspended
from the ceiling and
aimed down
through a
hexagonal piece of
Grid Cloth. Bottom:
Fifield and Spall
stumble across an
unfamiliar life form:
the serpent-like
Hammerpede.
www.theasc.com July 2012 33
shooting, there is no goddamn differ-
ence between 2-D and 3-D youve
either got an eye, or you havent. And if
youre a director who hasnt got an eye,
youd better make sure your cameraman
does!
Asked if he believes the editing
rhythm should be slower in 3-D than in
2-D, Scott responds, No, thats
rubbish. Thats only when you dont
know what youre doing. We all knew
what we were doing, so it was pretty
straightforward.
Though Alien is a memorable
example of anamorphic cinematogra-
phy, Scott decided to capture
Prometheus widescreen images with
spherical lenses. I do like anamorphic,
but spherical is a much better enabler
I like the sharpness, says the director. I
have a great preference for spherical
now, unless Im really going to go for
that shallow-focus look.
Working with 3ality Technica
Atom 3-D rigs, which were designed
for the Epic, Wolski shot most of
Prometheus with Angenieux Optimo
zooms. He explains, In 3-D, lens
changes are complex, and re-aligning
the cameras is time-consuming. Ridley
likes to move fast, and he likes to use
multiple cameras, so I decided on four
main rigs: two with 15-40mm
Optimos, and two with 28-76mm
Top to bottom:
As the spacecraft
Prometheus
approaches its
destination,
David prepares
to awaken Shaw
from hypersleep;
the android
examines a
strange
substance within
one of the
ampules
discovered in the
alien temple;
crewmember
Ford (Kate Dickie)
observes as
David removes
the armor from
a petrified
Engineers head.
34 July 2012 American Cinematographer
Optimos. We also used a Steadicam rig
with Zeiss Ultra Primes, which shaved
the weight as much as possible.
Those Angenieux zooms are
phenomenal, he adds. I think the short
Optimo zoom is the most revolutionary
lens in the industry right now. You can
shoot a whole movie with two zoom
lenses! (The camera package was
provided by Panavision London.)
Scott notes that he has enjoyed
using multiple cameras simultaneously
since Gladiator (AC May 00). If Im
doing some dialogue, Ill shoot A and B,
probably in opposition to each other
well get in there somehow, he says. So
if something drifts, or something good
happens by accident, youve got it both
ways. The multiple-camera technique,
he continues, is not a problem if you
know what youre doing. Whenever I
can, I will try to keep the actors fresh-
ness alive. Thats of total importance.
And because Im not cutting and setting
up again, Im saving an enormous
amount of time. This is why we shot
Prometheus in 82 days.
Wolski details the multi-camera
mise-en-scne: We were using three or
four cameras at any given time. First you
do two wide shots, and then you shoot
tighter. Then you go to close-ups with
two longer lenses; theyre easier to hide,
and you can still find a place for the
Ancient Aliens
Top and middle:
An Engineer
settles into his
pilot seat.
Bottom: A
vicious creature
examines its
surroundings
near a fallen
Engineer.
third camera. With Ridley its like a
puzzle: you look at the scene, put
cameras all over the place, and then see
which ones work. You move one a little
to the right, another a little to the left,
dolly one out. You roll the scene, and
when one camera doesnt work
anymore, another dollies in and picks
up the scene, and you get this incredible
fluidity. You can do a three-page scene
with three camera setups, and then you
do another version and youre done. Its
extremely efficient.
Wolski notes that sometimes
multiple viewpoints just wont work
because the lighting would be too flat,
and Ridleys the first one to understand
that. But with a clever design, you can
get away with a lot, and Ridley loves a
challenge. Its almost as if were looking
at each other and saying, How far can
we push it? Of course, it becomes crazy
at some point, and then we back off and
agree to do the close-ups separately. But
I believe you get more interesting
images because of the challenge
because you have to hide the camera,
because you have to drop the camera
lower or higher, because your overs are
not perfectly matched and because your
eyelines arent, either. I think of
Prometheus as an extremely stylized and
controlled documentary.
Wolskis elegant lighting
approach for the spaceship in
Prometheus was to integrate most of the
sources into the set in close collabora-
tion with production designer Arthur
Max. Many sources either appear as
practicals or were strips hidden in nooks
in the walls or troughs in the floors and
ceilings. In fact, the set was lit almost
entirely with LEDs, along with some
fluorescents. This film lent itself to
using modern lighting, says Wolski,
and we designed the spaceship with a
lot of LEDs controlled by very complex
dimmer boards. When he did add an
eyelight or fill light on a stand, he would
use the same lights I had on the set.
Tungsten light was the biggest no-no;
everything is blue-green, warm green or
just blue.
Asked about his color scheme,
Scott replies, Funnily enough, I went
for a lot of white. Then it became, How
white is white?
Wolski notes, I would define
Ridleys white as a little on the cool
side.
The LEDs and fluorescents had
variations in color. Wolski states that
both daylight sources had green spikes,
but rather than try to correct the color
temperature, he chose to, within limits,
use the greenish and bluish tints as real-
istic industrial lighting. We decided to
play the lights for what they were. Some
of the cool white LEDs are greener,
while some are bluer. We just let them
play as the sources on the ship. Indeed,
the ships interior is distinguished by a
rich variety of blues, greens and yellows
that were heightened by Wolskis choice
of a consistent 4,000K setting on the
Epic, which also yielded slightly cool
exteriors.
Panalux in London provided the
productions lighting package, and
gaffer Perry Evans credits Steve
Howard for his technical assistance.
Panalux provided hundreds of daylight
LED units, including 2' square panels,
as well as smaller custom sizes, along
with LED controllers. There were also
hundreds of RGB LED sources that
could be programmed for different
colors, including daytime, night and red
(for emergency scenes). The filmmak-
ers also used 200 off the shelf indus-
trial fluorescents, which were outfitted
with dimming electronics.
The art department left slots
open in the set for square LED panel
lights, and also created troughs in the
floors and walls for LEDs and fluores-
cents. Evans recalls that the team also
put light fixtures behind grating, creat-
ing ad-hoc vents. He notes that a stan-
dard LED panel was roughly equivalent
to a 500-watt tungsten light, with
considerably less power consumption.
Rigging all the LEDs and fluo-
rescents into the set was a major chal-
lenge for the electricians, because they
had to wait for the set builders to finish
before installing the fixtures. We were
always a day behind them, and that was
tough, says Evans. A complex web of
cables was then wired to a Panalux
Vizilink dimming-board system. Some
soundstages had literally thousands of
channels. Every light was dimmable,
says Evans, adding that the dimming
board could be remotely controlled with
an iPad on the set.
Scott asked that the spaceships
lighting be dynamic so it could react to
the actors. Evans recalls, Once Ridley
saw that we could play with the lights,
he pushed it to the limit. Hed say,
When he walks in the room, bring
www.theasc.com July 2012 35
Vickers (Charlize Theron) takes refuge in an escape pod.
36 July 2012 American Cinematographer
those lights up, and when he touches
this desk, switch those things on. I
dont recall doing a single shot on the
spaceship without a light change. I must
admit, Ridley put us through our paces.
There was never a dull moment!
Evans adds with some pride that
his uncle, Ray Evans, was the gaffer on
Alien. When I got this job, I couldnt
wait to tell him, and he couldnt wait to
see the set. Ridley invited him down,
and when he saw the spaceships, he was
gobsmacked how we were doing it all
with LEDs!
Alien was incredibly avant-garde
for its time, notes Wolski. Ridley
insisted on having practicals in the
frame, and at that time, everything was
much more cumbersome, so he had to
use projections. The soft lights on the
set were maybe 2Ks with gels. On this
film, we expanded on that approach
using better technology.
Wolski used a mix of colored
sources in the large hangar on the
ground floor of the Prometheus, which
had a giant door that opened on a tall
greenscreen in the backlot of Pinewood.
The interior of the hangar featured a
mix of daylight fluorescents and tung-
sten Par cans built into the set, vehicles
with powerful LED headlights,
daylight streaming in, and a cluster of
six HMI 4K Pars suspended from a
crane that simulated work lights on the
bottom of the ship.
Wolski laughs and notes that
there was a traffic jam above the
hangar, with different cranes lifting the
hangar door, suspending the HMIs,
and flying two 40'x40' silks to keep
sunlight off the actors and the green-
screen. It was the usual problem with
shooting greenscreen, which is that you
spend more time lighting a screen that
wont exist than lighting the people who
do! he observes.
