American Cinematographer - July 2017 - 40

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A Warrior Rises

Aerial cinematographer Jeremy Braben worked with
U.K.-based Helicopter Film Services and employed an
Arri Alexa 65 on a Super-G stabilizer.

40

Jensen adds, "We would often do
a pass with Gal beginning to throw it, to
get the lighting reference on her
costume, hands and face. Then we
would do a pass with no lasso and she
would do the arm motion to fling it.
Visual effects was either painting it out
and just using the light, or putting the
lasso in entirely."
The film's climax takes place on
an airfield, where Wonder Woman
must confront a powerful opponent.
Both Jensen and Sinfield call it the
largest night exterior they've ever lit. It
was a brutally cold and rainy February,
but Jenkins insisted on doing some of
the sequence on location. Otherwise,
she says, "all the randomness of shooting outside would be lost, like the wind
in their hair and [the actors'] being cold.
I wanted the reality of a real English
airfield and being in duress, and those
guys made it work."
Thus, the sequence was shot via a
mix of studio work as well as location

work at the RAF Upper Heyford and
RAF Halton bases. Upper Heyford,
Jensen says, "is enormous, and Patty
wanted to see every corner of it. It
wouldn't have been lit up like a
Christmas tree with modern fixtures, so I
had to come up with some way to make
it look realistic but still get light in there."
After four weeks of rigging, the
crew had set up five Full Wendy Lights
on 100-ton cranes, eight Quarter Wendy
Lights on condors, ground-level 20Ks
and 20K Molebeams - to serve as
searchlights - and Ultrabounce. The
hangars were lit by Par bulbs that the art
department put in the ceilings, while the
runway was lined with 150-watt Pearl
bulbs.
The studio segments were shot in
front of greenscreen lit by two rows of 80
Cineo Lighting HS LED units - fitted
with phosphor panels balanced for greenscreen work - spaced a dozen feet apart.
"We had to have LEDs because normal
fluorescents would flicker for high-speed



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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
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
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American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
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