American Cinematographer - August 2013 - 59

Wolverine finds
himself fighting
off an attack at a
Buddhist Temple
in Tokyo.

the carriages and, in the best cinematic
tradition, soon moves to the top of the
hurtling train. To create this sequence,
two sets, one for the carriage interior
and one for the roof, were constructed
in Sydney’s Fox Studios.
Sky ambience for the interior of
the train carriage was provided by two
rows of space lights gelled with ¼ CTB
and positioned above the carriage’s
windows on either side. Festooned
halogen domestic-style globes positioned just under the windows were
used to simulate the train traveling at a
variety of speeds. Down one side of the
set, several 12K Maxi-Brutes softened
by 20'x12' frames of Half Grid provided
semi-directional light, while on the
other side, Arri T12s focused into rotating mirror drums with reflective silvers
gave harder, rapid flashes of light.
Inside the set, 3,200°K Kino Flo
tubes gelled with ¼ CTO were used as
in-ceiling practicals, and gaffer Paul
Johnstone brought in 1x1 bi-color
Litepanels and tungsten shallow banks
as modeling light when required. To
emulate direct sun coming in the
windows, Emery used a rig Johnstone
dubbed “The Beast”: three 30K MaxiBrute panels mounted on a large scissor

lift and covered with ¼ art silk to help
blend the lamps. “All the globes were
run through dimmers with a continual
subtle left-to-right chase or, if the train
was going into a tunnel, a full blackout,”
says Johnstone.
The compact Alexa M proved its
worth in the tight confines of the train
set and elsewhere, notes Spicer. “It
proved to be a terrific addition to our
camera package. I could easily poke it
into parts of the set to achieve angles
and proximity between actors and stunt
performers that would have been
www.theasc.com

exceedingly difficult with a larger
camera. Additionally, being able to
suddenly move the camera from ground
level to above eye height and then run
helter-skelter through the crowded
streets of Tokyo with the actors kept
everything visually exciting.”
For the rooftop part of the fight, a
260-degree greenscreen was erected
around the set, and in the ceiling,
Johnstone rigged 120 space lights
further softened by two 100'x30' sails
suspended below the space lights on
either side of the roof set as sky ambiAugust 2013

59


http://www.theasc.com

American Cinematographer - August 2013

Table of Contents for the Digital Edition of American Cinematographer - August 2013

American Cinematographer - August 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Wild Horses
Production Slate: The Hunt • Berberian Sound Studio
Big Guns
Battle Bots
Rapturous Action
Shattered Past
Post Focus: Under the Dome
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - American Cinematographer - August 2013
American Cinematographer - August 2013 - Cover2
American Cinematographer - August 2013 - 1
American Cinematographer - August 2013 - 2
American Cinematographer - August 2013 - Contents
American Cinematographer - August 2013 - 4
American Cinematographer - August 2013 - 5
American Cinematographer - August 2013 - 6
American Cinematographer - August 2013 - 7
American Cinematographer - August 2013 - 8
American Cinematographer - August 2013 - 9
American Cinematographer - August 2013 - Editor’s Note
American Cinematographer - August 2013 - 11
American Cinematographer - August 2013 - President’s Desk
American Cinematographer - August 2013 - 13
American Cinematographer - August 2013 - Short Takes: Wild Horses
American Cinematographer - August 2013 - 15
American Cinematographer - August 2013 - 16
American Cinematographer - August 2013 - 17
American Cinematographer - August 2013 - 18
American Cinematographer - August 2013 - 19
American Cinematographer - August 2013 - Production Slate: The Hunt • Berberian Sound Studio
American Cinematographer - August 2013 - 21
American Cinematographer - August 2013 - 22
American Cinematographer - August 2013 - 23
American Cinematographer - August 2013 - 24
American Cinematographer - August 2013 - 25
American Cinematographer - August 2013 - 26
American Cinematographer - August 2013 - 27
American Cinematographer - August 2013 - 28
American Cinematographer - August 2013 - 29
American Cinematographer - August 2013 - 30
American Cinematographer - August 2013 - 31
American Cinematographer - August 2013 - Big Guns
American Cinematographer - August 2013 - 33
American Cinematographer - August 2013 - 34
American Cinematographer - August 2013 - 35
American Cinematographer - August 2013 - 36
American Cinematographer - August 2013 - 37
American Cinematographer - August 2013 - 38
American Cinematographer - August 2013 - 39
American Cinematographer - August 2013 - 40
American Cinematographer - August 2013 - 41
American Cinematographer - August 2013 - 42
American Cinematographer - August 2013 - 43
American Cinematographer - August 2013 - 44
American Cinematographer - August 2013 - 45
American Cinematographer - August 2013 - Battle Bots
American Cinematographer - August 2013 - 47
American Cinematographer - August 2013 - 48
American Cinematographer - August 2013 - 49
American Cinematographer - August 2013 - 50
American Cinematographer - August 2013 - 51
American Cinematographer - August 2013 - 52
American Cinematographer - August 2013 - 53
American Cinematographer - August 2013 - 54
American Cinematographer - August 2013 - 55
American Cinematographer - August 2013 - Rapturous Action
American Cinematographer - August 2013 - 57
American Cinematographer - August 2013 - 58
American Cinematographer - August 2013 - 59
American Cinematographer - August 2013 - 60
American Cinematographer - August 2013 - 61
American Cinematographer - August 2013 - 62
American Cinematographer - August 2013 - 63
American Cinematographer - August 2013 - 64
American Cinematographer - August 2013 - 65
American Cinematographer - August 2013 - Shattered Past
American Cinematographer - August 2013 - 67
American Cinematographer - August 2013 - 68
American Cinematographer - August 2013 - 69
American Cinematographer - August 2013 - 70
American Cinematographer - August 2013 - 71
American Cinematographer - August 2013 - 72
American Cinematographer - August 2013 - 73
American Cinematographer - August 2013 - Post Focus: Under the Dome
American Cinematographer - August 2013 - 75
American Cinematographer - August 2013 - New Products & Services
American Cinematographer - August 2013 - 77
American Cinematographer - August 2013 - 78
American Cinematographer - August 2013 - 79
American Cinematographer - August 2013 - 80
American Cinematographer - August 2013 - 81
American Cinematographer - August 2013 - International Marketplace
American Cinematographer - August 2013 - Classified Ads
American Cinematographer - August 2013 - Ad Index
American Cinematographer - August 2013 - 85
American Cinematographer - August 2013 - Clubhouse News
American Cinematographer - August 2013 - 87
American Cinematographer - August 2013 - ASC Close-Up: Stuart Dryburgh
American Cinematographer - August 2013 - Cover3
American Cinematographer - August 2013 - Cover4
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