American Cinematographer - July 2015 - 47

Top: Zach (Nick
Robinson, left)
and Gray (Ty
Simpkins) -
Dearing's
nephews - are
lost in the park
when their
"Gyrosphere" is
destroyed by a
hybrid dinosaur.
Bottom:
Schwartzman
measures the
light.

Oz behind the curtain."
As he has for his entire career,
Schwartzman explains, he turned to
Panavision cameras and lenses for
Jurassic World. The production carried a
pair of Panaflex Millennium XL2
cameras and the same Platinum -
serial number 452 - that
Schwartzman has used for the majority
of his years behind the lens. "They
really did something right when they
built that camera," he attests. "It still
works beautifully."
The filmmakers also incorporated 65mm cameras into the production process. "We were using [Panaflex
HR Spinning Mirror Reflex
65HSSMs], the same cameras that had
been refurbished by P.T. Anderson for
The Master [AC Nov. '12], so they were
in amazing condition," Schwartzman
continues. "We were only shooting
65mm to get extra definition for
daytime exteriors and the really 'wow'
shots. If I knew that [visual-effects
vendor Industrial Light & Magic]
would be putting dinosaurs into the
shot or doing some major work on it,
we'd shoot 65mm to give them the best

image we could. Surprisingly, ILM was
also a driving force in our decision to
shoot film; it was their preferred choice
[because it provided] more resolution.
"We ended up shooting about
30-35 percent of the movie - about
200,000 feet of film - in 65mm," he
explains. "If we were doing a big
sequence outside, we'd do the masters
on 65mm and move to 35mm for the
coverage. If I was shooting 35mm at a
T4.5, to match the depth of field I'd
www.theasc.com

have to shoot the 65mm at a T11.5,
which really wasn't a problem in Hawaii
- even on 50 ISO stock!"
Schwartzman shot exteriors with Kodak
Vision3 50D 5203 and 200T 5213 in
both 35mm and 65mm; he used 500T
5219 for interiors.
Schwartzman had planned to
have the 35mm negative processed at
Deluxe in Hollywood, but when the
company shuttered its film lab during
Jurassic World's preproduction, the cineJuly 2015

47


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
American Cinematographer - July 2015 - 16
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
American Cinematographer - July 2015 - 64
American Cinematographer - July 2015 - 65
American Cinematographer - July 2015 - 66
American Cinematographer - July 2015 - 67
American Cinematographer - July 2015 - 68
American Cinematographer - July 2015 - 69
American Cinematographer - July 2015 - 70
American Cinematographer - July 2015 - 71
American Cinematographer - July 2015 - 72
American Cinematographer - July 2015 - 73
American Cinematographer - July 2015 - 74
American Cinematographer - July 2015 - 75
American Cinematographer - July 2015 - 76
American Cinematographer - July 2015 - 77
American Cinematographer - July 2015 - 78
American Cinematographer - July 2015 - 79
American Cinematographer - July 2015 - 80
American Cinematographer - July 2015 - 81
American Cinematographer - July 2015 - 82
American Cinematographer - July 2015 - 83
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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