American Cinematographer - July 2015 - 49

- I know what 64 footcandles looks
like. Every once in a while we would
print something and I'd ask Mark van
Horne to let me know what my lights
were. There was one point when we got
a report back that our shots were two
stops underexposed. I said, 'What?
How is that possible?' I had Mark print
those scenes for me and tell me my
numbers, which were like 39-38-29.
Then I knew we were totally fine. It
turns out that it was a scene with a guy
silhouetted in front of a window, and
they didn't realize it was supposed to be
a silhouette. That was a little stressful
for a bit!"
Jurassic World was composed and
will be released in a non-traditional
aspect ratio of 2.0:1. "I wanted to
shoot this movie 'Scope," attests
Schwartzman. "Most of my career I've
shot 'Scope, and I love that format. But
[Jurassic World executive producer]
Steven Spielberg was very against the
[2.40:1] aspect ratio - he felt we
needed more image height for the
dinosaurs. It was Colin who came up
with the idea of a compromise at 2.0:1."
This format wasn't entirely
foreign to Schwartzman, who had been
an apprentice for Vittorio Storaro,
ASC, AIC on director Francis Ford
Coppola's Tucker: The Man and His
Dream and was familiar with the cinematographer's proposed Univisium
universal format. Where Univisium
proposes a 3-perf standard, though, the
Jurassic crew shot 4-perf and the full
Super 35mm width while framing for
2:1. "It's really amazing how nicely 2:1
fits on a tablet or a phone or a computer
screen," Schwartzman observes. "It's a
nicer way to frame than 1.85:1 - you
compose more like you do in 'Scope, but
you're working with flat lenses - and
the [1.9:1] Imax format is close to 2:1.
Back in the days of photochemical
printing, we'd never be able to do a 2:1
release, but the beauty of DCP is that
none of those old rules apply anymore."
In continuing the Jurassic Park
franchise, Schwartzman explains, "the
only real mandate that Colin and I had
was to make it feel as real as possible.

Top: A member of
the security team
comes face to face
with the Indominus
rex. Middle:
Trevorrow,
Schwartzman and
crew prep a scene.
Bottom, left to
right: Grady,
Dearing, Barry
(Omar Sy) and Vic
Hoskins (Vincent
D'Onofrio) hatch a
plan.

www.theasc.com

July 2015

49


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
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American Cinematographer - July 2015 - 72
American Cinematographer - July 2015 - 73
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American Cinematographer - July 2015 - 82
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American Cinematographer - July 2015 - 84
American Cinematographer - July 2015 - 85
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American Cinematographer - July 2015 - 88
American Cinematographer - July 2015 - Cover3
American Cinematographer - July 2015 - Cover4
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