American Cinematographer - June 2018 - 66

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Burn After Reading

Top: Beatty is ordered to take action against Montag. Middle and bottom: The University of
Toronto Scarborough campus served as the firehouse location.

66

June 2018

American Cinematographer

ceiling for top light, and a second in an
adjoining room, with some of that light
spilling in through a doorway. Both
cameras are set for 800 ISO.
The edited scene will begin with
a shot of a classical record spinning on a
turntable; the camera pans over to
McClellan's desk, where she solders the
cassette player. A mechanic's light, fitted
with a 60-watt bulb, lies on her desk,
facing the camera and providing much
of the scene's illumination.
There is a moment in the scene
when McClellan looks up to a shadeless
window and hears a drone outside -
one of the Ministry's tools for keeping
tabs on off-the-grid neighborhoods.
For this scene, the drone's presence is
suggested with a sound effect and a
beam of light from an 800-watt JoLeko HMI, but real drones figure
prominently throughout the movie,
appearing on camera, for example, as
they light the way for fire trucks. The
drones were fitted with custom 300watt LED spotlights and provided illumination from on and off camera; Chris
Bacik's Sky Eye Media provided these
custom-built lights and Spyder octocopters. "Chris sourced all the drones,"
says Morgenthau. "On our bigger drone
nights, other companies' drones would
also be used, but Chris was in charge."
"I spent weeks finding a deflector
that would give us the beam we
wanted," Bacik says via email, describing the LED light source that was
rigged to the Spyders. "I ended up using
a tall plastic drinking cup with a chrome
finish that I added inside." The resulting fixture could mount to the drone's
camera stabilizer, allowing the drone
operator - who monitored a feed from
a GoPro mounted above the light - to
point the light in any direction.
A DJI Inspire 2 drone was fitted
with a Zenmuse X5S Micro Four
Thirds camera to shoot aerial views,
such as a high establishing shot of the
farmhouse. "Those images look
awesome and match well," Morgenthau
says. "You send this tiny drone up and
quickly get these amazing shots - it's
such a different perspective. It's unbe-



Table of Contents for the Digital Edition of American Cinematographer - June 2018

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
American Cinematographer - June 2018 - 5
American Cinematographer - June 2018 - 6
American Cinematographer - June 2018 - 7
American Cinematographer - June 2018 - 8
American Cinematographer - June 2018 - 9
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American Cinematographer - June 2018 - 18
American Cinematographer - June 2018 - 19
American Cinematographer - June 2018 - 20
American Cinematographer - June 2018 - 21
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American Cinematographer - June 2018 - 65
American Cinematographer - June 2018 - 66
American Cinematographer - June 2018 - 67
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American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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