American Cinematographer - April 2016 - 87
The crew captures Batman as he battles a squad of enemy troopers in an
apocalyptic dream sequence.
light leaks. Because the trailer was so
narrow, another slot was cut in its side
for the camera to back into for profiles
of the fight. Once the action moved
outside, the camera followed - necessitating a 5-stop iris pull by Fong -
and the slotted truck and crane platform were swapped out for a complete
picture truck and trailer, which appear
in subsequent segments of the shot that
looked back toward it. The
Technocrane was then repositioned and
the move was finished with the camera
revolving around a 75'-diameter circle
encompassing the fighters.
One of the more complicated
sequences to actualize was the showdown between Batman and Superman.
Batman lures Superman to Gotham in
the middle of the night by activating
the Bat-Signal - realized here with an
old searchlight housing retrofitted with
a 20K bulb - atop an abandoned
building. The two heroes, neither
convinced of the other's honorable
motives, proceed to have at each other
with all the resources they can muster.
The fight was filmed out of
order, first on stage and then on location
at Detroit's Michigan Central Station,
the latter of which stood in for the
abandoned building. In the film, the
fight begins as Superman descends from
the sky to meet an armor-suited Batman
at the docks behind the building.
Superman is immediately barraged with
every weapon in Batman's arsenal. "The
special-effects guys provided fire, rain
and explosions," says Fong. "We did a
ton of stunt work and visual effects. It
was epic craziness."
"For fire and explosion effects, we
would gel a 12-Light Maxi-Brute, then
hook up the individual lights with
Socapex connectors and run them separately through a dimmer board," Grce
explains. Additionally, Grce and best
boy Dan Jones devised a custom
controller for a LiteGear 1x1 panel to
simulate the reactive light of muzzle
flashes from automatic gunfire during
close-ups.
The battle is taken to the roof,
which was shot on a raised stage at
Michigan Motion Picture Studios, a set
that was bordered by black drapes on
one side and greenscreen on the other
and then deluged with special-effects
rain. Here, Fong used 20Ks for moonlight, dimmable 2K zip lights rigged
around the perimeter to provide full
backlight coverage, and Lightning
Strikes at the four corners of the set.
The combatants crash through a
87
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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
American Cinematographer - April 2016 - 7
American Cinematographer - April 2016 - 8
American Cinematographer - April 2016 - 9
American Cinematographer - April 2016 - 10
American Cinematographer - April 2016 - 11
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American Cinematographer - April 2016 - 13
American Cinematographer - April 2016 - 14
American Cinematographer - April 2016 - 15
American Cinematographer - April 2016 - 16
American Cinematographer - April 2016 - 17
American Cinematographer - April 2016 - 18
American Cinematographer - April 2016 - 19
American Cinematographer - April 2016 - 20
American Cinematographer - April 2016 - 21
American Cinematographer - April 2016 - 22
American Cinematographer - April 2016 - 23
American Cinematographer - April 2016 - 24
American Cinematographer - April 2016 - 25
American Cinematographer - April 2016 - 26
American Cinematographer - April 2016 - 27
American Cinematographer - April 2016 - 28
American Cinematographer - April 2016 - 29
American Cinematographer - April 2016 - 30
American Cinematographer - April 2016 - 31
American Cinematographer - April 2016 - 32
American Cinematographer - April 2016 - 33
American Cinematographer - April 2016 - 34
American Cinematographer - April 2016 - 35
American Cinematographer - April 2016 - 36
American Cinematographer - April 2016 - 37
American Cinematographer - April 2016 - 38
American Cinematographer - April 2016 - 39
American Cinematographer - April 2016 - 40
American Cinematographer - April 2016 - 41
American Cinematographer - April 2016 - 42
American Cinematographer - April 2016 - 43
American Cinematographer - April 2016 - 44
American Cinematographer - April 2016 - 45
American Cinematographer - April 2016 - 46
American Cinematographer - April 2016 - 47
American Cinematographer - April 2016 - 48
American Cinematographer - April 2016 - 49
American Cinematographer - April 2016 - 50
American Cinematographer - April 2016 - 51
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American Cinematographer - April 2016 - 53
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American Cinematographer - April 2016 - 56
American Cinematographer - April 2016 - 57
American Cinematographer - April 2016 - 58
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American Cinematographer - April 2016 - 60
American Cinematographer - April 2016 - 61
American Cinematographer - April 2016 - 62
American Cinematographer - April 2016 - 63
American Cinematographer - April 2016 - 64
American Cinematographer - April 2016 - 64a
American Cinematographer - April 2016 - 64b
American Cinematographer - April 2016 - 65
American Cinematographer - April 2016 - 66
American Cinematographer - April 2016 - 67
American Cinematographer - April 2016 - 68
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American Cinematographer - April 2016 - 88
American Cinematographer - April 2016 - 89
American Cinematographer - April 2016 - 90
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