In one scene, a dangerous ice
storm sweeps in on the hangar. Wolski
shot this as a day exterior, with a single
patch of sunlight on lead actress Noomi
Rapace (at Scotts suggestion), before
switching to night-for-day when the
storm arrives, leaving only two
Ancient Aliens
Top: Large
fixtures
illuminate the
Prometheus
ships hangar, a
set built at
Pinewood
Studios; an
infected
crewmember
turns on his
team; Theron
blasts away
with a
flamethrower.
38 July 2012 American Cinematographer
suspended boxes of HMI Pars and the
mixed-temperature work lights on the
Prometheus to illuminate the swirl of
particles generated by wind machines.
As they go through the caves on
the planet, the astronauts come upon a
vast cavern with a giant, sculpted head,
which marks the beginning of their
troubles. Wolski lit the area with a 40'
cluster of space lights diffused through
Grid Cloth and CTB gel that was
suspended high above the set. The
edges of this rectangular source were
taped off to create a hexagon that would
provide a smaller reflection on the astro-
nauts helmets. The crew also positioned
HMI helium balloons to provide some
sidelight on the actors. The other prin-
cipal sources in the scene were warm
LED practicals at the base of the neck
of the astronauts spacesuits, and power-
ful LED flashlights whose beams were
defined by a bit of smoke on set. Wolski
would occasionally add some fluores-
cents or LEDs on a stand to help illu-
minate the actors faces during dialogue
sequences.
Stereographer James Goldman,
who also worked with Wolski on the
3-D Pirates, explains that Prometheus
was shot parallel, meaning that the
convergence of the left and right images
was accomplished in post. He adds that
Ancient Aliens
Top to bottom:
On location in
Iceland, a
SuperTechno
crane angles in
on Rapace; a car-
mounted Pursuit
Crane tracks
actors traveling
over Icelands
terrain in ATVs;
crewmembers
capture a shot of
performers
suspended from
wires during the
staging of a
storm sequence.
shooting parallel facilitates visual-effects
work because those artists dont have to
compensate for keystoning of toed-in,
converging cameras.
Goldman notes that the Optimo
zooms were quickly aligned after focal-
length changes. We could snap in from
24mm to 60mm, and the rig techs did a
little adjustment. He says Dan Sasaki
and Jim Budd at Panavision were
instrumental in helping to tweak the
optics, and modifying them to facilitate
tracking adjustments. Goldman moni-
tored the stereo image with a 3ality
Technica Stereo Image Processor, and
Brainstorms Qtake was used to create a
converged 3-D image for the filmmak-
ers to view on set.
Goldman supervised the changes
in IO (interocular distance) in coordina-
tion with Scott and Wolski. He notes
that Scott favored a big IO with more
depth, but that he saved extreme 3-D
effects, like jutting foregrounds, for the
big moments when he wanted people to
jump out of their chairs. In general, he
continues, Scott adjusted his style to
3-D and tended to put less in the fore-
ground than he usually does.
On the set, images were moni-
tored by digital-imaging technician
Ryan Nguyen at a station next to
Wolski, who set the color in camera.
The files were then prepared for editor-
ial at an off-set station run by camera-
Ancient Aliens
40
Theron is surrounded by Red Epics mounted on 3ality Technicas 3-D rigs.
data supervisor Jeroen Hendriks. We
did everything in-house, Wolski
explains. Downloads from camera
went to Jeroens station, and then the
image went straight to editorial and
stayed there all the way to the final color
correction, which was actually mini-
mal. (The filmmakers carried out the
final grade at Company 3 with Stephen
Nakamura.)
Wolski chose a 24" Sony monitor
as the absolute image reference on the
set. Hendriks explains that each takes
settings were saved in a Red MetaData
file that accompanied the footage
through the workflow. Ridley loved
what we saw on the monitor, notes
Wolski. He said, This is it. Dont mess
with it.
Hendriks explains that visual-
effects supervisor Richard Stammers
defined a window of 4,800x2,000 pixels
in the 5K image to create the 2.39:1
widescreen frame, leaving 100 pixels on
either side to allow for convergence
adjustments and some vertical room for
reframing. After Hendriks and his crew
cloned the 5K originals, they used
RedCine-X software to verify the
RMD file, and then defined a conver-
gence setting for each take (as provided
by Goldman). This metadata was then
sent via Skype to the off-set station,
where color-corrected and converged
3-D dailies were created for the editors.
The final 3-D convergence was accom-
plished toward the end of post during a
convergence run, in tandem with the
final grade.
Wolski concludes by recalling
that Alien was a key influence on him
early in his career. I feel very lucky to
have had a chance to work with Ridley,
he says. I was very influenced by his
films when I started out, and I know I
was subconsciously repeating certain
shots that had impressed me. While
shooting Prometheus, he thought a lot
about Alien, as well as Stanley Kubricks
2001: A Space Odyssey (AC June 68). Its
hard not to be influenced by those films
theyre the reason so many of us
became filmmakers, and they stay with
you.
Looking back, Scott offers his
final thoughts about Prometheus:
Working with Dariusz was absolutely
marvelous. It was fun to revisit science
fiction, an old genre, and he and his
crew made the whole thing a great ride!
TECHNICAL SPECS
2.40:1
3-D Digital Capture
Red Epic
Angenieux Optimo,
Zeiss Ultra Prime
41
42 July 2012 American Cinematographer
I
n Oliver Stones Savages, friends Ben and Chon (Aaron
Johnson and Taylor Kitsch) are living the high life in more
ways than one. They operate a successful marijuana grow
house and dispensary, live in a Southern California beach-
front property, and share a sexual relationship with the beau-
tiful Ophelia (Blake Lively). When a Mexican crime cartel
controlled by Elena (Salma Hayek) and her enforcer, Lado
(Benicio Del Toro), makes a play for their territory, Ben and
Chon find themselves running from both criminals and a
corrupt DEA agent (played by John Travolta).
Shot by Dan Mindel, ASC, BSC, Savages recalls two
of Stones expressionistic collaborations with Robert
Richardson, ASC, Natural Born Killers (AC Nov. 94) and U-
Turn (AC Oct. 97). Like both of those pictures, Savages was
shot completely on location with a variety of film stocks,
optics and in-camera effects.
Mindel was keen to shoot with anamorphic lenses, but
using the widescreen format almost wasnt an option. When
I first spoke to Oliver and producer Eric Kopeloff, they
werent really planning to shoot a Scope movie, recalls
Mindel, whose only spherically shot feature is Domino (AC
Nov. 05). But one of the very first things I said to Oliver was,
Dan Mindel, ASC, BSC teams
with Oliver Stone on Savages, which
pits a pair of marijuana growers
against a drug cartel.
By Iain Stasukevich
|
High
Anxiety
www.theasc.com July 2012 43
We have to shoot anamorphic. If you
want to shoot Super 35 or digitally, then
Im really not your guy.
I think Oliver was caught
unawares because he hadnt made a
Scope film in a long time, and I think
he sort of forgot what a powerful
medium it is, Mindel continues. He
began to consider the anamorphic films
hed done and reflected on what the
issues were. Eventually he came around
and fully embraced the idea.
Working with Panavision in
Woodland Hills, Calif., Mindel chose
his favorite set of Primo and C-Series
anamorphic lenses, as well as some
Primo anamorphic zooms (3:1 ALZ3,
11:1 ALZ11, ATZ 70-200mm and
AWZ2 40-80mm), to go with Panaflex
Millennium XLs. Since Skeleton Key
[2005], weve had a numbered set of
Primo and C-Series lenses that we try
to use on every picture, he reveals.
Theyre hand-picked, and each has
different characteristics in terms of color
and sharpness. My crew and I know
these lenses intimately, and I take a lot
of pleasure in acquainting others with
them. After a couple of weeks of shoot-
ing, Oliver was able to see the subtle
differences in each one.
Occasionally some new
[anamorphic lenses] will come in on a
show, and well run them up against our
set, notes 1st AC Serge Nofield, who
works with Panavision to track Mindels
favored set. Well shoot a ton of live
tests with charts and also scenes with
actors, because a focus chart really
doesnt tell a story like were eventually
going to tell it.
The productions locations
included sites in and around Los
Angeles, as well as sites in Malibu, the
San Fernando Valley, Orange County,
Simi Valley and Santa Clarita. Second-
unit work was also shot (by Matthew J.
Lloyd, CSC) in Mexico and Indonesia.
Shooting entirely on location
meant a company move more or less
every day, so Mindels approach was to
keep things natural and simple, to let
the film and the lenses do what they do.
That meant when we got to a location,
P
h
o
t
o
s
b
y
F
r
a
n
c
o
i
s
D
u
h
a
m
e
l
,
S
M
P
S
P
,
c
o
u
r
t
e
s
y
o
f
U
n
i
v
e
r
s
a
l
P
i
c
t
u
r
e
s
.
