American Cinematographer - January 2018 - 50

◗

Love on the Run
This
underwater
embrace
between Elisa
and the
amphibian man
was shot dryfor-wet
(below), with
water effects
created by
visual-effects
company Mr. X
for the final
comp (right).

the set. We also executed a 360-degree
high-dynamic-range capture of Dan's
lighting, using a single rig placed in the
middle of the set; it captured 14 stops of
range in 360-degrees. We captured
every single lighting scenario that Dan
created, which allowed us to replicate
the lighting."
Conveying emotion through a
foam-latex mask wasn't easy, and so
here, too, visual effects lent a hand.
Without any makeup, Jones was
photographed expressing a range of
emotions, including anger, sadness, fear
and love. Mr. X captured those facial
expressions with its 60-camera XScan
rig, and the expressions - along with
eye blinks and brow movements - were
50

January 2018

then mapped onto Charley's digital face.
It was all but impossible for Jones
to "swim" gracefully and powerfully
while attached to a stunt rig; accordingly, for the movie's final dry-for-wet
scene, a digitally animated Charley was
employed up until the moment when
Elisa and the creature embrace. At that
point, both actors were suspended from
wires on a stage blacked out with
duvetyn and filled with smoke. Laustsen
further projected a high-contrast, shimmering animation onto the set from
high above the stage.
The only underwater scene not
shot dry-for-wet finds Elisa and the
creature in her apartment, standing
upright next to the stoppered bathtub
American Cinematographer

and embracing one another as the entire
bathroom - which measured about
7'x9' - fills with water. "We pre-built a
12-foot deep, 12-foot wide, 20-foot
long tank and lowered the bathroom set
into it," explains Austerberry. "Then
special-effects house Acme FX slowly
filled the tank with water."
An Alexa Mini camera was used
for the scene, fitted with the production's sole zoom lens, an Arri/Fujinon
Alura 15.5-45mm (T2.8). "We shot the
sequence at the end of the production,
just to be safe," Austerberry continues.
"The walls of the bathroom were built
of aluminum rather than wood, and
rivets were used instead of nails. The
room looks like cracked plaster but it
isn't. We used auto-body-type Bondo,
which is impervious to water. And, of
course, we had to use tabletop epoxy
paints rather than latex."
Unbeknownst to the lovers, water
is spewing through the door frame into
the main room of Elisa's apartment;
special effects rigged pipes with skinny
nozzles on the bathroom-side of the
door to achieve the practical effect.
Searching for the source of the sudden
leak that's sending water into the theater
below, Giles enters Elisa's apartment
and opens the bathroom door, unleashing a sudden torrent of water. "We had a



Table of Contents for the Digital Edition of American Cinematographer - January 2018

