American Cinematographer - June 2008 - (Page 54)

APrince in Peril Studios after Lindenlaub pointed out that the structure would be impossible to light in a soundstage. In one night sequence, the Narnians storm the castle. In order to determine which lamps they would need, Lindenlaub and his crew examined a 3-D computer model of the set that had been built with previz software. “We could move characters, lights and camera angles wherever we wanted,” says Cermak. “The model let us see which light positions and intensities would work best.” Lindenlaub and his crew decided the main moonlight sources would be 18 24K Dinos, which were mounted in groups of six on three construction cranes that towered almost 300' above the set. Supplementing these were four cherry pickers positioned lower, each supporting three 9K Maxi-Brutes. The Dinos and MaxiBrutes were gelled with ½ CTB and 251 White Diffusion. Many addi- The noble lion Aslan unleashes his regal roar. didn’t want to use too much ND filtration on the lens. He notes, “I was very worried about using 50D because I didn’t have much experience with it, but it cuts very well with the other Vision2 stocks. I thought it would help show the contrast between London and Narnia; I shot the 1944 London Underground station on Kodak’s [Vision2 Expression 500T] 5229 to soften the colors and get more grain. Then, when the kids suddenly materialize in a cove on a beach in Narnia, we transition to 50D — bright sun, totally blue sky, and white, puffy clouds. I wanted the audience to feel the kids’ joy as they run out of the cove and down to the water.” The film’s biggest set, King Miraz’s castle, was constructed on the backlot of Prague’s Barrandov www.panther.tv Twister Dolly Twist closer to the action The New Doorway Twister Dolly twists in all directions by selecting each of the three steering modes: Front, Rear, and Round a Round. These novel steering options supply precise movements around the subject. The combination of pneumatic tire and track wheels allow for camera movements on track or on ground without the need for time consuming conversion and provides whole new possibilities in versatility. Upper level platforms offer an enlarged workspace and convenient footrest for the cameraman while shooting. See you at: -> Broadcast Asia, #8K2-01 PANTHER GmbH Raiffeisenallee 3 | 82041 Oberhaching–Munich | Germany T +49.89.613 900–01 | F +49.89.61 31 00 0 contact@panther.tv | www.panther.tv 54 Panther Dollies & Cranes, LLC 7358 Radford Ave. | North Hollywood, CA 91605 | USA T +1.818.764 1234 | F +1.818.764 1144 contact@panther.us | www.panther.us http://www.panther.tv http://www.panther.tv http://www.panther.tv http://www.panther.us

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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