American Cinematographer - August 2008 - (Page 51) properties of stone but be able to articulate and emote, Digital Domain first tracked Li with prosumer hi-def witness cameras. “The Emperor is cursed to terra cotta and he goes through a metamorphosis in a molten mud pool,” explains Butler. “Liquid oozes through his pores and skin. We were flowing a synthetic liquid over a photographed image that’s changing in an elastic manner. His whole face is twisting and contorting, so it’s not a rigid body like a moving car. Witness cameras rely on the theory of triangulation: if you can see an object from two different vantage points, you can project where in space that object lies. Film is a 2-D product, but we’re generating con- tent at a 3-D level so we can combine it appropriately and then collapse it down to 2-D.” “We pushed the envelope on witness-camera technology,” adds Hynek. “We worked to make sure our cameras were all in sync and phase with common time code. We also developed tools in-house that made the merging of the witness cameras’ data nearly automatic. The result was a very precise 3-D capture.” Meanwhile, in the film’s present-day setting of 1946, Evelyn’s brother, Jonathan (John Hannah), has opened a nightclub in Shanghai called Imhotep’s. The location afforded Duggan the opportunity to create a classic theatrical ambience. “Simon is a big fan of Kino Flos and Litepanels [LED lights], which we used extensively inside the bar,” says Courteau. “We also used Par cans and show lights. The tables had 150watt practicals with dark lampshades, and all of these fixtures were wired to a dimmer. To help light the actors, we punctured the lampshades on the [off-camera] sides as needed.” Duggan adds, “I tried to light the whole set as if by practical Above left: Jet Li discusses his next move with director Rob Cohen. Above right: Han demonstrates his unearthly powers as he manipulates the five elements of Chinese philosophy: metal, wood, water, fire and earth. Below: The Emperor leads his troops into battle. American Cinematographer 51
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