American Cinematographer - August 2016 - 48
◗
To Be Bourne
A camera
vehicle fitted
with an Edge
Arm is
employed to
capture a
car-chase
sequence
through
Las Vegas.
18mm up to 85mm (all T1.3). The
production's Super 16mm cameras were
paired with Canon 8-64mm (T2.4) and
11-165mm (T2.5) zooms.
Any concerns about matching the
various cameras and lenses were
subordinate to ease of handling, Ackroyd
says. "I've never been one to get too hung
up on the technical side of what the lens
may or may not do. Of course, if you were
making a movie that was highly glossy
and intentionally stylized, you'd have to
pay more attention to that."
Ackroyd refers to the widescreen
48
August 2016
aspect ratio as "the best-looking format
for this type of film. It fills the screen;
when they open up the curtains in the
theater, you know you're going on a
journey. It's about immersion."
When AC visited the grading suite
at Goldcrest, Ackroyd was working
alongside colorist Rob Pizzey (see sidebar,
page 46). Referring to a shot of Damon's
character ascending an escalator from an
underground railway station, Ackroyd
details his on-set working method. "I
would be shooting this," he says. "My left
hand is [positioned as though to play] a
American Cinematographer
trumpet: I've got my thumb on the iris,
index finger on the zoom and ready to
grab onto the focus if necessary. The focus
puller's in charge, but I might want to
touch it."
Ackroyd prefers the focus puller to
remain beside the camera with a
mechanical follow focus. "If you do a
remote focus, you've got less relationship
with the distance," the cinematographer
opines. "If you're all together, you're not
trying to triangulate the position; the
focus puller needn't be looking at the
focus ring or marks. If you're using lots of
cameras and one is using a remote focus
5 feet from the camera, you start taking
up space for the story." Similarly, Ackroyd
avoids bulking the camera out with more
than the minimum accessories. "I don't
use the big handles, the bullhorns. I have
three points of contact, as I would in
documentary: shoulder, handle, and eye
to the eyepiece."
Gaffer Harry Wiggins, another
veteran of Green Zone and Captain
Phillips, describes the crew's overall
approaches for day and night work on
Bourne. "We would light our day interiors,
but on our day exteriors, we would run it
pretty much as a commando unit."
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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