American Cinematographer - July 2015 - 45

Unit photography by Chuck Zlotnick, courtesy of Universal Pictures and Amblin Entertainment, Inc.
Visual-effects images courtesy of ILM/Universal Pictures and Amblin Entertainment, Inc.

Opposite and this
page, top: With
visitor rates
declining after 10
years of
operation, a
theme park
featuring live
dinosaurs
introduces a
new attraction,
which backfires
disastrously in the
feature Jurassic
World. Bottom:
Cinematographer
John
Schwartzman,
ASC lines up
a shot.

Jurassic World's scientists. The result is
the Indominus rex, a beast of unimaginable strength, speed and intelligence.
What could possibly go wrong?
Based on the late Michael
Crichton's techno-thriller novel, Jurassic
Park was directed by Steven Spielberg
and photographed by Dean Cundey,
ASC (AC June '93). The film spawned
its own genetic tribe of sequels: The Lost
World: Jurassic Park, also directed by
Spielberg but shot by Janusz Kaminski
(AC June '97), and Jurassic Park III,
directed by Joe Johnston and
photographed by Shelly Johnson, ASC.
For the latest entry in the dino-series,
director Colin Trevorrow teamed with
cinematographer John Schwartzman,
ASC, who is no stranger to spectacular
adventure tales, with a résumé that
includes The Rock (AC June '96),
Armageddon (AC July '98), Pearl Harbor
(AC May '01) and The Amazing SpiderMan (AC Aug. '12), among many
others.
For this trip to the park's home on
the fictional Isla Nublar, Schwartzman
and Trevorrow opted to shoot on film.
"There were a number of reasons why
we shot film, starting with the fact that
the first three films were shot on film -

no reason to jump ship!" the cinematographer notes. "Having done Pearl
Harbor in Hawaii, I understand the
problems of shooting in the jungle: high
contrast, dark green plants, bright blue
sky, bright white clouds. I really needed
the ability to capture those bright skies
and still see into the shadows without
having to choose between the two.
Nothing captures that dynamic range
better than film."
Much of Jurassic World's principal
www.theasc.com

photography took place on the
Hawaiian island of Oahu, which
included work throughout Kualoa
Ranch. "When you're shooting in the
jungle in Hawaii, you've got to keep the
infrastructure as flexible as you can,"
Schwartzman adds. "We weren't shooting in the parts of Hawaii that you see
in the travel brochures - we were
knee-deep in mud, with lots of mosquitoes and centipedes, where you drive in
as far as you can with a Gator towing
July 2015

45


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
American Cinematographer - July 2015 - 9
American Cinematographer - July 2015 - 10
American Cinematographer - July 2015 - 11
American Cinematographer - July 2015 - 12
American Cinematographer - July 2015 - 13
American Cinematographer - July 2015 - 14
American Cinematographer - July 2015 - 15
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American Cinematographer - July 2015 - 17
American Cinematographer - July 2015 - 18
American Cinematographer - July 2015 - 19
American Cinematographer - July 2015 - 20
American Cinematographer - July 2015 - 21
American Cinematographer - July 2015 - 22
American Cinematographer - July 2015 - 23
American Cinematographer - July 2015 - 24
American Cinematographer - July 2015 - 25
American Cinematographer - July 2015 - 26
American Cinematographer - July 2015 - 27
American Cinematographer - July 2015 - 28
American Cinematographer - July 2015 - 29
American Cinematographer - July 2015 - 30
American Cinematographer - July 2015 - 31
American Cinematographer - July 2015 - 32
American Cinematographer - July 2015 - 33
American Cinematographer - July 2015 - 34
American Cinematographer - July 2015 - 35
American Cinematographer - July 2015 - 36
American Cinematographer - July 2015 - 37
American Cinematographer - July 2015 - 38
American Cinematographer - July 2015 - 39
American Cinematographer - July 2015 - 40
American Cinematographer - July 2015 - 41
American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
American Cinematographer - July 2015 - 44
American Cinematographer - July 2015 - 45
American Cinematographer - July 2015 - 46
American Cinematographer - July 2015 - 47
American Cinematographer - July 2015 - 48
American Cinematographer - July 2015 - 49
American Cinematographer - July 2015 - 50
American Cinematographer - July 2015 - 51
American Cinematographer - July 2015 - 52
American Cinematographer - July 2015 - 53
American Cinematographer - July 2015 - 54
American Cinematographer - July 2015 - 55
American Cinematographer - July 2015 - 56
American Cinematographer - July 2015 - 57
American Cinematographer - July 2015 - 58
American Cinematographer - July 2015 - 59
American Cinematographer - July 2015 - 60
American Cinematographer - July 2015 - 61
American Cinematographer - July 2015 - 62
American Cinematographer - July 2015 - 63
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American Cinematographer - July 2015 - 65
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American Cinematographer - July 2015 - 67
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American Cinematographer - July 2015 - 70
American Cinematographer - July 2015 - 71
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American Cinematographer - July 2015 - 73
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American Cinematographer - July 2015 - 84
American Cinematographer - July 2015 - 85
American Cinematographer - July 2015 - 86
American Cinematographer - July 2015 - 87
American Cinematographer - July 2015 - 88
American Cinematographer - July 2015 - Cover3
American Cinematographer - July 2015 - Cover4
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