Opposite page:
Ruthless drug-
cartel enforcer
Lado (Benicio Del
Toro) shotguns
smoke into the
mouth of kidnap
victim Ophelia
(Blake Lively).
This page, top to
bottom: Before
she is
kidnapped,
Ophelia chills
with her two
boyfriends,
marijuana
growers Chon
(Taylor Kitsch,
left) and Ben
(Aaron Johnson);
the business
partners consult
with their
associate, Spin
(Emile Hirsch,
seated);
cinematographer
Dan Mindel,
ASC, BSC meters
Lively while she
and director
Oliver Stone
rehearse a scene
with Kitsch and
Johnson.
44 July 2012 American Cinematographer
we didnt try to change what was there.
We enhanced it or left it alone.
One of the biggest challenges
on this job was just getting the gear to
some of the locations, says gaffer Chris
Prampin. We shot on the beach and in
the hills above Malibu, for example.
Luckily, we had a great rigging crew to
help us get our equipment up there.
Prampin and Mindel worked out
of a 48' truck full of HMIs and tung-
sten lamps, while rigging gaffer John
Manocchia supervised a second 48'
truck filled with cables, which he and
his crew would run on location while
rigging key grip Kevin Fahey installed
frames and grids. When the situation
called for it, Manocchia would also take
drop-loads of additional lamps and
rough in the lamp positions ahead of
time.
A four-story house perched on a
cliff in Malibu served as Ben and
Chons Laguna Beach home. The
setting offered natural beauty but was
High Anxiety
Top: Hot toplight illuminates a dinner scene. Bottom: The enforcer uses his gun to emphasize a point.
Lado is incredibly scary and violent, but initially I tried to photograph him in a way that wasnt
classically scary, Mindel says. We wanted him to look as pedestrian as possible when he first appears
onscreen, and once the violence kicks in, we begin using unsettling colors to manipulate the viewer into
feeling a certain way about him.
bring out the background, and then
light the set locally.
The filmmakers wanted to use
color expressionistically as the story
evolved. Ben and Chons home is
also relatively inaccessible, and shooting
inside required some special considera-
tions. Because it overlooked the
Pacific, the house was filled with an
incredible amount of bright light on its
west side, says Mindel. It was difficult
to shoot with backlight in the after-
noons, so in the mornings wed shoot
out toward the sea, and in the evening
wed look the other way.
Mindel balanced the indoor light
levels by gelling the windows with ND
and surrounding the house with 18K
HMIs gelled with
1
2 and
1
4 CTO.
The crew had to work within the prop-
ertys limits, utilizing every inch of patio
and deck space. Scaffolding helped
them reach windows on the upper
floors. Whenever possible, 10K and
20K tungsten Molebeams gelled with
1
2 and
1
4 CTB were used to punch
strong shafts of sunlight into the house
to help give the daylight a more direc-
tional feel.
Shooting at night on a large-
scale production usually means setting
up Condors, 18Ks and lighting
balloons, but that wasnt possible in the
Malibu house and other settings in the
area. We ended up using smaller lights,
2K Blondes and 1K Redheads, Mindel
explains. Wed hang them in trees to
Top: Surgical fixtures and implements contribute to the intimidating ambience as Lado confronts
his captive. Bottom: The bound and shackled Ophelia languishes in her cage.
www.theasc.com July 2012 45
46 July 2012 American Cinematographer
initially portrayed as a Mediterranean-
style paradise; the ocean is blue and
crystal clear, the foliage is emerald
green, and the inhabitants dress in kalei-
doscopic hues. After Elena and Lado
kidnap Ophelia, the colors become less
saturated and harsher as the violence
escalates, progressing to the bleached-
out, sun-blasted extremes of the climax
at the Mexican border.
Just as some movies reflect the
auras of their characters with soothing
colors, I tried to create an acidic, Day-
Glo feel for some of the heavier charac-
ters in Savages, says Mindel. These are
colors much like what youd find in
signage and dcor in places like Tijuana
blue, yellow, pink and green. It was an
idiosyncratic approach to photograph-
ing our idiosyncratic characters.
He cites the brutal henchman
Lado as an example. Lado is incredibly
scary and violent, but initially I tried to
photograph him in a way that wasnt
classically scary. We wanted him to look
as pedestrian as possible when he first
appears onscreen, and once the violence
kicks in, we begin using unsettling
colors to manipulate the viewer into
feeling a certain way about him.
In a scene that shows Lado
torturing one of his cartel associates
(Deman Bichir) in a basement, Lados
single-minded brutality is expressed by
a single shaft of greenish daylight.
Outside the location, Mindels crew
positioned a Bebee boom truck with 15
6K HMIs tinted
1
2 Plus Green, focus-
ing all of the light through the rooms
only window. The bounce from the
floor was redirected around the room
with white cards and beadboard.
Prampin describes the resultant look as
low light from the side that under-
scores Lados evil nature.
Though she is equally evil, Lados
boss, Elena, always looks glamorous.
Mindel lit Hayek with covered wagons,
batten strips of four 500-watt ECT
Photofloods softened with Lee 250
Half White, and a 2K Blonde bounced
into a book of unbleached muslin and
Lee 129 Heavy Frost.
Throughout the shoot, the film-
makers looked for any excuse to experi-
ment with color. Wed get to a scene
and just go through the rolls to see what
High Anxiety
Top: Cartel boss
Elena (Salma
Hayek) is as evil
as her
henchmen, but
Mindel used
glamorous
lighting to
emphasize her
beauty. Bottom:
Elena dialogues
with corrupt
DEA agent
Dennis (John
Travolta).
www.theasc.com July 2012 47
worked, recalls Prampin. We used a
lot of Lee Chrome Orange, 219
Fluorescent Green,
1
4 to Full Plus
Green and Urban Sodium. When we
could use a Condor at night, wed put
Urban Sodium on our HMIs to warm
them to look like streetlights.
Savages includes several driving
scenes, day as well as night, and for the
latter Mindel opted to light only the
cars. Instead of using a process trailer, he
had key grip Charley Gilleran hard-
mount the camera to the picture cars. A
small tow trailer was fitted with a
soundproof wood housing for two
Honda EU2000 generators. The trailer
was then hitched to the bumper of the
picture cars, which Faheys crew covered
with speed rail to facilitate the hanging
of several Kino Flos and 500-watt Par
cans. The rigs were drivable enough
that we actually had the actors doing the
driving, Prampin remarks. We even
drove them on the Century Freeway.
Because they werent lighting the
streets, the filmmakers tried to shoot in
areas that were already bright enough to
be visible in the background. Selfishly,
perhaps, I wanted to use as little light as
possible to demonstrate that you dont
have to shoot digitally to shoot at
night, says Mindel. Film really does
just see what the eye sees, but if you
mistreat it, the results can be volatile.
He shot interiors and night
scenes on Kodak Vision3 500T 5219,
Top to bottom: The crew deploys white bounce cards and large blacks for negative fill; Steadicam
operator Chris Haarhoff captures a shot of Lado taking aim; a low-angle dolly shot amps up the ensuing
gun battle.
Film really does
just see what the
eye sees, but if
you mistreat it,
the results can
be volatile.
48 July 2012 American Cinematographer
and day exteriors on Vision3 200T 5213
and Vision2 100T 5212. (He prefers to
shoot day exteriors without an 85 filter
and then correct the image later in post.)
A few scenes were filmed on Eastman
black-and-white Double-X 5222, and
Ektachrome 100D 5285 color-reversal
stock was cross-processed to give a few
scenes an extreme look. The produc-
tions negative was processed at
FotoKem, which also created a combi-
nation of digital and film dailies under
the supervision of ASC associate Mark
Van Horne.
The movies black-and-white
prologue in California and epilogue in
Indonesia were shot by Lloyds second
unit. After conducting extensive tests at
FotoKem, Mindel decided to push-
process these scenes 2 stops with no
exposure compensation, then bring the
image down 2 stops. The black-and-
white shots werent as over-the-top as
some of the other looks we tested, says
Lloyd. We ended up with a blooming,
luminous image, and we were easily able
to get our detail back by printing down.
To create a flashback to Chons
childhood, Mindel combined an Arri
2-C hand-cranked camera with cross-
processed color-reversal stock. The
result was pleasing enough that he took
the same approach to a scene in which
Chon, an ex-Navy SEAL, and Ben, a
Buddhist, hijack a cartel vehicle filled
with cash. Ben is forced to transform
from passive to aggressive, notes
Mindel, so we shot part of the sequence
handheld on color reversal, just to give
Oliver some mad frames to cut into the
sequence. Cross-processing the film
made the colors go completely nuts.
