American Cinematographer - July 2014 - 57

structed one prop Sentinel, which Sigel
describes as "an 18-foot-high behemoth.
It was very helpful for understanding
how light and reflections would play on
their surfaces." However, he adds, "nearly
every Sentinel in the final [film] is CGI."
In the climactic scene, set in 1973,
President Nixon unveils the Sentinels on
the White House lawn, where a massive
battle soon erupts. Given that there was
no convincing stand-in for the White
House exterior in the Montreal area, the
filmmakers captured the live action in an
elaborate greenscreen shoot inside what
Sigel calls "a big box" constructed on a
field of grass that was laid down in a
vacant lot adjacent to the production's
stages. "We knew we would shoot on a
field of grass for the White House lawn,
with media towers for TV cameras on
one side and a stage for the president and
dignitaries on the other," Sigel explains.
"The rest would pretty much be CGI. In
the end, it was most practical to create
our own field, about 200-feet-by-200feet, next to our stages.
"We surrounded the field with

Top: An elaborate greenscreen set was created adjacent to the production's stages in
Montreal for a sequence that takes place outside the White House.
Bottom: Cables lift Fassbender during the filming of the climactic set piece.

[shipping] containers stacked about 50
feet high and skinned with greenscreen," the cinematographer continues.
"The field was basically a courtyard
surrounded by these containers on all
www.theasc.com

four sides. In front of the greenscreen,
we also had black curtains that could be
moved on track to get rid of green spill
from any of the greenscreen that was
off-camera. Overhead, we built a cable
July 2014

57



http://www.theasc.com

American Cinematographer - July 2014

Table of Contents for the Digital Edition of American Cinematographer - July 2014

Contents
American Cinematographer - July 2014 - Cover1
American Cinematographer - July 2014 - Cover2
American Cinematographer - July 2014 - 1
American Cinematographer - July 2014 - 2
American Cinematographer - July 2014 - Contents
American Cinematographer - July 2014 - 4
American Cinematographer - July 2014 - 5
American Cinematographer - July 2014 - 6
American Cinematographer - July 2014 - 7
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American Cinematographer - July 2014 - 57
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