American Cinematographer - July 2011 - 31
T41⁄3. That’s a lot of light, but in the end the focus pullers didn’t mind the deeper stop!” There was only one chance to get the train w reck, and although the sequence featur es a lot of C GI, the special-effects team had to build a trac k and pull a r ig through the depot like a battering ram. The stunt was covered by nine cameras, with Fong remotely operating one on a crane arm. The A camera, operated by P hil Carr-Forster, was on a 50' Technocrane. B-c amera operator Colin Anderson was on a speeding dolly, as was C-c amera operator John Skotchdopole. Some Arri 435s were strategic ally placed ar ound the action, and two loc ked-off Eyemos in crash bo xes wer e positioned near the platform. After two day s of scouting , prep and rehearsal, the destruction itself only took about five seco nds. “Most of the
pressure was on the special-effects artists bec ause they had to tr igger the ram that destr oyed the building ,” notes Fong. “They also rigged fireballs and air cannons loaded with safe debr is. The only thing we had to keep c lear of was the ram as it was pulled thr ough the building, which was pr e-scored for the destruction. They cut halfway thr ough all the lumber, so we kne w what pieces were going to br eak and wher e they would land. We had stunt doubles for the kids r unning away fr om the depot and used a long lens on one of the cameras to make it look like they wer e closer to the explosions than they r eally were.” Soon af ter the crash, strange things start happening around town — dogs disappear, motors go missing from cars, and ther e ar e my sterious radio transmissions and electr ical disturbances. The kids begin to suspect that
www.theasc.com
these e vents ar e r elated to the train crash, specifically to the grainy impr ession of something mo ving in the footage they c aptured. (S ee sidebar on page 28.) The military soon reaches the same conc lusion, and soldiers arr ive to take the childr en captive in a militar yprison bus. Night dr iving scenes on the bus were accomplished with poor man ’s process, with a r eal bus placed on a blacked-out stage. Fong approached the lighting practically, working with Gr ce to make the vehic le essentiall y light itself. The bus’ s existing light fixtur es were swapped out for LiteGear LiteCard 8s, flexible , adhesive-bac ked LED array s measur ing about 2 1⁄2" x 41⁄2" and about as thin as a cr edit card. The LiteCards wer e installed in two parallel rows running the length of the bus’s roof and wired through the chassis to a po wer sour ce in the floor . The
July 2011 31
http://www.theasc.com
American Cinematographer - July 2011
Table of Contents for the Digital Edition of American Cinematographer - July 2011
American Cinematographer - July 2011
Contents
Editor’s Note
President’s Desk
Letters
Production Slate: Larry Crowne • Mortal Kombat
Monster Out of the Box
Ring of Power
Shot Down in Flames
A Cultural Cataclysm
Ascending Cinematography’s Summit
Post Focus: Prime Focus New York
Filmmakers’ Forum: Jim Matlosz
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Gerald Perry Finnerman, ASC
Clubhouse News
ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - American Cinematographer - July 2011
American Cinematographer - July 2011 - Cover2
American Cinematographer - July 2011 - 1
American Cinematographer - July 2011 - 2
American Cinematographer - July 2011 - Contents
American Cinematographer - July 2011 - 4
American Cinematographer - July 2011 - 5
American Cinematographer - July 2011 - 6
American Cinematographer - July 2011 - 7
American Cinematographer - July 2011 - Editor’s Note
American Cinematographer - July 2011 - 9
American Cinematographer - July 2011 - President’s Desk
American Cinematographer - July 2011 - 11
American Cinematographer - July 2011 - Letters
American Cinematographer - July 2011 - 13
American Cinematographer - July 2011 - Production Slate: Larry Crowne • Mortal Kombat
American Cinematographer - July 2011 - 15
American Cinematographer - July 2011 - 16
American Cinematographer - July 2011 - 17
American Cinematographer - July 2011 - 18
American Cinematographer - July 2011 - 19
American Cinematographer - July 2011 - 20
American Cinematographer - July 2011 - 21
American Cinematographer - July 2011 - 22
American Cinematographer - July 2011 - 23
American Cinematographer - July 2011 - Monster Out of the Box
American Cinematographer - July 2011 - 25
American Cinematographer - July 2011 - 26
American Cinematographer - July 2011 - 27
American Cinematographer - July 2011 - 28
American Cinematographer - July 2011 - 29
American Cinematographer - July 2011 - 30
American Cinematographer - July 2011 - 31
American Cinematographer - July 2011 - 32
American Cinematographer - July 2011 - 33
American Cinematographer - July 2011 - 34
American Cinematographer - July 2011 - 35
American Cinematographer - July 2011 - Ring of Power
American Cinematographer - July 2011 - 37
American Cinematographer - July 2011 - 38
American Cinematographer - July 2011 - 39
American Cinematographer - July 2011 - 40
American Cinematographer - July 2011 - 41
American Cinematographer - July 2011 - 42
American Cinematographer - July 2011 - 43
American Cinematographer - July 2011 - 44
American Cinematographer - July 2011 - 45
American Cinematographer - July 2011 - Shot Down in Flames
American Cinematographer - July 2011 - 47
American Cinematographer - July 2011 - 48
American Cinematographer - July 2011 - 49
American Cinematographer - July 2011 - 50
American Cinematographer - July 2011 - 51
American Cinematographer - July 2011 - 52
American Cinematographer - July 2011 - 53
American Cinematographer - July 2011 - A Cultural Cataclysm
American Cinematographer - July 2011 - 55
American Cinematographer - July 2011 - 56
American Cinematographer - July 2011 - 57
American Cinematographer - July 2011 - 58
American Cinematographer - July 2011 - 59
American Cinematographer - July 2011 - 60
American Cinematographer - July 2011 - 61
American Cinematographer - July 2011 - Ascending Cinematography’s Summit
American Cinematographer - July 2011 - 63
American Cinematographer - July 2011 - 64
American Cinematographer - July 2011 - 65
American Cinematographer - July 2011 - 66
American Cinematographer - July 2011 - 67
American Cinematographer - July 2011 - 68
American Cinematographer - July 2011 - 69
American Cinematographer - July 2011 - Post Focus: Prime Focus New York
American Cinematographer - July 2011 - 71
American Cinematographer - July 2011 - Filmmakers’ Forum: Jim Matlosz
American Cinematographer - July 2011 - 73
American Cinematographer - July 2011 - 74
American Cinematographer - July 2011 - 75
American Cinematographer - July 2011 - New Products & Services
American Cinematographer - July 2011 - 77
American Cinematographer - July 2011 - 78
American Cinematographer - July 2011 - 79
American Cinematographer - July 2011 - International Marketplace
American Cinematographer - July 2011 - Classified Ads
American Cinematographer - July 2011 - Ad Index
American Cinematographer - July 2011 - 83
American Cinematographer - July 2011 - In Memoriam: Gerald Perry Finnerman, ASC
American Cinematographer - July 2011 - 85
American Cinematographer - July 2011 - Clubhouse News
American Cinematographer - July 2011 - 87
American Cinematographer - July 2011 - ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - Cover3
American Cinematographer - July 2011 - Cover4
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