Much of the responsibility
for framing and camera moves was
placed in the hands of A-camera
operator Philippe Carr-Forster and
B-camera/Steadicam operator Chris
Haarhoff. Ive been an operator since
1986, and I was given more freedom on
this film by Dan and Oliver than Ive
ever previously experienced, says
High Anxiety
Top: Ben dons a
Mexican Day of
the Dead mask
when force
becomes
necessary. Bottom:
Lado enlightens
Ben with a flare.
50 July 2012 American Cinematographer
Carr-Forster. They left lens choices
and camera moves up to us. Oliver
would have to approve everything, but
he was primarily focused on the actors.
It was like going back to the
old English system, when the camera
operator would set up the shot and the
cinematographer would light it, Carr-
Forster continues. We tended to move
very quickly. This made the focus
pullers job extremely demanding, and
Serge did a stellar job.
Although the shoot often felt like
a large-scale guerrilla production, the
crew notes that shots were executed
with almost tactical precision. It was a
hectic shoot, but Oliver knew exactly
what shots he needed, and once we had
them wed move on to the next scene,
says Nofield.
Carr-Forster recalls a night on
location in a sketchy neighborhood in
East L.A.: We didnt know what Oliver
had planned. We did a company move
from a rooftop downtown to a very dark
street in East L.A. We arrived at a house
and found out that Chon was going to
drive up to the property, knock on the
front door, demand repayment of some
money, and then break the door down
and go inside. The scene, which was
shot handheld, was quickly rehearsed.
When the thug refuses to let Chon in,
Chon breaks down the door and pushes
him aside, recalls Carr-Foster. The
thug, not a stunt man, went flying across
the room, and by take three he had four
broken ribs! Its weird to be there with a
camera in the middle of chaos, not
knowing what will happen next.
Nofield kept action in focus by
laying marks whenever possible.
Whether I used them or not is another
High Anxiety
Top: The grim
figure of Death
hovers over Chons
shoulder. Bottom:
The partners make
a macabre
impression as they
fight back. Mindel
notes, The Da de
los Muertos thread
that runs through
the film was
something that I
developed with
production
designer Tomas
Voth. Hed brought
in some art
examples, and
they reminded me
of my travels
through South
America. You see it
in the streets:
candles burning at
crossroads with
offerings of
flowers. I was very
interested in
bringing those
little things into
the film.
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rapidly evolving electronic media industry. It couples
a comprehensive exhibition covering all facets of
todays industry with a highly respected peer reviewed
conference that helps shape the way the industry
will develop in the future.
Future Zone
showcasing the latest developments
in broadcast technology
IBC Connected World
including demonstration area
in Hall 14
IBC Big Screen
providing the perfect platform
for manufacturer demonstrations
and the Saturday Night Movie
R
e
g
i
s
t
e
r
n
o
w
a
t
w
w
w
.
i
b
c
.
o
r
g
/
r
e
g
i
s
t
e
r
story, he jokes. But I am a marks guy.
Laser pointers, verbal and visual
communication with second assistants,
Cine Tape I do all those things.
Phil [Carr-Forster] likes to
shoot in a freestyle kind of way, he
adds. He always has a slider on the
dolly. Sometimes he has two sliders, if
you can imagine one slider mounted on
top of another, so the camera is sliding
all over the place; its almost like a
Steadicam on a dolly. When youre
dealing with that, there arent any marks
to get!
Savages 60-day shoot ended with
the explosive finale at the Mexican
border, which was shot at Pyramid Lake
in Santa Clarita. Ben and Chon have set
up a prisoner exchange Ophelia for
Elenas daughter but they dont real-
ize theyre walking into an ambush.
Mindel worked closely with 1st
AD Donald Murphy to organize the
work at Pyramid Lake to take the best
advantage of natural light. Mornings
were used to stage vehicle approaches
and main action beats in the center of
the canyon, afternoons were dedicated
to aerial stunts, and magic hour was
reserved for the sequences closing
moments.
The finale was kind of like our
grip expo, Gilleran jokes. 30'x30'
frames of UltraBounce or Silent Light
Grid were tabled and hung from heavy-
High Anxiety
52
Mindel totes a reflector in the desert.
duty Gradall hydraulic booms, which
were used to diffuse or bounce bright
sunlight, or to create negative fill in
overcast conditions. When necessary,
fill was provided by 18Ks aimed
through bleached or unbleached
muslin.
MovieBird 35 and 45 cranes and
a 50' SuperTechnocrane were rolled out
each day, though Carr-Forster often
went handheld, even while shooting
from a helicopter, while Haarhoff oper-
ated a Steadicam. For the finale, Carr-
Forster covered the fight involving Ben,
while Haarhoff covered Chons fight.
We had two cameras covering the
same scene in separate masters, says
Carr-Forster. It was a very different
way of doing things, but we hope it
captured the intensity of the scene.
Stone carried out the final color
timing with colorist and ASC associate
member Stefan Sonnenfeld at
Company 3, which handled the 2K DI.
Mindel knew in advance that he
wouldnt be able to participate because
of a prior commitment, so he gave
Stone a booklet of stills hed taken on
set with his iPhone and tweaked in
iPhoto. They were more portraits than
snapshots of the scene, says the cine-
matographer. Sometimes Id just
photograph pieces of art direction. The
idea was just to give Oliver a taste of
what the scene was about. Ultimately,
however, the director toned down the
color I used on set for his own reasons.
After being tied to big CGI
films [including John Carter and Star
Trek] for the past few years, Savages was
a totally refreshing experience, Mindel
concludes. We kept the digital effects
to a minimum and did as much as we
could practically. Running around real
locations and really blowing things up
was a welcome change!
53
TECHNICAL SPECS
2.40:1
Anamorphic 35mm
Panaflex Millennium XL,
Arri 2-C
Panavision Primo,
C-Series
Kodak Vision3 500T 5219,
200T 5213;
Vision2 100T 5212;
Ektachrome 100D 5285;
Double-X 5222
Cross Processing by FotoKem
Digital Intermediate
54 July 2012 American Cinematographer
Bojan Bazelli, ASC and his
collaborators break down their
approach to a key sequence in
the big-screen adaptation of
Rock of Ages.
By Patricia Thomson
|
D
avid Lee Roth was once asked why Van Halens stage
show was so big, and he replied, What were doing is
just like high school: its all about who has the loudest
stereo and the biggest back tires. This over-the-top
world is celebrated in Rock of Ages, a love story set on the
Sunset Strip in 1987. Adapted from the Broadway musical,
which showcases such hits as David Lee Roths Just Like
Paradise, Joan Jetts I Love Rock n Roll, Journeys Any
Way You Want It and Bon Jovis Wanted Dead or Alive,
the movie reunites director Adam Shankman and cinematog-
rapher Bojan Bazelli, ASC, who first teamed on another
period musical, Hairspray (AC Aug. 07).
During their 12 weeks of prep together, Shankman and
Hair-Metal
Heroes
www.theasc.com July 2012 55
U
n
i
t
p
h
o
t
o
g
r
a
p
h
y
b
y
D
a
v
i
d
J
a
m
e
s
,
S
M
P
S
P
,
c
o
u
r
t
e
s
y
o
f
W
a
r
n
e
r
B
r
o
s
.
P
i
c
t
u
r
e
s
.
Bazelli researched concert performances
and music videos of the era, watching
hundreds of the latter. The common
denominators were heavy backlight,
with the singers long hair burning in
the light, and primary colors, and Adam
and I decided to integrate both of these
elements into our film, Bazelli reports.
We decided to give the shows a satu-
rated look with very vivid yellows,
greens, blues and reds, and we decided
to never put more than two primary
colors together at the same time. We
also planned to make camera angles and
camera moves a big part of the stage
drama you see a lot of sweeping
crane moves.
The storyline, which follows
aspiring performers Drew (Diego
Boneta) and Sherrie ( Julianne Hough)
as they meet, fall in love, and try to
break into the business at a Sunset Strip
nightclub called the Bourbon Room,
called for a lot of dark club interiors and
night exteriors, and this was a key
reason why the filmmakers chose to
shoot digitally with the Arri Alexa.
We knew wed be shooting very fast,
very complicated moves in places that
would offer limited space to hide lights,
a scenario where film would struggle,
says Bazelli. Our ability to shoot at a
very low exposure with the Alexa gave
us a rich, textured look that suited the
world of rock n roll, which is mostly
nocturnal. And Adam was excited about
employing modern digital tools to
capture that world; he felt we could be
more creative if we went digital.
