American Cinematographer - August 2016 - 14

As daylight fades to dusk, the driver (David Pibworth) notices the van in his rearview mirror.

14

August 2016

American Cinematographer

of the film. I really wanted to have that
reflected with flares coming through into
the car."
The production was able to lock off
one road in the town of Kent, just outside
London, where the filmmakers had only a
short period of time to shoot the climactic
set piece, as the two vehicles race down a
single-lane road during magic hour, with
the driver trying desperately not to be overtaken by the van. All involved had to be efficient and agile to get the sequence right the
first time; knowing this would be the case,
Bradley cast actors who are in fact precision
drivers, and who ably executed the requisite
maneuvers.
In order to get all of the desired
shots as daylight ostensibly fades to dusk,
the production shot during both sunrise
and sunset over the course of two days.
Working in the British countryside, Jessica
was shot without the aid of any storyboards. Instead, the team used Matchbox
cars to orchestrate and communicate the
vehicles' maneuvers - a technique
Marshall learned while working on Skyfall's
complex opening stunt sequence, which
called for a truck to be flipped.
Given Jessica's low budget, the team
shot without any camera rigging on the
vehicles' exteriors, and instead utilized a
flatbed truck as a tracking vehicle, with a
tripod set up in the back. A bit of stabilization was applied in post, and the end results
belie the low-tech approaches employed on
set.
When it came to the grading of the
project, Marshall wanted "a cold, slightly
desaturated look that started bright and
then descended into darkness," he
explains. The cinematographer realized this
look with colorist Chris Francis, who
worked on the grade at Company 3 in
London. "Luckily, Todd Kleparski [head of
production at Company 3] came on board
as associate producer and got Chris to
grade the film," Marshall notes. "Once we
had Company 3 grading, I knew it would
be in great hands and it would look fantastic."
Given all of the foliage in the movie's
exteriors, Marshall wanted to pay particular
attention to the tonality of the greens.
"Green foliage is always something I try to
capture in a way that looks real, with a



Table of Contents for the Digital Edition of American Cinematographer - August 2016

Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
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