American Cinematographer - June 2014 - 49
comprised of POV shots executed by
two jumper cameramen with their
helmet cameras, and their footage is
amazing," says aerial director of
photography David B. Nowell, ASC.
"While all the jumps were going on, I
covered them from the helicopter,
tracking their descent. We used the
[Pictorvision] Eclipse system with an
Alexa, and we went spherical with a
Panavision 24-275mm zoom lens.
Once the jumpers left their plane, I
tracked the group on the 275mm until
they pulled their chutes.
"The weather for the two shooting days was spectacular - stormy,
with many layers of clouds, allowing
"On a big movie like
this, the number of grip
and electric trucks you
pass as you're driving
to set can make
you nervous."
the jumpers to appear as if they were
plunging through each layer," Nowell
adds. "That helped the CG lightning
that was added in post look like it was
there from the beginning."
San Francisco is plunged into
darkness as Godzilla and other mysterious creatures infest the area. "With
Godzilla and the Muto monsters
comes this electro-magnetic-pulse
effect that knocks out the power grid,"
explains McGarvey. "We therefore
needed large soft sources for two
nighttime-cityscape lighting effects;
the first would be the warm sodiumhalide look that most cities have, and
the second would be our post-power
lighting. Stuart Haggerty and I devised
this cinematographic 'darkness' that
would allow us to cover huge areas for
the final battle scene that takes place at
Fisherman's Wharf."
Their approach called for the
construction of two massive soft
sources, which were wryly dubbed
"Wee Seamus" and "Little Seamus,"
according to Haggerty. "Seamus
wanted tungsten sources, so these soft
boxes were made of Bardwell &
McAlister 12-light HPLs, building 24
of those into each fixture, which added
up to 216,000 watts apiece," says the
gaffer. "The diffusion was Light Grid
or Quarter Grid, depending on their
position. Each consisted of two 20-by12-foot rectangular panels that could
be remotely panned and tilted, with
everything running via wireless DMX
to a GrandMa board. Those became
our primary night sources; one was
hung from a 240-foot crane, the other
http://www.manfrotto.us
American Cinematographer - June 2014
Table of Contents for the Digital Edition of American Cinematographer - June 2014
Contents
1
American Cinematographer - June 2014 - 1
American Cinematographer - June 2014 - Cover2
American Cinematographer - June 2014 - 1
American Cinematographer - June 2014 - 2
American Cinematographer - June 2014 - Contents
American Cinematographer - June 2014 - 4
American Cinematographer - June 2014 - 5
American Cinematographer - June 2014 - 6
American Cinematographer - June 2014 - 7
American Cinematographer - June 2014 - 8
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American Cinematographer - June 2014 - 49
American Cinematographer - June 2014 - 50
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American Cinematographer - June 2014 - S1
American Cinematographer - June 2014 - S2
American Cinematographer - June 2014 - S3
American Cinematographer - June 2014 - S4
American Cinematographer - June 2014 - S5
American Cinematographer - June 2014 - S6
American Cinematographer - June 2014 - S7
American Cinematographer - June 2014 - S8
American Cinematographer - June 2014 - S9
American Cinematographer - June 2014 - S10
American Cinematographer - June 2014 - S11
American Cinematographer - June 2014 - S12
American Cinematographer - June 2014 - 65
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American Cinematographer - June 2014 - Cover3
American Cinematographer - June 2014 - Cover4
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