American Cinematographer - June 2008 - (Page 42)

APrince in Peril occasion!” Wright adds that the effects artists were sometimes able to assist the camera crew: “For shots in which a CG character runs through the frame, we were able to show them the previz on a laptop and then put someone in a suit and have him actually run through the image. That made the camera move much more natural for the operator.” “From the cameraman’s perspective, effects-heavy productions are a lot more work, and you have to be more patient,” notes Lindenlaub. “The rhythm on a set like this is different because you have to get the information that’s important for the effects people — shooting markers and plates is just part of the job. At the end of the day, it’s better than doing motion-control, which I find limiting. You can do a lot of things [with] greenscreen, but that won’t have that sense of reality. “Of course,” he continues, “it’s heartbreaking that in the final battle scene and the final farewell scene, a lot of shots had to be done in cloudy or changing light conditions, but that was the only way we could finish a scene that was filmed over many weeks. There are a lot of quick cuts, and I hope people will not notice [the variations]. Shooting on location and in real sets is still a better way of working, and I hope that will remain the case for a long time. Anyone who has spent many days in front of a greenscreen knows how mentally challenging that can be!” Adamson was keen to incorporate as much interesting camerawork as he could. The crew kept a 30' Technocrane on hand for the entire shoot and had a 50' Technocrane for many weeks. They also employed Cablecams and a number of specially constructed rigs. “I like to keep the camera moving,” says the director. “In a visualeffects film, if you lock off the camera for an effect, the audience probably starts looking for it. We were lucky that the last film was successful Top: Greenscreen leggings and set pieces were required for scenes involving Narnia’s mythical creatures. Middle: Stunt extras run through a scene on special leg extensions that will give their characters added height in the finished scene. Bottom: Actor Warwick Davis (portraying Nikabrik) confers with Lindenlaub on the forest set. 42 June 2008

Table of Contents Feed for the Digital Edition of American Cinematographer - June 2008

American Cinematographer - June 2008 Contents Editor's Note Short Takes: "100 Days, " Sharon Jones and the Dap-Kings Production Slate: Mongol Production Slate: Greensburg Vintage Indy A Prince in Peril Women's World 90 Years of Precision Post Focus: A 3-D Imax Work Flow for Wild Ocean Post Focus: 3cP Incorporates ASC CDL on State of Play Filmmakers' Forum: John Baily, ASC New Products & Services International Marketplace Classified Ads Ad Index ASC Membership Roster In Memoriam: Gayne Rescher, ASC Clubhouse News ASC Close-Up: Rob McLachlan

American Cinematographer - June 2008

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