American Cinematographer - March 2018 - 50
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Expedition Unknown
Top: Lena's journey through the Shimmer wends ever deeper. Above: Hardy finds his angle.
sequences, such as some of the action."
McGahon's Steadicam work was generally employed for footage in Area X,
when the camera moved with the patrol.
For the Southern Reach facility,
however, Garland wanted what Hardy
characterizes as the "more stoic" movement of dolly tracking.
For a sequence in which Lena
confronts an alien foe by a lighthouse -
which Hardy describes as more of a
dance than a conventional battle - the
filmmakers wanted a more "foreign"
kind of movement, which they achieved
by mounting a Red Weapon camera
50
March 2018
fitted with a G Series lens on a Stabileye
miniature stabilized head. Key grip Sam
Phillips held the rig while Hardy
remotely operated with hand wheels, an
audio link, and his eyes on a monitor.
"With the Stabileye, there's a kind of
second-hand communication going on
between the operator and the action,"
Hardy notes. "You're not as close to it as
you would be with handheld, but you're
closer than you would be with somebody else operating Steadicam. It gave
us a very strange effect that sits somewhere between intimacy and detachment, which was perfect for the scene.
American Cinematographer
The stabilized mechanics created a very
odd feel."
Even amid the LED revolution,
the cinematographer remained true to
his long-standing philosophy of using
tungsten lights nearly exclusively.
"Before working with a gaffer who's
new to me, I make it clear I'm all about
tungsten light," he says. "I always get
smirks and, 'Sure, okay Rob,' and then
they realize I'm serious and we end up
having to carry heavy tungsten lights
into the middle of forests. But tungsten
provides a certain flavor and texture I
want, and I think it pays off."
An early discussion revolved
around the nature of the Shimmer and
how light would behave inside it. The
filmmakers decided to emphasize the
refraction of the sun's rays passing
through the Shimmer's flowing, translucent, rainbow surface. Prominent and
unusual flares became the prime way of
conveying that. The crew rigged artificial sources in Great Windsor Park,
including a 24K Fresnel positioned
away from the action, sometimes on a
hill or mounted to an Avenger Long
John Silver Stand or Genie boom lift.
"We found with one source in the right
place, several hundred feet away
through the trees, we would occasionally catch lens flares or hotspots that
helped sell the idea that there was sun
around," explains gaffer Andy Lowe.
A priority was to make those in-
Table of Contents for the Digital Edition of American Cinematographer - March 2018
Contents
American Cinematographer - March 2018 - Cover1
American Cinematographer - March 2018 - Cover2
American Cinematographer - March 2018 - 1
American Cinematographer - March 2018 - 2
American Cinematographer - March 2018 - Contents
American Cinematographer - March 2018 - 4
American Cinematographer - March 2018 - 5
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