American Cinematographer - February 2018 - 38
◗
Force Forward
Top: The Canto Bight cityscape. Above: The crew readies an assortment of landspeeders that
will appear on the streets of the casino city.
that melded really well with what ILM
created around those scenes."
As the story continues,
stormtrooper-turned-hero Finn ( John
Boyega) and Resistance starfighter
technician Rose (Kelly Marie Tran)
embark on a secret mission to the casino
city of Canto Bight on the planet
Cantonica. The setting was realized
with exterior and interior sets at
Pinewood and Longcross, along with
location work on Stradun, the main
street in Dubrovnik, Croatia. Yedlin
scouted the Stradun location, but left
the actual shooting of that sequence to
his longtime friend and 2nd-unit cinematographer, Jaron Presant.
38
February 2018
"We were shooting a chase
sequence on a Russian Arm in a real
location lit by a bunch of sodium-vapor
lights," Presant explains. "Rian and
Steve wanted everything on Canto
Bight to be either pure white or this rich
golden hue that mimicked the look of
incandescent 'bug lights' [household
bulbs colored yellow so as to not attract
bugs]. We needed to figure out what the
digital color correction would be to get
from sodium vapor to this golden color,
and then we had to determine which
gels we would need to use to get all of
our other lighting - like HMIs and
tungstens - to be clear-white once
corrected.
American Cinematographer
"So," Presant continues, "we used
an Alexa just as a colorimeter and, with
our downstream color correction [to
establish the golden hue], we shot
different gels and color charts to figure
out the gel that would provide the
perfect inversion to the color correction
for each light type. Generally the gels
were in the blue and purple hues to
correct out the warmth created from the
golden color correction. This was a
major application of Steve's color
science."
To establish the splendor of the
opulent casino interior, Johnson and
Yedlin envisioned a single, sweeping
shot that would go from one end of the
set to the other, skimming just above
gaming tables and passing just between
patrons. "The space-age casino set was
about 120 feet long by 70 feet wide, and
the shot needed to go right through the
middle of the casino and [over] all of
the casino tables," explains Hymns. "We
couldn't get a crane in there because we
were right up against the stage wall, so
we laid 120 feet of track down both
sides of the set, put a dolly on each
track, joined them with scaffolding -
like a giant goal post, about 40 feet wide
- and then mounted the camera
[underslung] in the middle. I was on
one dolly and a grip was on the other
one, and we would push the dollies in
sync along the length of the track."
The action ultimately shifts to
Table of Contents for the Digital Edition of American Cinematographer - February 2018
Contents
American Cinematographer - February 2018 - Sponsor
American Cinematographer - February 2018 - Cover1
American Cinematographer - February 2018 - Cover2
American Cinematographer - February 2018 - 1
American Cinematographer - February 2018 - 2
American Cinematographer - February 2018 - Contents
American Cinematographer - February 2018 - 4
American Cinematographer - February 2018 - 5
American Cinematographer - February 2018 - 6
American Cinematographer - February 2018 - 7
American Cinematographer - February 2018 - 8
American Cinematographer - February 2018 - 9
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American Cinematographer - February 2018 - 11
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American Cinematographer - February 2018 - 15
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American Cinematographer - February 2018 - 18
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American Cinematographer - February 2018 - 20
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American Cinematographer - February 2018 - 28
American Cinematographer - February 2018 - 29
American Cinematographer - February 2018 - 30
American Cinematographer - February 2018 - 31
American Cinematographer - February 2018 - 32
American Cinematographer - February 2018 - 32a
American Cinematographer - February 2018 - 32b
American Cinematographer - February 2018 - 33
American Cinematographer - February 2018 - 34
American Cinematographer - February 2018 - 35
American Cinematographer - February 2018 - 36
American Cinematographer - February 2018 - 37
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American Cinematographer - February 2018 - 41
American Cinematographer - February 2018 - 42
American Cinematographer - February 2018 - 43
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American Cinematographer - February 2018 - 45
American Cinematographer - February 2018 - 46
American Cinematographer - February 2018 - 47
American Cinematographer - February 2018 - 48
American Cinematographer - February 2018 - 49
American Cinematographer - February 2018 - 50
American Cinematographer - February 2018 - 50a
American Cinematographer - February 2018 - 50b
American Cinematographer - February 2018 - 51
American Cinematographer - February 2018 - 52
American Cinematographer - February 2018 - 53
American Cinematographer - February 2018 - 54
American Cinematographer - February 2018 - 55
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American Cinematographer - February 2018 - 88
American Cinematographer - February 2018 - Cover3
American Cinematographer - February 2018 - Cover4
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