American Cinematographer - July 2017 - 38

◗

A Warrior Rises

Top left: Jenkins and Gadot discuss an action beat.
Bottom left: Gadot and crew prepare to capture the
sequence. Above: A drone is employed for an aerial
view of Diana on horseback.

gown. She intends to kill the general,
who unexpectedly asks her to dance.
The hall was long and narrow,
and rigging was restricted. The south
side had 10 windows that, if left unadulterated, would let in sunlight all day
long. As the scene is set at dusk, the crew
set up telehandlers outside, which held
20'x20' frames with Ultrabounce tilted
at 45 degrees. The black sides blocked
the sun, while on the white sides they
bounced 24-light Maxi-Brutes with
Full Blue for twilight. The windows
were covered with 129 Heavy Frost
diffusion - because, as Sinfield
explains, "we had no reason to see
outside."
This cold light was mixed with
warmer sources inside - including
practicals with multiple dimmable 10038

July 2017

watt Pearl bulbs on the walls, and
candles on tables - that enriched the
room's golden tint. The crew situated 4'
2,900K Kino Flos gelled with Quarter
Straw in the recesses of windows and
behind the practicals. Elsewhere they
hid 1K and 650-watt Lowel Rifa-Lites
for close-ups, as well as covered wagons
composed of wooden strips with six
sockets for dimmed 275-watt Pearl
bulbs to amplify practicals and firelight.
The ornately patterned ceiling was illuminated by hybrid and amber LED
LiteRibbon that was lined around the
pelmet.
Jensen's aperture was widest for
this scene at T22⁄3, making focus tricky
for Barnes. Added to this was Jenkins'
complex concept for staging the dance
between Diana and Ludendorff.
American Cinematographer

"They're doing this waltz and
turning and spinning, and she wanted
close-ups throughout," Jensen recalls.
"We were on the 75mm lens on 360degree track, trying to keep pace and
keep them in focus at that limited depth
of field. I sat on the dolly holding a
China ball as the key light to follow
them. It was this mad dance among
actors, dolly, focus puller and me. It must
have looked ridiculous, but it worked
out."
And then there's Wonder
Woman's golden lasso, which forces
those ensnared by it to obey her and
speak the truth. Gadot had a prop lasso
clipped to the hip of her costume, but
when Wonder Woman activates the
lasso, it needed to glow. The electrics
department constructed a glowing lasso
consisting of two segments of amber
LED LiteRibbon packed into a 16' silicon tube.
"We rigged it with tracer batteries
through a wireless dimmer that Gal
wore on her costume, to control the
levels through the lighting desk,"
Sinfield notes. "It was triggered off an
iPod touch using OSC software." ➣



Table of Contents for the Digital Edition of American Cinematographer - July 2017

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
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American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
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