American Cinematographer - August 2015 - 36
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Going Rogue
Elswit (bottom) and crew work out an extended chase involving motorcycles and a BMW sedan.
36
August 2015
American Cinematographer
creation of a 25mm lens that had the
optical qualities of the C Series but was
smaller and had minimal barrel distortion, and the modification of a 60mm
lens, which Elswit often used for
inserts, to allow it to focus to 17 inches].
We also carried a full set of G
Series anamorphics. [One reason for
that] was in case we didn't have enough
glass if we added extra cameras or a
splinter unit was assembled on short
notice. The second reason was safety. If
we had a shot where we were concerned
that a lens might be damaged, we would
do that shot with a G Series lens, since
those are [more easily] replaceable -
although I don't think we damaged any
lenses on main unit. We also carried
several zooms [including AWZ2 4080mm (T2.8), ATZ 70-200mm (T3.5)
and ALZ11 48-550mm (T4.5)], but
used them sparingly.
How would you define the 'classic movie look' you wanted for the
film's visual aesthetic?
Elswit: We tried to do what
anamorphic lenses classically forced you
to do - a classic style of wide shots,
medium close-ups and close-ups, like
traditional filmmaking. But what really
ends up driving it is that this is a moviestar movie. It presents Tom and the
other actors in a more traditional way.
It's the opposite of a Bourne movie;
we're not looking at them with long
lenses, fast cuts and whip pans. We
wanted a kind of strong, heroic, romantic style, [as evidenced with] the Vienna
Opera House sequence. There is a stylish gloss or sheen to it, kind of a throwback to the first Mission: Impossible film
[directed by Brian de Palma and shot by
Stephen H. Burum, ASC; AC June '96].
It's an idealized world, but the
magic is to try and not call attention to
that fact, to make it not feel selfconsciously lit or stylized. It's the
approach Roger Deakins [ASC, BSC]
was so good at in the last Bond movie
[Skyfall; AC Dec. '12]. It looks
completely realistic and authentic, and
you believe in the world you are looking
at. That is what I mean by 'classic,' but
it's a modern approach to that idea.
Table of Contents for the Digital Edition of American Cinematographer - August 2015
Contents
American Cinematographer - August 2015 - Cover1
American Cinematographer - August 2015 - Cover2
American Cinematographer - August 2015 - 1
American Cinematographer - August 2015 - 2
American Cinematographer - August 2015 - Contents
American Cinematographer - August 2015 - 4
American Cinematographer - August 2015 - 5
American Cinematographer - August 2015 - 6
American Cinematographer - August 2015 - 7
American Cinematographer - August 2015 - 8
American Cinematographer - August 2015 - 9
American Cinematographer - August 2015 - 10
American Cinematographer - August 2015 - 11
American Cinematographer - August 2015 - 12
American Cinematographer - August 2015 - 13
American Cinematographer - August 2015 - 14
American Cinematographer - August 2015 - 15
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American Cinematographer - August 2015 - 17
American Cinematographer - August 2015 - 18
American Cinematographer - August 2015 - 19
American Cinematographer - August 2015 - 20
American Cinematographer - August 2015 - 21
American Cinematographer - August 2015 - 22
American Cinematographer - August 2015 - 23
American Cinematographer - August 2015 - 24
American Cinematographer - August 2015 - 25
American Cinematographer - August 2015 - 26
American Cinematographer - August 2015 - 27
American Cinematographer - August 2015 - 28
American Cinematographer - August 2015 - 29
American Cinematographer - August 2015 - 30
American Cinematographer - August 2015 - 31
American Cinematographer - August 2015 - 32
American Cinematographer - August 2015 - 33
American Cinematographer - August 2015 - 34
American Cinematographer - August 2015 - 35
American Cinematographer - August 2015 - 36
American Cinematographer - August 2015 - 37
American Cinematographer - August 2015 - 38
American Cinematographer - August 2015 - 39
American Cinematographer - August 2015 - 40
American Cinematographer - August 2015 - 41
American Cinematographer - August 2015 - 42
American Cinematographer - August 2015 - 43
American Cinematographer - August 2015 - 44
American Cinematographer - August 2015 - 45
American Cinematographer - August 2015 - 46
American Cinematographer - August 2015 - 47
American Cinematographer - August 2015 - 48
American Cinematographer - August 2015 - 49
American Cinematographer - August 2015 - 50
American Cinematographer - August 2015 - 51
American Cinematographer - August 2015 - 52
American Cinematographer - August 2015 - 53
American Cinematographer - August 2015 - 54
American Cinematographer - August 2015 - 55
American Cinematographer - August 2015 - 56
American Cinematographer - August 2015 - 57
American Cinematographer - August 2015 - 58
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American Cinematographer - August 2015 - 60
American Cinematographer - August 2015 - 61
American Cinematographer - August 2015 - 62
American Cinematographer - August 2015 - 63
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American Cinematographer - August 2015 - 70
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American Cinematographer - August 2015 - 73
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American Cinematographer - August 2015 - 78
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American Cinematographer - August 2015 - Cover3
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