The production had time for one
round of camera tests, which involved a
side-by-side comparison of the Alexa
(capturing in ArriRaw) and a 35mm
film camera that was carried all the way
through to a filmout at Deluxe in New
Opposite: Stacee
Jaxx (Tom Cruise)
delivers a show-
stopping rendition of
Bon Jovis Wanted
Dead or Alive. This
page, top: As Drew
(Diego Boneta,
background) looks
on, Sherrie (Julianne
Hough) makes her
case to Bourbon
Room owner Dennis
Dupree (Alec
Baldwin, right) and
his cohort Lonny
(Russell Brand). Left:
Bojan Bazelli, ASC
(left) and director
Adam Shankman
discuss the scene.
56 July 2012 American Cinematographer
Hair-Metal Heroes
York. I was pleasantly surprised by the
quality of the Alexa image, which looked
truly great, says Bazelli. Until the abil-
ity to capture in ArriRaw became avail-
able, I didnt think any digital camera
could start putting nails in the coffin of
film, but this is a digital image that really
does offer a film-like feel.
However, he adds, I still love
the look of film, which is why Im
currently shooting The Lone Ranger on
film.
Rock of Ages is the first digitally
captured motion-picture musical, and
Bazelli acknowledges that the format
poses at least one clear advantage for the
genre: When youre shooting a musical,
which involves so many people and
tricky logistics, the possibility of seeing
the image immediately on set is defi-
nitely helpful. We could tell right away
when any changes were necessary.
One drawback to digital capture,
he continues, is cost, especially for a
multi-camera project like Rock of Ages,
which had five Alexas rolling on every
musical performance. People like to say
digital is less expensive than film, but Id
say its twice as expensive on a show like
this, he observes, noting that in addi-
tion to the costs of renting cameras and
Codex recorders, the production had to
keep more than 100 digital mags on
hand to facilitate the data-verification
process. The data on each mag had to
be cloned on set, checked and then
cloned again and checked by the lab.
Then the lab had to generate LTO-5
tapes for the studio for QC and archiv-
ing before that mag could be erased and
returned to the set. This process took
three to four days.
If youre shooting five cameras
and averaging four magazines per
camera, you need 20 mags for one days
work. And since you cant get them back
for three days, you have to have another
20 in reserve for the next day, 60 for
three days, and so on.
Bazelli is quick to note that Otto
Nemenz in Hollywood gave the
production a good deal on its camera
package, which included Cooke S4
prime lenses, Angenieux Optimo 12:1
Right: Lonny and
Dennis improvise a
number in Dennis
office. Below: The
A and B camera
teams work
handheld to
capture the pairs
performance.
(24-290mm) and 3:1 (15-40mm and
28-76mm) zooms, and a set of new
Leica Summilux lenses. The Leicas
are great, and I wanted to use them for
the whole picture, but they were in the
test stage at the time, so we could only
get them for two weeks, he says. I shot
our night exteriors on the Sunset Strip
and at the Hollywood sign with them.
Theyre high speed, T1.4, and high
resolution, and they proved to be
perfect for such scenes. Theyre less
contrasty than Arri Master Primes.
Rock of Ages 70-day shoot took
place in Miami, where the production
cordoned off four blocks to serve as a
section of the Sunset Strip. At the
nearby Ice Palace Film Studios, they
utilized three stages: one for construc-
tion, one for dancers and rehearsals, and
one for sets. In addition, two practical
locations were required for stage perfor-
mances. The Fort Lauderdale music
venue Revolution served as the
Bourbon Room, and Miamis Seminole
Hard Rock Hotel & Casino stood in
for Dodger Stadium, where rock god
Stacee Jaxx (Tom Cruise) performs
with his band, Arsenal.
More than half of the movie is
set in the Bourbon Room, which is run
by Dennis Dupree (Alec Baldwin). In
dressing the location, production
designer Jon Hutman worked with
Bazelli and his lighting team, led by
gaffer Tony Nako Nakonechnyj and
theatrical-lighting designer Mike
Baldassari, to create fixtures that could
function as period-accurate practicals
onstage and throughout the club.
During our research in prep, we
noticed that Par cans were key to the
period look, says Bazelli, so we worked
with Jon to have a lot of them in shot,
whether we were backstage or onstage.
Baldassari rigged silver Par cans
on six-lamp bars onstage, where they are
visible in shot, but hanging overhead
were modern Pars with scrollers that
enabled Bazelli to change the color
wash and brightness instantly from the
lighting console. We put period-accu-
rate silver octagonal gel frames in front
of the scrollers, so if you looked at the
www.theasc.com July 2012 57
Realizing their
dreams at long last,
Drew (top) and
Sherrie (bottom)
get their respective
moments in the
spotlight onstage
at the Bourbon
Room.
58 July 2012 American Cinematographer
stage from the front, they looked like
those old Pars, but actually they were
modern Pars in costume, says
Baldassari.
Rock of Ages takes two approaches
to musical numbers: some are
performed onstage, while others occur
when characters break into song in
everyday settings. Typically, those light-
ing styles are separate and distinct, but
on some occasions one song combines
both. Such is the case with Wanted
Dead or Alive, Jaxxs first performance.
We called that a journey through the
life of a rock n roll star, says Bazelli.
Ambitious in theme, choreography,
design and logistics, the sequence illus-
trates the complexity of meshing a real
world scene with a musical number.
The song begins in the Bourbon
Room greenroom, where a Rolling Stone
reporter (played by Malin Ackerman) is
interviewing Jaxx. Whats it like to be
the Stacee Jaxx? she asks. He replies,
Im a cowboy, and then launches into
the Bon Jovi song. Singing all the while,
he walks out of the dressing room into a
backstage loading area, where he is
joined by a host of groupies, and then
proceeds to the stage in the Bourbon
Room, where roadies are setting up for
his show. Boxes are piled next to the
stage, and Jaxx climbs them like a stair-
case.
As Jaxx tells his tale, I wanted to
suggest the darker, moodier side of his
Hair-Metal Heroes
D
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.
Performances in the Bourbon Room required a mix of film lighting and theatrical lighting. The diagram above shows the color key for the
theatrical-lighting setup created by Mike Baldassari. Diagrammed on the opposite page is the setup itself.
FOH 2 TRUSS
L
C
Smoke/Fans
Haze= 901
Fan = 902
Mac 2k Perform.
Mac 600 Wash
Mac 700 Spot
KEY TO SYMBOLS
Mac 250 Entour
Mac 250 Plus
#1T #6T
FRAME COLOR NAME
SPOTS: 1, 2, 3
1
2
3
4
5
6
R-3407
R-3313
R-3408
R-3314
L-210 .6 NEUTRAL DENSITY
HALF CTO
1/2 MINUS GREEN
FULL CTO
1/4 MINUS GREEN
L-211 .9 NEUTRAL DENSITY
FOH R FOH C FOH L
FOH 1 TRUSS
DS TRUSS
US TRUSS
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 DEG
18 17
42
43 41
2
3 1
5
6
45
4
44 20 19
53 54 52 51
59 60 56 55
18 DEG
15
77
76
78
14
74
75
73
13
68
69
67
71
72
70
12
65
66
64
11
62
63
61
58 57
#2T #5T
#3T #4T
26 21
25 22
24 23
Strobes
81 Truss
83 Tower
82
84
88 Floor 89 87 90
Truss Warmers
93 95 91 97 99
94 96 92 98 100
Tower Warmers
106
105
104
101
102
103
Truss Par ACLs
142
141
144
143
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145
148
147
149 150 151 152
158
157
160
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154
153
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155
Tower Par ACLs
163
164
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162
167
168
165
166
171
172
169
170
183
184
181
182
179
180
177
178
175
176
173
174
Floor Pars
135 136 137 138 139 140
209
210
Drums
6-Lamp Sides
185
186
187
188
189
190
191
192
193
194
195
196
Blinders
204
203
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204
Ctr
206
205
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206
SL
202
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201
202
SR
226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 224 223 221 222 220 219 218 216 217 215 214 213 211 212
GROUNDROW
225
Sign
Bourbon Room Sign
31 32
33 34
35 36
BACKLINE
79 80
109 110
301>312
321>328
341>352
331>338
Backline / Floor
LIGHTING BY:
MIKE BALDASSARI
2010 MIKE-O-MATIC Industries LLC
Updated: May 22, 2011
BOURBON CLUB
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www.theasc.com July 2012 59
60 July 2012 American Cinematographer
character, says Bazelli. We did that by
transitioning from the warmth of the
greenroom to the harsh, specular
crosslight of the nightclub. We lit the
greenroom set with low-angle Arri
750HPLs with XS Video Pro
Chimeras and 40-Degree LCDs, and
Arri 650s with XXS Chimeras and 40-
Degree LCDs, and we then used open-
faced Arri 2Ks and 5Ks on Tom as he
meandered into the club location.
