American Cinematographer - July 2015 - 53

year] we only had six hours of dark at
night, and we could only work the kids
for three hours. We had to fly as fast as
possible, with at least 10 setups a night.
Not only that, but we were covering
multiple 360-degree passes in a single
shot. Lighting this huge area at night so
that we could move quickly and allow
for those kinds of shots took a different
approach."
To
solve
the
problem,
Schwartzman and his gaffer, Rafael
Sánchez, employed three large construction cranes off of which they suspended
three 50'x50' soft boxes, each one filled
with 36 6K space lights, diffused with
double Full Grid, and lined with 12'
skirts around the perimeter. "We
couldn't use balloons because of the
wind, so these boxes were our solution,"
the cinematographer explains. "We
hung those 110 feet over the Main
Street set and put them about 1-stop
underexposed. Each box could cover
about 200 feet of area. It allowed us to

do 360-degree shots with a motorcycle
and a Libra head with ease. To help us
on the ground, I had [production
designer] Ed Verreaux design a lot of
practical lighting into the architecture,
and we ran with just that and the big
soft boxes to light that sequence."
The digital intermediate was
conducted in Los Angeles at Company
3, where colorist and ASC associate
Stefan Sonnenfeld worked with 10-bit
DPX files in Blackmagic Design's
DaVinci Resolve version 11.2.2.010 for
a "2K-plus" finish (2398x1556). "I've
worked with Stefan on commercials
going back to the early Nineties, and
[our first feature together] was National
Treasure [Book of Secrets]," Schwartzman
notes. "We have a great working relationship. He really understands my
style.
"This is a big, fun movie,"
Schwartzman concludes. "Colin did an
amazing job. It really delivers in every
way."
●

TECHNICAL SPECS
2.0:1
65mm and 4-perf Super 35mm
Panaflex Platinum,
Millennium XL2,
HR Spinning Mirror Reflex
65HSSM
Panavision Primo, System 65
Kodak Vision3 50D 5203,
200T 5213, 500T 5219
Digital Intermediate

53


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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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