American Cinematographer - July 2014 - 63

Lighting diagram courtesy of Chris Gilbertson.

factor into this plan?
Beebe: Filtration is a useful tool
when dealing with extended day exteriors. It allows you to control your base
stop and color as the conditions of the
day change. You can also alter your filtration as the daylight starts to fade, buying
you that crucial extra 20 or 30 minutes.
If I have made changes that affect the
color, these shots are sent with a note to
the lab and matched to the earlier
footage.
Which laboratory did you use?
Beebe: We had Technicolor
London handling all the negative
processing and all the prints.
Unfortunately, they shut their film lab
shortly after we wrapped the movie.
You were able to view print
dailies?
Beebe: What I tend to do when
I'm shooting film is to run select prints
that I view at the lab. We shot at Warner
Bros.' Leavesden Studios, where they
did all the Harry Potter movies. Warners
recently spent a lot of money updating
the stages, and the studio has a theater
where we could view the rest of the
dailies digitally projected in 2K. Every
day I was viewing projected dailies,
whether film print or digital. [Ed. note:
Technicolor London scanned the negative at 2K full aperture for the dailies and
4K full aperture with a down-res to 2K
for the DI and 2.35:1 DCP.]
Tell us about the camera package
you used.
Beebe: Our basic package
included Panavision Platinums and
Millennium XLs out of Panavision
London. We also had a Panavised Arri
235 for handheld action work. Some
interesting rigs were developed to
capture the more dynamic action, and
the smaller compact Arri bodies were
utilized for a lot of that. One of the more
memorable uses of the 235 was on our
'Pendulum Rig,' which comprised the
camera attached to a construction crane
with about a 70-foot drop line. It was the
brainchild of Simon Crane, our secondunit director. The idea was to create a
camera rig that could effectively be catapulted through the action, sometimes

Top: Surrounded by bluescreen, the interior set for the "drop ship" troop carrier comprised a tightly
designed metal container suspended 20' in the air on a moving gimbal. Bottom: This lighting diagram
illustrates how the set was lit.

with multiple operators handing off the
camera. An onboard monitor was used
to allow for framing. The reason for the
long drop line was to create a large
enough area on the ground before we
experienced any upswing from the rig.
Many of the high-speed moves during
the beach battle scenes were created with
www.theasc.com

this rig.
What were your preferred series
of lenses?
Beebe: Primarily the G Series
anamorphics. We also carried some C
and E Series; I wanted to have a couple
of high-speed anamorphics because we
had a lot of big exteriors where I knew I
July 2014

63



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
American Cinematographer - July 2014 - 8
American Cinematographer - July 2014 - 9
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American Cinematographer - July 2014 - 14
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American Cinematographer - July 2014 - 18
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