American Cinematographer - July 2014 - 64

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Infinite Kills

was going to lose the light. I also carried
14.5mm, 17.5mm and 21mm spherical
[Primos] to cover some of the wider
shots in the film, as well as full-frame
shots for visual effects. I have found that
some of the wide anamorphics can lose
sharpness on the edges of the frame and
require regular maintenance. The challenge was that we were running two very
substantial units, each with three
cameras all the time. It was a big lens
package, but Panavision delivered as
always.
With three cameras, did you set
certain shot parameters and focallength ranges for each of them?
Beebe: Running three cameras,
we ended up with a fairly mixed focal
range. The A camera was always our
principle character camera and our
master shot. B camera was on one of the
other principles. The C camera, for most
of the film, was handheld. If you've seen
Doug's work from Go and Swingers to
The Bourne Identity and Mr. & Mrs.
Smith, he loves a handheld camera, and I
wanted to make sure he always had that
option. That was one of the reasons I
pushed for three cameras, even though it
is more complex for lighting and blocking. The third camera satisfied that
looser, 'found' aesthetic that Doug wants
to feel - 'honesty,' as he termed it.
Three cameras also allowed us to do the

Top: With each
reset, Cage reenters the
combat on the
beach. Middle
and bottom:
Greenscreens
surrounded the
beach to aid
visual-effects
extensions.

64

July 2014

American Cinematographer



American Cinematographer - July 2014

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American Cinematographer - July 2014 - 1
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