When he exits the greenroom, he enters
a world of toplight that evolves as he
travels into the low-angle Fresnel light-
ing backstage, and then into the 5K
open-face crosslight of the clubs mosh
pit.
As Jaxx climbs onstage, we tran-
sition from film lighting to theatrical
lighting, which we accomplished by
having Mike Baldassari create and illu-
minate a pathway onto the stage,
continues Bazelli. Then, once Jaxx is
onstage, we use an in-camera transition
a 360-degree move coupled with a
lens flare to cut from his nightclub
performance to his performance at
Dodger Stadium, suggesting his rise to
the top of his profession.
The camera begins the 360
around Jaxx when he steps onstage, and
the song was choreographed so that
halfway through the move, Tom would
bend down, allowing a Mac 700 to flare
the lens, he continues. We then cut to
an identical flare when he pops back up,
and the camera move continues to
reveal that hes performing in a different
venue, a huge stadium packed with
thousands of fans. His band is at the
peak of its fame, with pyrotechnics blaz-
ing, a wall of light and spotlights galore.
The song concludes with a simple tran-
sition: we cut back to his close-up on
the Bourbon Room stage, using the
same color and tone of the arena shot.
The circle is complete.
The sequence called for five
cameras and three locations, but it all
had to feel like one continuous shot.
Hair-Metal Heroes
Top: Drew
enjoys another
triumphant
moment onstage
at the Bourbon
Room. Bottom:
The filmmakers
prepare to
shoot the
performance.
Key grip Ross Jones coordinated the
camera moves, which needed to be as
dynamic and sweeping as the music was
loud. Meshing the film lighting with the
theatrical lighting was key. I loved
mixing the two lighting systems on this
movie, and Mike and Nako worked
closely to make it look seamless, says
Bazelli. One of the more interesting
parts of our job was creating transitions
where we could fold Nakos stage light-
ing into Mikes concert lighting, and
vice versa.
The greenroom portion of Jaxxs
musical number was shot on a set built
at Ice Palace, and thus was the most
straightforward to capture. In addition
to creating warm ambience with the
Chimeras, Nako worked with Hutman
to create practicals that combined LED
and incandescent fixtures and allowed
for color adjustments. Meanwhile,
camera moves during the interview were
done handheld and on dolly tracks, and
then a Steadicam move accompanied
Jaxx out of the room.
The Revolution nightclub wasnt
an easy location. It featured a deep,
horseshoe-shaped balcony that reduced
ceiling space, and its passageways
couldnt always accommodate the vari-
ety of cranes the filmmakers wanted to
use. Also, the floor comprised many
levels. Jones explains, The mosh pit was
about 4 feet lower than the dance floor.
Everywhere you went, you never had a
long run on the same floor. We wanted
to do dynamic, sweeping camera moves,
so we had to build Technocranes in
varying sizes to deal with the small hall-
ways and doorways. Thank goodness
our Technocrane provider, Cinemoves,
was able to offer us many different
options to build, because we were
constantly changing for that location.
Whats more, the filmmakers often had
to vacate the space for the clubs own
shows or rehearsals.
All of the camerawork and light-
ing elements flowed from the choreog-
raphy, which continued to evolve until
the cameras rolled. Shankman, Bazelli
and Cruise rehearsed the number exten-
sively onstage at Ice Palace, and, fortu-
nately, key crewmembers could watch
some of those weekend rehearsals.
That made all the difference in the
world, says Jones. We knew exactly
what Toms timing would be, how fast
hed move from Point A to Point B, and
so on. It was critical that we knew those
details ahead of time, because when Tom
came in ready to shoot, he was ready to
go! We didnt want him to have to wait
on us.
During Cruises final rehearsal on
location, Bazelli brought in an Alexa.
That was a great help because then we
could see how it would look on camera,
says the cinematographer. On the day
of shooting, there were only a few final
lighting adjustments based on Toms
performance and aesthetic needs. I
would turn to Mike and say, Lets add
more color to the backlight, or Lets
turn off the side spot.
The filmmakers started pre-
rigging the Bourbon Room a month
before the scene was shot and well
before Cruises choreography was set
so units were placed in nearly every nook
and cranny, and enough dimmer chan-
nels were established to cover every
contingency. The goal was that Tom
would look chiseled no matter where he
moved on the stage, says Bazelli.
Background lighting in the club
came from Arri 750HPLs and 3K
Barger Lites softened with XS Video
Pro Chimeras and 40-Degree LCDs.
A-camera/
Steadicam
operator
Stephen
Consentino
gets close to
the action
onstage,
assisted by
1st AC John
Holmes.
www.theasc.com July 2012 61
We like to create sheens behind things
with big, soft sources and then use set
pieces to create silhouettes, says Nako.
Kino Flos and JDR Mini Par Cans were
also rigged overhead. The JDRs are
incandescent halogen-projector-type
globes in a Mini Par Can configura-
tion, says Nako. We used a lot of those
for Toms walk up the ramp and into the
backstage area. Tom is being hit with a
bit of toppy backlight from real Par cans
the theatrical lighting while a
soundboard guy in the shot is being lit
with the Mini Par Cans.
The sharp overhead light created
a very interesting play of light and
shadow on Toms torso hes shirtless
for most of the movie, adds Bazelli.
The filmmakers considered a
number of ways to achieve the in-
camera transition, but the simplest solu-
tion proved to be a Steadicam move,
which was accomplished by A-
camera/Steadicam operator Stephen
Consentino. We called it human
motion control, says Bazelli.
The move starts very close to
Cruise and cuts on the moment when
he bends down and allows a Mac 700 to
flare the lens. When we shot the rest of
the move in the arena three or four
weeks later, Stephen repeated the move,
matching the speed and angle, but
Hair-Metal Heroes
62
Bazelli and 1st AD Chris Carreras discuss a setup.
because of the greater distance between
Tom and the source we used a more
powerful light, a Martin Mac 2K Profile
Spot, explains Bazelli. We simply
overlapped [the shot]. In the arena, we
lit for a cool palette at first, matching
the cool tones of the Bourbon Room
performance, so the transition isnt
immediately obvious.
Once Jaxx is revealed to be in a
crowded stadium, the cool palette
changes to a warm one, and the fire-
works begin. Showers of sparks erupt
from the floor, spotlights flick across the
arena, and hundreds of stage lights
provide material expression of Arsenals
power. I was amazed by the Alexas
dynamic range on this scene, notes
Bazelli. It held bright fire and sparks
with no problem, retaining all the color
in the highlights.
Shankman wanted to create a
wall of light behind the band that
spelled out Jaxx, and the team accom-
plished this by using four giant pods
that each contained 36 Pars with
scrollers dressed in octagonal gel frames.
1K Pars were mounted on tall towers
lining the stage and on trusses overhead
to form an XX that hangs over the
stage (a reference to the singers
surname). The sign was so bright I had
to stop down the lens in order to
preserve detail in the highlights, says
Bazelli.
Visible on amplifiers and on the
stage floor are vintage Vari-Lite VL2C
spot luminaires. Those are some of the
last still working in North America,
says Baldassari, who spent two months
tracking them down. That was the
popular moving light in 1987, but
nobody has them anymore. I was able to
find somebody in Nashville who had
about a dozen of them.
Bazelli says he and Shankman are
very pleased with the finished scene: I
think the transition is great; it looks
seamless, and it doesnt feel like technol-
ogy is superseding emotion. The trick
was to create the same color tempera-
ture, the same brightness in the back-
light, so that there would be no visible
change between the two shots. Bazelli
and colorist Kostas Theodosiou finessed
the transition in the final color correc-
tion at FotoKem, where a Kodak film-
emulation look-up table was applied to
the entire picture.
Overall, we had an incredible
team on this movie, says Bazelli.
Everyone worked together to bring
Adams vision to life.
TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa
Cooke S4, Angenieux Optimo,
Leica Summilux
63
T
he nighttime soap opera Dallas ran for 14 seasons on
CBS, from 1978 to 1991, and was one of the most popu-
lar TV series of all time. The famous 1980 episode
Who Done It? which revealed the identity of the
family member who had gunned down J.R. Ewing (Larry
Hagman) was, at the time, the highest-rated TV episode
in history. Last month, 21 years after the final episode aired,
the Ewing family returned to the small screen.
