American Cinematographer - April 2016 - 86
◗
A Clash of Titans
Top: During the rooftop battle, Superman and Batman crash through a skylight and land in the
penthouse of an abandoned building. Middle and bottom: Superman unmasks the Caped Crusader.
86
April 2016
American Cinematographer
Chapman/Leonard Hustler or Super
PeeWee dolly, gripped by Mike Moad.
For crane shots, an Alpha remote head
was mounted to one of the Techno 15,
SuperTechno 30 or SuperTechno 50
cranes teched by Rodney Sandoval. A
car-chase sequence in downtown
Chicago called for the use of an 80'
Akela fixed-arm crane, a Grip Trix
motorized camera platform equipped
with an Alpha head or Steadicam -
also operated by Clothier - as well as a
vehicle-mounted SR4 carbon-fiber arm,
an Edge crane system mounted on a
Mercedes-AMG operated by Brooks
Guyer, and a Biscuit motorized process
trailer.
Though Snyder had much of the
film storyboarded in detail prior to
shooting, nothing was set in stone and
decisions were sometimes overturned
even moments before the camera rolled.
As Clothier puts it, "The camera movement has to be appropriate to the story.
You can't be self-indulgent, because you
want the audience to think about the
characters, not about the shot."
"The classic scenario is where you
choreograph an incredibly elaborate
shot and it's not even used in the movie
because there's no time for a two-minute
master," adds Fong.
One elaborate camera move that
did make it into Dawn of Justice is actually comprised of multiple moves
stitched together in post. The shot is
part of an apocalyptic dream sequence in
which the Earth is laid to waste by alien
forces. It begins with Batman fighting a
squad of enemy troopers in the back of a
big-rig trailer. The camera follows the
skirmish out the back of the trailer, then
tracks 360 degrees around Batman as he
is finally overwhelmed.
The shot was filmed in one day,
entirely in Imax, at an abandoned rock
quarry on the outskirts of Detroit. A
SuperTechno 50 was positioned on the
driver's side of the trailer on a raised
platform with 40' of track. The camera
was underslung on the crane and
lowered into the trailer through a slot
cut along the length of its roof, and the
gap was sealed with Duvetyn to prevent
Table of Contents for the Digital Edition of American Cinematographer - April 2016
Contents
American Cinematographer - April 2016 - Cover1
American Cinematographer - April 2016 - Cover2
American Cinematographer - April 2016 - 1
American Cinematographer - April 2016 - 2
American Cinematographer - April 2016 - Contents
American Cinematographer - April 2016 - 4
American Cinematographer - April 2016 - 5
American Cinematographer - April 2016 - 6
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American Cinematographer - April 2016 - 64a
American Cinematographer - April 2016 - 64b
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American Cinematographer - April 2016 - Cover3
American Cinematographer - April 2016 - Cover4
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