American Cinematographer - June 2008 - (Page 52)

APrince in Peril The crew prepares one of the show’s larger lighting setups. involved in some of the first previz when I was a visual-effects supervisor on Batman Forever [AC July ’95],” he recalls. “Stephen Goldblatt [ASC, BSC] was shooting that show, and there were a lot of effects, so we showed him how previz could help with planning the camerawork. I’ve been using previz to varying degrees for almost 15 years; it’s really good to have a specific plan so that when you deviate from it, you know how to get back to where you need to be.” In fact, deviating from the carefully laid visual plan was almost as important to Adamson as the plan itself, a contradiction solved by the use of multiple cameras. “From our earliest conversations, Andrew told me he would definitely need two or even three cameras running sound,” says Lindenlaub. “That can be a bit daunting for a cinematographer because you have to think about the light for all those angles.” Using several cameras proved vital for action scenes and helped speed up filming with the children, whose work hours were limited. But, says Adamson, “I like to use multiple cameras even for drama scenes, because you never know when you’re going to get something you weren’t planning on. For example, by assigning a B camera to stay on Lucy [Georgie Henley] in one of 52 Caspian’s scenes, you might get something that happens in an unconscious way with the actor that you can later use in the edit. It was challenging, though, and [that aspect of the show] was probably what Walter and I argued about the most. Having three cameras pointing in completely different directions made it very difficult for him to light, but I’ve learned the benefits of getting that extra coverage up front.” The production carried two Arricam Studios, two Arricam Lites and an Arri 435 and 235, along with a second-unit kit that was nearly as large. The lightweight 235 proved its worth when the crew was looking for interesting shots to supplement the prescribed coverage. “For a swordfight between King Miraz and Peter [William Moseley] during the final battle, we mounted a 235 inside a shield so we could get right into the action,” says Lindenlaub. “We had originally planned to use an Iconix HD camera, but the image quality just wasn’t good enough to cut with footage shot on [Kodak Vision2] 50D film stock.” The cinematographer used Vision2 50D 5201 for a lot of the bright exterior Narnia locations because he felt the stock’s fine grain would best capture the full color gamut of wide-open spaces. He also http://www.mat-film.tv http://www.mat-film.tv

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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