The new Dallas, produced by TNT, focuses on the next
generation of the oil and cattle dynasty and, perhaps not
surprisingly, finds J.R.s son, John Ross ( Josh Henderson),
and Bobbys son, Christopher ( Jesse Metcalfe), engaged in
the same bitter power struggle that divided their fathers. In an
inspired bit of continuity, some of the actors from the original
64 July 2012 American Cinematographer
Shooting J.R.
Rodney Charters, ASC, CSC and
Rob Sweeney explain their
approach to Dallas, which reunites
the scheming J.R. Ewing with his
dysfunctional clan.
By Jean Oppenheimer
|
www.theasc.com July 2012 65
series are reprising their roles, including
Hagman, Patrick Duffy (who plays
Bobby) and Linda Gray (who plays
J.R.s ex-wife, Sue Ellen).
Rodney Charters, ASC, CSC,
best known to television audiences as
the director of photography on 24 (AC
Feb. 04), shot the pilot for Dallas and
the majority of its nine episodes. He was
under contract to another show
(Shameless) when the pilot was picked
up, so the first two episodes were shot
by Rob Sweeney, and the third was
co-shot by Sweeney and Brown Cooper,
the second-unit cinematographer/
B-camera operator on the other
episodes.
The series was shot in and around
Dallas and uses the same sprawling
ranch house as the location for
Southfork, the Ewing family home.
Sprawling, however, is actually a rela-
tive term. Charters laughs as he notes,
We went out of our way to dwell on
certain angles of the house because its
not what is considered big today. But
we couldnt not show it because its such U
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Opposite page:
Elena Ramos
(Jordana Brewster,
far left) and
Rebecca Sutter
(Julie Gonzolo, far
right) flank the
Ewings (left to
right) John Ross
(Josh Henderson),
Sue Ellen (Linda
Gray), J.R. (Larry
Hagman), Bobby
(Patrick Duffy),
Ann (Brenda
Strong) and
Christopher (Jesse
Metcalfe) who
rekindle their
longstanding
family feud in the
series Dallas. This
page, top to
bottom: J.R.
schemes with his
son, John Ross;
cinematographer
Rodney Charters,
ASC, CSC;
cinematographer
Rob Sweeney.
66 July 2012 American Cinematographer
an iconic image.
Sets for the interior of the home
were constructed in a former industrial
building south of Dallas and were
considerably larger than the original
series sets, with background plates shot
out the windows of the Southfork loca-
tion. The building is concrete and had
really bad acoustics, relates Charters.
We had to drop proper sound baffles
above the set and off to the sides.
The two-camera show was shot
with Arri Alexas recording to SxS cards
in ProRes 4:4:4. I love ProRes 4:4:4,
notes Charters. At the higher ISOs
[above 2,000], the noise that results is
very organic in structure. Arri went out
of its way to design a chip that doesnt
create fixed-pattern noise. When the
Alexa gets noisy, it still has a random
quality to it, like the grain in film.
Charters first used the Alexa on
the TV reboot of Charlies Angels, and he
immediately recognized it as a game
changer because it eliminated the need
to carry large HMIs. By the time I got
to the Dallas pilot, we no longer carried
18Ks; we had downsized to an Arri
1.8K, an HMI that plugs into a stan-
dard wall socket.
To accommodate the tight sched-
ule of a weekly series, Dallas was shot
mainly with zoom lenses: 15-40mm,
28-76mm and 24-290mm Angenieux
Optimos, and a 135-420mm Primo.
The production also carried a few Primo
primes and several Ultra Speed Z-Series
MKII primes. (Panavision Dallas
supplied most of the camera equip-
ment.)
Another concession to the tight
schedule was that Charters worked
British style, which he defines as
follows: I gave the operators much
more autonomy to work with the direc-
tor, which freed me up to concentrate on
lighting. Sometimes my gaffer, Danny
Eccleston, and I would move onto
another set and pre-light while the
operators were finessing their moves
with the dolly grips and getting sharps
[focus marks].
My collaboration with the digi-
tal-imaging technician happened after
Shooting J.R.
Top: The enterprising John Ross hires a crew to drill for oil. Middle: Elena and John Ross
celebrate when the well erupts. Bottom: Sodium-vapor units were used for the night exterior at
the well, when John Ross operation is shut down.
www.theasc.com July 2012 67
we recorded a take with the second
team, he continues. Id take the SxS
card to the DIT, where Id create a look-
up table for the scene using Gamma &
Density software so I could lock in the
look for subsequent processing down-
stream. I didnt tie the camera into a
waveform monitor on the DIT cart. I lit
using the video-village monitors, where
Id occasionally use the built-in digital
waveform display and sometimes even
an exposure meter!
The look of the show reflects the
perception that many people have of
Texas as a place that is always hot and
dusty. Its an image that has been
molded, to great extent, by motion
pictures. Charters knows from experi-
ence how cold the city of Dallas can be.
We shot the pilot in the spring, and it
was so chilly I was wearing a down
jacket. But we wanted to keep [the
popular impression] of a hot, dusty envi-
ronment, and thats the look and feel the
series maintains.
To keep the actresses looking
their best, Eccleston suggested using
Airstars Gaffair 400 and 1200 HMI
lighting balloons, which he had intro-
duced to Charters on the Charlies Angels
pilot. You dont have to use helium with
them, notes the gaffer. You inflate
them with a hair dryer, put in a plug,
and then this tiny air pump goes into the
back and continually pumps air into it.
Theyre like normal lights in that you
just put them on stands. We used them
any time we had a close-up of the ladies,
and they loved them. (Charters also
added a Tiffen Glimmer Glass 1 filter to
the lens for those shots.)
Kino Flos, LEDs and SoftSuns
(3.5K Pars and 10Ks) were used exten-
sively on the show. The 10K SoftSun is
a modest light, submits Charters, but
it has the ability to spread light over a
broad distance because its 4 feet long. It
perfectly replicates sunshine coming
through a window, and the lamp is fully
dimmable. Because the lights were so
soft, he didnt use any diffusion with
them.
Charters notes that the series was
staged fairly traditionally. We werent
Top: Bobby
advises his
nephew to steer
clear of further
drilling. Middle:
John Ross and
Christopher
carry on their
fathers rivalry.
Bottom: A Grip
Cloud, designed
by Anthony
Vietro, diffuses
the sunlight at
the Southfork
Ranch location.
68 July 2012 American Cinematographer
chasing people around like we did on
24. Dallas is more formal than that.
The camera was usually on a dolly, but
so many directors wanted to use the
Steadicam that, in the end, about 30
percent of the season was shot with it.
Charters considers the Steadicam more
of an observers position. It can [seem]
too fluid, too floaty, and it can take you
out of the moment. When the
Steadicam was used, he tended to incor-
porate it into walk-and-talks or tight
interior locations. Robert Gorelick,
SOC, the shows A-camera/Steadicam
operator, observes, We never used it as
a stylistic approach, as it was used on
ER and The West Wing.
Perhaps the biggest kick Charters
got on Dallas was shooting the eruption
of an oil well. It has always been my
desire to shoot a gusher! he confesses
with a laugh. He explains that his father,
a professional photographer, spent 20
years shooting offshore oil rigs after oil
was discovered off the coast of New
Zealand. The senior Charters ran his
own photography shop, and Rodney
grew up carrying camera bags and
working in darkrooms. There is noth-
ing quite as magical as seeing an image
come up in a tray, he says.
For the oil well in Dallas, we
wanted a rig that could be hidden in a
grove of trees, where we could find it in
a helicopter shot, and we needed it to go
down 3,000 feet or so, says Charters.
Well, oil rigs are $20 million apiece,
and they dont move easily. A rig for
drilling water wells turned out to be
perfect for our needs. The oil in the
scene was actually soy sauce, which was
just sticky enough to cling to faces and
clothes.
When the well erupts for the first
time, its a day scene. It was a one-off
shot, although it was run again for
close-ups. To get extra angles, Charters
added a couple of Canon EOS 5D and
60D DSLR cameras to the mix. The
Canons can get all sorts of awkward
shots that bigger cameras cant, he
reflects. They fit in refrigerators and
other unusual spaces.
An 85' Strada crane towered over
Shooting J.R.
Southforks
interior sets
were constructed
inside a former
industrial
building south
of Dallas.
the well, providing high-angle views.
The crane was used throughout the
series, but usually at half that height.
The motor broke one day, and we had
to push it, Charters recalls with a laugh.
It took about 20 of us!
