American Cinematographer - August 2017 - 33

Left: Nolan
checks the shot
for a scene with
Gibson (Aneurin
Barnard, sitting,
left) and Tommy
(Fionn
Whitehead,
sitting, right).
Below: Van
Hoytema sits
atop a dolly for
a shot that
tracks alongside
soldiers lined up
on the mole.

vice president of optical engineering
and lens strategy, Dan Sasaki,
"customized a couple of beautiful sets of
Sphero 65 lenses for us [for use with the
Panavision 65mm cameras] that looked
wonderful, and those were more similar
to Imax than anamorphic lenses would
be. They had the same kind of flare and
a softness in the field that was similar to
our [Imax footage]."
Panavision also customized existing 80mm and 50mm Imax lenses and
built additional ones for the production,
along with building the aforementioned
periscope. (See sidebar, page 34.)
In addition to the Imax bodies,
van Hoytema also handheld the heavier
Panavision 65mm cameras, estimated
by 1st AC Bob Hall to weigh approximately 55 pounds - before the 1,000'
film magazines and lenses were added,
which brought the whole package close
to an estimated 90 pounds. The Imax
cameras were slightly lighter before lens
and magazine, but were still "a very
awkward camera, because it is a very big
box, definitely not designed to be handheld on your shoulder," Hall says.
The cinematographer insists that
his ability to operate such cameras
handheld "wasn't because I'm some sort
of superman. I'm just an overweight,
non-sporting, slightly drinking, happy
cameraman - and I was able to do it

not because I'm that strong, but because
it isn't as difficult as people think, if you
know what you are doing and have great
people helping you. For me, I think the
weight or size of the camera was an
insignificant element when compared to
the quality of the images we produced."
Handheld Imax work was aided
by a custom eyepiece - which
Panavision's Sasaki had developed
previously for Nolan's The Dark Knight
Rises (AC Aug. '12) - to make the unit
more ergonomic. Hall notes that this
innovation made it "easier to get the
operator's eye to the camera when it was
on his shoulder."
The protocol for van Hoytema's
safe operation revolved largely around a
www.ascmag.com

choreographed dance of sorts with key
grip Ryan Monro. Once van Hoytema
had secured firm footing, Monro "was
like a mountaineer, fixing himself in
different positions so he could lift the
camera on my shoulder, or help me keep
balance if it looked like I might fall
over," the cinematographer says. "That
symbiosis between Ryan and I was
pivotal to working handheld."
Monro wore a backpack specially
configured by 2nd AC Dan Schroer -
containing, as Hall reports, a video
transmitter, Preston's FI+Z lens-andcamera control system, a CineTape
display, a Dionic battery to power the
CineTape, and an Imax battery to
power the camera - that also bore
August 2017

33


http://www.ascmag.com

Table of Contents for the Digital Edition of American Cinematographer - August 2017

Contents
American Cinematographer - August 2017 - Intro
American Cinematographer - August 2017 - Cover1
American Cinematographer - August 2017 - Cover2
American Cinematographer - August 2017 - 1
American Cinematographer - August 2017 - 2
American Cinematographer - August 2017 - Contents
American Cinematographer - August 2017 - 4
American Cinematographer - August 2017 - 5
American Cinematographer - August 2017 - 6
American Cinematographer - August 2017 - 7
American Cinematographer - August 2017 - 8
American Cinematographer - August 2017 - 9
American Cinematographer - August 2017 - 10
American Cinematographer - August 2017 - 11
American Cinematographer - August 2017 - 12
American Cinematographer - August 2017 - 13
American Cinematographer - August 2017 - 14
American Cinematographer - August 2017 - 15
American Cinematographer - August 2017 - 16
American Cinematographer - August 2017 - 17
American Cinematographer - August 2017 - 18
American Cinematographer - August 2017 - 19
American Cinematographer - August 2017 - 20
American Cinematographer - August 2017 - 21
American Cinematographer - August 2017 - 22
American Cinematographer - August 2017 - 23
American Cinematographer - August 2017 - 24
American Cinematographer - August 2017 - 25
American Cinematographer - August 2017 - 26
American Cinematographer - August 2017 - 27
American Cinematographer - August 2017 - 28
American Cinematographer - August 2017 - 29
American Cinematographer - August 2017 - 30
American Cinematographer - August 2017 - 31
American Cinematographer - August 2017 - 32
American Cinematographer - August 2017 - 32a
American Cinematographer - August 2017 - 32b
American Cinematographer - August 2017 - 32c
American Cinematographer - August 2017 - 32d
American Cinematographer - August 2017 - 33
American Cinematographer - August 2017 - 34
American Cinematographer - August 2017 - 35
American Cinematographer - August 2017 - 36
American Cinematographer - August 2017 - 37
American Cinematographer - August 2017 - 38
American Cinematographer - August 2017 - 39
American Cinematographer - August 2017 - 40
American Cinematographer - August 2017 - 41
American Cinematographer - August 2017 - 42
American Cinematographer - August 2017 - 43
American Cinematographer - August 2017 - 44
American Cinematographer - August 2017 - 45
American Cinematographer - August 2017 - 46
American Cinematographer - August 2017 - 47
American Cinematographer - August 2017 - 48
American Cinematographer - August 2017 - 49
American Cinematographer - August 2017 - 50
American Cinematographer - August 2017 - 51
American Cinematographer - August 2017 - 52
American Cinematographer - August 2017 - 53
American Cinematographer - August 2017 - 54
American Cinematographer - August 2017 - 55
American Cinematographer - August 2017 - 56
American Cinematographer - August 2017 - 57
American Cinematographer - August 2017 - 58
American Cinematographer - August 2017 - 59
American Cinematographer - August 2017 - 60
American Cinematographer - August 2017 - 61
American Cinematographer - August 2017 - 62
American Cinematographer - August 2017 - 63
American Cinematographer - August 2017 - 64
American Cinematographer - August 2017 - 65
American Cinematographer - August 2017 - 66
American Cinematographer - August 2017 - 67
American Cinematographer - August 2017 - 68
American Cinematographer - August 2017 - 69
American Cinematographer - August 2017 - 70
American Cinematographer - August 2017 - 71
American Cinematographer - August 2017 - 72
American Cinematographer - August 2017 - 73
American Cinematographer - August 2017 - 74
American Cinematographer - August 2017 - 75
American Cinematographer - August 2017 - 76
American Cinematographer - August 2017 - 77
American Cinematographer - August 2017 - 78
American Cinematographer - August 2017 - 79
American Cinematographer - August 2017 - 80
American Cinematographer - August 2017 - Cover3
American Cinematographer - August 2017 - Cover4
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