American Cinematographer - January 2015 - 59

may not be exact. A match between the
lenses is of paramount importance. "If
you prep the lenses properly, you'll be
fine," Wolski submits. "It takes a bit of
time to go through lenses and make
sure they match, but it's well worth the
investment. 3D technology has come a
long way in recent years. We can now
zoom in-shot without issues; it's pretty
amazing."
The production shot primarily in
the U.K. at Pinewood Studios, with
location work in Almeria, Spain, and
Fuerteventura in the Canary Islands for
the Red Sea sequences. "Fuerteventura
has amazing deserts and three
completely different-looking coasts,"
Wolski enthuses. "One coast has incredible beaches, one has beautiful mountains, and one has lots of rocks and tidal
pools. In the mountains, there's an
amazing, super-tiny winding road
where we shot Ramses and his army in
chariots, racing after the Hebrews. We
shot the wide shots there for real. We
combined all of the coasts into one to
make the Red Sea sequence, which was
quite a puzzle to figure out - we had to
trace the sun direction from one side of
the island to the other to make sure the
different areas fit together as one cohesive sequence.
"That complicated what is, typically, the biggest challenge on a movie
like this: daylight exteriors," the cinematographer continues. "On one beach
the sun sets behind the mountains, and
on the other beach it sets in the ocean;
you have to be very clever about how
you shoot and approach that. I tried to
make sure we were chasing backlight as
much as we could. When we were on
the south-facing beach, we'd shoot from
land to sea, and on the other side, we'd
be in the water looking at people on the
beach. Day exteriors are always hard,
and on this scale there isn't much you
can do - you can't silk over 700 people
on a beach! You're at the mercy of
stronger powers and you have to
compromise to deal with it, because you
can't fight it."
Wolski says he shot a surprising
amount of day-for-night on Exodus.

Top: When Ramses refuses to let them go, Moses steps in to lead the slaves out of Egypt.
Bottom: Scott observes the action from between two stereo rigs.

"That was a big chance to take," he
confesses. "There were huge shots of
huge landscapes that you just can't light,
so we decided to create this moonlight
day-for-night look. We approached it
very classically, using the sun as a ¾
frontlight to make sure we could take
the sky way down but still have some
exposure on the faces. You can't put too
much light on faces when you're shooting during the daytime, or you'll lose the
www.theasc.com

effect. I didn't use any filtration - that's
almost impossible to do in 3D - but
just went with gross underexposure and
graded the image to be a little monochromatic in post."
Although some of the film's sets
would receive CG augmentation, many
of the show's vast locations were actually
constructed. "We had some really
gargangtuan sets," Wolski recalls.
"Many times people will build large sets
January 2015

59


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Table of Contents for the Digital Edition of American Cinematographer - January 2015

Contents
American Cinematographer - January 2015 - Intro
American Cinematographer - January 2015 - Cover1
American Cinematographer - January 2015 - Cover2
American Cinematographer - January 2015 - 1
American Cinematographer - January 2015 - 2
American Cinematographer - January 2015 - Contents
American Cinematographer - January 2015 - 4
American Cinematographer - January 2015 - 5
American Cinematographer - January 2015 - 6
American Cinematographer - January 2015 - 7
American Cinematographer - January 2015 - 8
American Cinematographer - January 2015 - 9
American Cinematographer - January 2015 - 10
American Cinematographer - January 2015 - 11
American Cinematographer - January 2015 - 12
American Cinematographer - January 2015 - 13
American Cinematographer - January 2015 - 14
American Cinematographer - January 2015 - 15
American Cinematographer - January 2015 - 16
American Cinematographer - January 2015 - 17
American Cinematographer - January 2015 - 18
American Cinematographer - January 2015 - 19
American Cinematographer - January 2015 - 20
American Cinematographer - January 2015 - 21
American Cinematographer - January 2015 - 22
American Cinematographer - January 2015 - 23
American Cinematographer - January 2015 - 24
American Cinematographer - January 2015 - 25
American Cinematographer - January 2015 - 26
American Cinematographer - January 2015 - 27
American Cinematographer - January 2015 - 28
American Cinematographer - January 2015 - 29
American Cinematographer - January 2015 - 30
American Cinematographer - January 2015 - 31
American Cinematographer - January 2015 - 32
American Cinematographer - January 2015 - 33
American Cinematographer - January 2015 - 34
American Cinematographer - January 2015 - 35
American Cinematographer - January 2015 - 36
American Cinematographer - January 2015 - 37
American Cinematographer - January 2015 - 38
American Cinematographer - January 2015 - 39
American Cinematographer - January 2015 - 40
American Cinematographer - January 2015 - 41
American Cinematographer - January 2015 - 42
American Cinematographer - January 2015 - 43
American Cinematographer - January 2015 - 44
American Cinematographer - January 2015 - 45
American Cinematographer - January 2015 - 46
American Cinematographer - January 2015 - 47
American Cinematographer - January 2015 - 48
American Cinematographer - January 2015 - K1
American Cinematographer - January 2015 - K2
American Cinematographer - January 2015 - K3
American Cinematographer - January 2015 - K4
American Cinematographer - January 2015 - K5
American Cinematographer - January 2015 - K6
American Cinematographer - January 2015 - K7
American Cinematographer - January 2015 - K8
American Cinematographer - January 2015 - K9
American Cinematographer - January 2015 - K10
American Cinematographer - January 2015 - K11
American Cinematographer - January 2015 - K12
American Cinematographer - January 2015 - 49
American Cinematographer - January 2015 - 50
American Cinematographer - January 2015 - 51
American Cinematographer - January 2015 - 52
American Cinematographer - January 2015 - 53
American Cinematographer - January 2015 - 54
American Cinematographer - January 2015 - 55
American Cinematographer - January 2015 - 56
American Cinematographer - January 2015 - 57
American Cinematographer - January 2015 - 58
American Cinematographer - January 2015 - 59
American Cinematographer - January 2015 - 60
American Cinematographer - January 2015 - 61
American Cinematographer - January 2015 - 62
American Cinematographer - January 2015 - 63
American Cinematographer - January 2015 - 64
American Cinematographer - January 2015 - 65
American Cinematographer - January 2015 - 66
American Cinematographer - January 2015 - 67
American Cinematographer - January 2015 - 68
American Cinematographer - January 2015 - 69
American Cinematographer - January 2015 - 70
American Cinematographer - January 2015 - 71
American Cinematographer - January 2015 - 72
American Cinematographer - January 2015 - 73
American Cinematographer - January 2015 - 74
American Cinematographer - January 2015 - 75
American Cinematographer - January 2015 - 76
American Cinematographer - January 2015 - 77
American Cinematographer - January 2015 - 78
American Cinematographer - January 2015 - 79
American Cinematographer - January 2015 - 80
American Cinematographer - January 2015 - 81
American Cinematographer - January 2015 - 82
American Cinematographer - January 2015 - 83
American Cinematographer - January 2015 - 84
American Cinematographer - January 2015 - 85
American Cinematographer - January 2015 - 86
American Cinematographer - January 2015 - 87
American Cinematographer - January 2015 - 88
American Cinematographer - January 2015 - 89
American Cinematographer - January 2015 - 90
American Cinematographer - January 2015 - 91
American Cinematographer - January 2015 - 92
American Cinematographer - January 2015 - 93
American Cinematographer - January 2015 - 94
American Cinematographer - January 2015 - 95
American Cinematographer - January 2015 - 96
American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
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