The second big scene at the well
takes place at night. Bobby discovers
that John Ross has been drilling without
permission, and he drives out to the well
to shut it down. We felt that in a night-
time situation like that, a sodium-vapor
industrial light would be sitting halfway
up the rig, says Charters. I always carry
two or three of them because when
youre shooting an industrial complex,
theyre a perfect match for whats
already there.
A 400-watt industrial sodium-
vapor fixture was tied near the top of the
rig and served as the keylight. A couple
of Kino Flos were placed on the ground,
about 100' back, suggesting the light
emanating from nearby tents where the
workers slept. Bobby is going to the oil
well for a confrontation, so we decided
to approach the scene from inside the
cab of his truck, explains Charters. As
he drives up, the camera is looking over
his shoulder out the windshield, and
suddenly the oil well emerges out of the
darkness. Its this blaze of light. Small
LED lights were attached to surfaces in
the cab to provide a little ambience.
After Bobby orders the men to
stop working, John Ross and
Christopher get into a fistfight. For
that scene, we worked 24-style the A
cam was handheld with the 15-40mm
Optimo at about 20mm, and the B cam
was on the dolly with the 3:1 Primo all
the way out to 420mm, and the mater-
ial was intercut, recalls Charters. I
think that approach helps tremendously
when youre following close-ups and
theres a lot of action. The A cam was
right in the characters faces as oil was
coming down. We had a spinner on the
lens, and the operator was completely
covered in plastic bags and still got terri-
Left: A-camera/
Steadicam operator
Robert Gorelick,
SOC trains one of
the productions Arri
Alexa cameras on
Duffy and Strong.
Below: An overhead
frame diffuses the
sunlight on Duffy
and flags provide
negative fill as
B-camera operator
Brown Cooper
frames the action.
www.theasc.com July 2012 69
70 July 2012 American Cinematographer
bly drenched. But the camera was okay.
Charters is excited that the Alexa
allows him to work at such low light
levels. With the Alexa, lights you take
for granted become significant players.
Somebody hitting the brake lights in
the car in front of you can light your
whole scene. I love it!
The ability to use small lights
enabled the production to rely on house
power rather than running generators in
some situations. Sweeney recalls a scene
set in Sue Ellens office on the 20th floor
of a Dallas skyscraper: We didnt have
to drop cable 20 floors down a stairwell.
We could light the scene with panel
lights, Kino Flos and Jokers. The
biggest light I used was an Arri 1.8K.
Sweeney hardly needed any
movie lights for the Cattlemens Ball, a
huge night exterior that was shot at the
American Airlines Center in Dallas.
Thats where the [NBA] Mavericks
play, he notes. It was a huge set piece
for us.
The scene shows gleaming
limousines driving up and dropping
elegantly clad guests off at the plaza in
front of the building. We used the
Strada crane, which added great scale
to the scene, and the Steadicam with a
14mm lens, Sweeney recalls. We did
low-angle shots that brought people
out of their vehicles and wrapped
around the fenders of the cars. You see
their boots as they step out, but you also
see all the way to the sky with that wide
lens. We also did side-angle tracking
shots on a dolly.
Providing primary lighting for
the scene were three huge monitors that
are permanent fixtures outside the
arena. They ran continuous footage of
different images, and although just one
screen is visible on camera, the light
emanating from all three screens proved
so strong that it was actually too much
light for the scene. We put a dark-
brown graphic on each screen, and the
light immediately dropped 2 stops, says
Sweeney. I walked onto the set and
thought, I dont know if I want it that
dark, but there was no time to change it,
and, luckily, everything turned out to be
fine. We also used Lightning Strikes
Paparazzi Lights to create flashbulb
effects.
With the exception of Gorelick,
Eccleston and Sweeneys gaffer, Skip
McCraw, the shows crew was local, and
they earned high marks from the out-
of-towners. Key grip Kerry Rike actu-
ally worked on the original series.
There were two stars on this show:
Larry Hagman and Kerry Rike! laughs
Eccleston.
Charters notes that everywhere
he goes, even in his native New
Zealand, people seem excited by the
prospect of a new Dallas. People are
galvanized by the idea of the Ewings
return, especially when they hear that
actors from the original series are
coming back!
Shooting J.R.
Above: An
Airstar Gaffair
400 and an
overhead Kino
Flo illuminate
Duffy and Mitch
Pileggi in the
Ryland
Transportation
offices. Right:
Charters and
gaffer Danny
Eccleston confer
between takes.
TECHNICAL SPECS
1.78:1
Digital Capture
Arri Alexa;
Canon EOS 5D Mark II, 60D
Angenieux Optimo;
Panavision Primo,
Ultra Speed Z-Series MKII B
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Warner Bros. Opens London Studio
By Mark Hope-Jones
The new Warner Bros. Studios Leavesden is the first Holly-
wood-owned studio to exist in England for more than half a
century, and one of the largest film-production facilities in the
United Kingdom.
When Warner Bros. acquired the studio in 2010, it had most
recently been home to all eight Harry Potter films. It has since under-
gone a $160 million refurbishment, and now offers clients a highly
functional environment to meet any and all production needs.
Located near Watford, just north of London, the site offers a special
public tour, The Making of Harry Potter.
The property began as RAF Leavesden when the Air Ministry
requisitioned the land in 1940 for an aircraft factory. After the war,
the De Havilland Aircraft Co. continued to manufacture aero
engines at the facility until Rolls Royce took over, changing produc-
tion to helicopter engines. The factory closed in 1992.
Leavesden Studios was created when Eon Productions
tapped the propertys massive hangars, runway and backlot for the
James Bond movie GoldenEye (AC Dec. 95) after it proved impos-
sible to book space at Pinewood Studios, Bonds traditional home.
The alterations made at Leavesden were specific to the Bond
production, but they sowed the seed of an idea for an independent
studio. A consortium purchased the property with that goal in mind
and worked on redeveloping the property while servicing such
productions as Star Wars: The Phantom Menace (AC Sep. 99) and
Sleepy Hollow(AC Dec. 99), as well as commercials and TV produc-
tions.
Dan Dark (pictured), the facilitys senior vice president and
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managing director, notes, Those original development plans didnt
come to fruition, and the studio went through various different
owners until Roy Button, the head of production for Warner Bros.,
decided to find a facility Warners could fully control for the Harry
Potter films. Warner Bros. initially leased the facility for the first two
Potter productions, and during that time, Roy and I were telling
senior management what a great asset the site would be. Eventu-
ally Warner Bros. agreed to purchase the property.
The recent renovations involved stripping the original build-
ings back to their steel frames to allow for a completely new infra-
structure of utilities and services. Weve reformatted the original
layout to improve the efficiency of the space, says Dark. We had
the opportunity to take a big step back and start with an almost
clean canvas, so we were able to consider what todays filmmakers
require. The scale of the studio has always been very much at the
forefront of our minds, because its the scale that makes it work so
72 July 2012 American Cinematographer
well. With a quarter of a million square feet
of stage space and 100 acres of secure
backlot, productions have a lot of room to
maneuver. That level of flexibility is some-
thing weve worked hard to offer.
WBSL offers four of the biggest
soundstages in the U.K., each at more than
30,000 square feet; another four stages
measuring around 20,000 square feet; and
a multi-use stage that contains one of the
largest filtered and heated water tanks in
Europe. The stages are connected by
115,000 square feet of covered space,
which can be partitioned into different areas
and used for costume, props, camera, grip
and other support-services requirements.
Other facilities include an extensive
hard standing area, carpentry and mill
machine shops, dry hire edit rooms, offices,
workshop spaces and a stills studio. The
100-acre backlot incorporates level areas,
the runway, open fields, hills and clear hori-
zons. A range of en-suite dressing rooms
and hair and makeup rooms are located
within the central complex, adjacent to
the stages. In addition, the studio offers a
caf that can feed 1,200 people in less than
an hour, a 50-seat theater, and a Cisco
TelePresence meeting room.
WBSL has also established its own
on-site production-rentals division, with an
inventory that covers an extensive range of
lighting equipment, scaffolding and other
production supplies for stage and location
work. The rental division has already begun
servicing a number of Warner and non-
Warner clients in the U.K. and beyond.
Security is a big consideration for
productions today, and we were able to
design that into the whole ethos of the
studio from day one, notes Dark. The
design allows for totally separate and secure
hubs with independent swipe-card entry,
even when multiple productions are on the
studio at once.
Warner Bros. implemented an array
of green policies throughout the design and
build. The studio assigns sustainability coor-
dinators to all of its U.K. productions,
promoting energy conservation, recycling,
composting, responsible waste disposal,
and carbon-footprint management.
For additional information, visit
www.wbsl.com.
73
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Film matters. Tell the world why
at www.kodak.com/go/filmmatters
Film. No Compromise.