American Cinematographer - July 2012 - 61

A-camera/ Steadicam operator Stephen Consentino gets close to the action onstage, assisted by 1st AC John Holmes.

Key grip Ross Jones coordinated the camera moves, which needed to be as dynamic and sweeping as the music was loud. Meshing the film lighting with the theatrical lighting was key. “I loved mixing the two lighting systems on this movie, and Mike and Nako worked closely to make it look seamless,” says Bazelli. “One of the more interesting parts of our job was creating transitions where we could fold Nako’s stage lighting into Mike’s concert lighting, and vice versa.” The greenroom portion of Jaxx’s musical number was shot on a set built at Ice Palace, and thus was the most straightforward to capture. In addition to creating warm ambience with the Chimeras, Nako worked with Hutman to create practicals that combined LED and incandescent fixtures and allowed for color adjustments. Meanwhile, camera moves during the interview were done handheld and on dolly tracks, and then a Steadicam move accompanied Jaxx out of the room. The Revolution nightclub wasn’t an easy location. It featured a deep, horseshoe-shaped balcony that reduced ceiling space, and its passageways

couldn’t always accommodate the variety of cranes the filmmakers wanted to use. Also, the floor comprised many levels. Jones explains, “The mosh pit was about 4 feet lower than the dance floor. Everywhere you went, you never had a long run on the same floor. We wanted to do dynamic, sweeping camera moves, so we had to build Technocranes in varying sizes to deal with the small hallways and doorways. Thank goodness our Technocrane provider, Cinemoves, was able to offer us many different options to build, because we were constantly changing for that location.” What’s more, the filmmakers often had to vacate the space for the club’s own shows or rehearsals. All of the camerawork and lighting elements flowed from the choreography, which continued to evolve until the cameras rolled. Shankman, Bazelli and Cruise rehearsed the number extensively onstage at Ice Palace, and, fortunately, key crewmembers could watch some of those weekend rehearsals. “That made all the difference in the world,” says Jones. “We knew exactly what Tom’s timing would be, how fast he’d move from Point A to Point B, and
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so on. It was critical that we knew those details ahead of time, because when Tom came in ready to shoot, he was ready to go! We didn’t want him to have to wait on us.” During Cruise’s final rehearsal on location, Bazelli brought in an Alexa. “That was a great help because then we could see how it would look on camera,” says the cinematographer. “On the day of shooting, there were only a few final lighting adjustments based on Tom’s performance and aesthetic needs. I would turn to Mike and say, ‘Let’s add more color to the backlight,’ or ‘Let’s turn off the side spot.’” The filmmakers started prerigging the Bourbon Room a month before the scene was shot — and well before Cruise’s choreography was set — so units were placed in nearly every nook and cranny, and enough dimmer channels were established to cover every contingency. “The goal was that Tom would look chiseled no matter where he moved on the stage,” says Bazelli. Background lighting in the club came from Arri 750HPLs and 3K Barger Lites softened with XS Video Pro Chimeras and 40-Degree LCDs.
July 2012 61


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American Cinematographer - July 2012

Table of Contents for the Digital Edition of American Cinematographer - July 2012

American Cinematographer - July 2012
Contents
Editor’s Note
Short Takes: Keane’s “Silenced by the Night”
Production Slate: Trishna • Two and a Half Men
Ancient Aliens
High Anxiety
Hair-Metal Heroes
Shooting J.R.
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - American Cinematographer - July 2012
American Cinematographer - July 2012 - Cover2
American Cinematographer - July 2012 - 1
American Cinematographer - July 2012 - 2
American Cinematographer - July 2012 - Contents
American Cinematographer - July 2012 - 4
American Cinematographer - July 2012 - 5
American Cinematographer - July 2012 - 6
American Cinematographer - July 2012 - 7
American Cinematographer - July 2012 - Editor’s Note
American Cinematographer - July 2012 - 9
American Cinematographer - July 2012 - Short Takes: Keane’s “Silenced by the Night”
American Cinematographer - July 2012 - 11
American Cinematographer - July 2012 - 12
American Cinematographer - July 2012 - 13
American Cinematographer - July 2012 - 14
American Cinematographer - July 2012 - 15
American Cinematographer - July 2012 - Production Slate: Trishna • Two and a Half Men
American Cinematographer - July 2012 - 17
American Cinematographer - July 2012 - 18
American Cinematographer - July 2012 - 19
American Cinematographer - July 2012 - 20
American Cinematographer - July 2012 - 21
American Cinematographer - July 2012 - 22
American Cinematographer - July 2012 - 23
American Cinematographer - July 2012 - 24
American Cinematographer - July 2012 - 25
American Cinematographer - July 2012 - 26
American Cinematographer - July 2012 - 27
American Cinematographer - July 2012 - 28
American Cinematographer - July 2012 - 29
American Cinematographer - July 2012 - Ancient Aliens
American Cinematographer - July 2012 - 31
American Cinematographer - July 2012 - 32
American Cinematographer - July 2012 - 33
American Cinematographer - July 2012 - 34
American Cinematographer - July 2012 - 35
American Cinematographer - July 2012 - 36
American Cinematographer - July 2012 - 37
American Cinematographer - July 2012 - 38
American Cinematographer - July 2012 - 39
American Cinematographer - July 2012 - 40
American Cinematographer - July 2012 - 41
American Cinematographer - July 2012 - High Anxiety
American Cinematographer - July 2012 - 43
American Cinematographer - July 2012 - 44
American Cinematographer - July 2012 - 45
American Cinematographer - July 2012 - 46
American Cinematographer - July 2012 - 47
American Cinematographer - July 2012 - 48
American Cinematographer - July 2012 - 49
American Cinematographer - July 2012 - 50
American Cinematographer - July 2012 - 51
American Cinematographer - July 2012 - 52
American Cinematographer - July 2012 - 53
American Cinematographer - July 2012 - Hair-Metal Heroes
American Cinematographer - July 2012 - 55
American Cinematographer - July 2012 - 56
American Cinematographer - July 2012 - 57
American Cinematographer - July 2012 - 58
American Cinematographer - July 2012 - 59
American Cinematographer - July 2012 - 60
American Cinematographer - July 2012 - 61
American Cinematographer - July 2012 - 62
American Cinematographer - July 2012 - 63
American Cinematographer - July 2012 - Shooting J.R.
American Cinematographer - July 2012 - 65
American Cinematographer - July 2012 - 66
American Cinematographer - July 2012 - 67
American Cinematographer - July 2012 - 68
American Cinematographer - July 2012 - 69
American Cinematographer - July 2012 - 70
American Cinematographer - July 2012 - 71
American Cinematographer - July 2012 - New Products & Services
American Cinematographer - July 2012 - 73
American Cinematographer - July 2012 - 74
American Cinematographer - July 2012 - 75
American Cinematographer - July 2012 - 76
American Cinematographer - July 2012 - 77
American Cinematographer - July 2012 - 78
American Cinematographer - July 2012 - 79
American Cinematographer - July 2012 - 80
American Cinematographer - July 2012 - 81
American Cinematographer - July 2012 - International Marketplace
American Cinematographer - July 2012 - Classified Ads
American Cinematographer - July 2012 - Ad Index
American Cinematographer - July 2012 - 85
American Cinematographer - July 2012 - Clubhouse News
American Cinematographer - July 2012 - 87
American Cinematographer - July 2012 - ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - Cover3
American Cinematographer - July 2012 - Cover4
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