Contents
American Cinematographer - January 2018 - Intro
American Cinematographer - January 2018 - Cover1
American Cinematographer - January 2018 - Cover2
American Cinematographer - January 2018 - 1
American Cinematographer - January 2018 - 2
American Cinematographer - January 2018 - Contents
American Cinematographer - January 2018 - 4
American Cinematographer - January 2018 - 5
American Cinematographer - January 2018 - 6
American Cinematographer - January 2018 - 7
American Cinematographer - January 2018 - 8
American Cinematographer - January 2018 - 9
American Cinematographer - January 2018 - 10
American Cinematographer - January 2018 - 11
American Cinematographer - January 2018 - 12
American Cinematographer - January 2018 - 13
American Cinematographer - January 2018 - 14
American Cinematographer - January 2018 - 15
American Cinematographer - January 2018 - 16
American Cinematographer - January 2018 - 17
American Cinematographer - January 2018 - 18
American Cinematographer - January 2018 - 19
American Cinematographer - January 2018 - 20
American Cinematographer - January 2018 - 21
American Cinematographer - January 2018 - 22
American Cinematographer - January 2018 - 23
American Cinematographer - January 2018 - 24
American Cinematographer - January 2018 - 25
American Cinematographer - January 2018 - 26
American Cinematographer - January 2018 - 27
American Cinematographer - January 2018 - 28
American Cinematographer - January 2018 - 29
American Cinematographer - January 2018 - 30
American Cinematographer - January 2018 - 31
American Cinematographer - January 2018 - 32
American Cinematographer - January 2018 - 33
American Cinematographer - January 2018 - 34
American Cinematographer - January 2018 - 35
American Cinematographer - January 2018 - 36
American Cinematographer - January 2018 - 37
American Cinematographer - January 2018 - 38
American Cinematographer - January 2018 - 39
American Cinematographer - January 2018 - 40
American Cinematographer - January 2018 - 41
American Cinematographer - January 2018 - 42
American Cinematographer - January 2018 - 43
American Cinematographer - January 2018 - 44
American Cinematographer - January 2018 - 45
American Cinematographer - January 2018 - 46
American Cinematographer - January 2018 - 47
American Cinematographer - January 2018 - 48
American Cinematographer - January 2018 - 49
American Cinematographer - January 2018 - 50
American Cinematographer - January 2018 - 51
American Cinematographer - January 2018 - 52
American Cinematographer - January 2018 - 53
American Cinematographer - January 2018 - 54
American Cinematographer - January 2018 - 55
American Cinematographer - January 2018 - 56
American Cinematographer - January 2018 - 57
American Cinematographer - January 2018 - 58
American Cinematographer - January 2018 - 59
American Cinematographer - January 2018 - 60
American Cinematographer - January 2018 - 61
American Cinematographer - January 2018 - 62
American Cinematographer - January 2018 - 63
American Cinematographer - January 2018 - 64
American Cinematographer - January 2018 - 65
American Cinematographer - January 2018 - 66
American Cinematographer - January 2018 - 67
American Cinematographer - January 2018 - 68
American Cinematographer - January 2018 - 69
American Cinematographer - January 2018 - 70
American Cinematographer - January 2018 - 70a
American Cinematographer - January 2018 - 70b
American Cinematographer - January 2018 - 71
American Cinematographer - January 2018 - 72
American Cinematographer - January 2018 - 73
American Cinematographer - January 2018 - 74
American Cinematographer - January 2018 - 75
American Cinematographer - January 2018 - 76
American Cinematographer - January 2018 - 77
American Cinematographer - January 2018 - 78
American Cinematographer - January 2018 - 79
American Cinematographer - January 2018 - 80
American Cinematographer - January 2018 - 81
American Cinematographer - January 2018 - 82
American Cinematographer - January 2018 - 83
American Cinematographer - January 2018 - 84
American Cinematographer - January 2018 - 85
American Cinematographer - January 2018 - 86
American Cinematographer - January 2018 - 87
American Cinematographer - January 2018 - 88
American Cinematographer - January 2018 - 89
American Cinematographer - January 2018 - 90
American Cinematographer - January 2018 - 91
American Cinematographer - January 2018 - 92
American Cinematographer - January 2018 - 93
American Cinematographer - January 2018 - 94
American Cinematographer - January 2018 - 95
American Cinematographer - January 2018 - 96
American Cinematographer - January 2018 - 97
American Cinematographer - January 2018 - 98
American Cinematographer - January 2018 - 99
American Cinematographer - January 2018 - 100
American Cinematographer - January 2018 - 101
American Cinematographer - January 2018 - 102
American Cinematographer - January 2018 - 103
American Cinematographer - January 2018 - 104
American Cinematographer - January 2018 - 105
American Cinematographer - January 2018 - 106
American Cinematographer - January 2018 - 107
American Cinematographer - January 2018 - 108
American Cinematographer - January 2018 - 109
American Cinematographer - January 2018 - 110
American Cinematographer - January 2018 - 111
American Cinematographer - January 2018 - 112
American Cinematographer - January 2018 - 113
American Cinematographer - January 2018 - 114
American Cinematographer - January 2018 - 115
American Cinematographer - January 2018 - 116
American Cinematographer - January 2018 - 117
American Cinematographer - January 2018 - 118
American Cinematographer - January 2018 - 119
American Cinematographer - January 2018 - 120
American Cinematographer - January 2018 - Cover3
American Cinematographer - January 2018 - Cover4
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