American Cinematographer - August 2017 - 35

◗

Great Escape
some of the camera's weight. "[Schroer]
made a very efficient, watertight bag that
had all the necessary tethers for the
camera to run, making it easier to service
and taking unnecessary weight away
from my operating," van Hoytema says.
"Hoyte was usually okay to operate
the Imax cameras handheld without
much help from me, as long as the shot
didn't go on too long," Monro explains.
"But when we shot dialogue scenes using
the heavier [Panavision 65 cameras],
those shots were usually much longer, so I
assisted Hoyte by taking some of the
weight while he operated. I would hoist
the camera onto his shoulder, and then
interlock my arms underneath his to push
up on the camera, taking as much weight
as I could, while being delicate enough for
him to still pan and tilt. It seemed to work
quite well, but we had to get very close. It
was like two men in their mid-40s playing
Twister while juggling an old sewing
machine."
Van Hoytema also performed
handheld work on boats, while shooting
on a lake near Urk, Netherlands. For
scenes that took place on a small sailboat,
for example - a vessel which rocked back
and forth in choppy water, making it
difficult to keep balance while standing
- Monro made a "cradle" for the cinematographer to lean into, built out of
rock-climbing webbing and static line
attached to various points on the boat.
The production also used a large
catamaran as a camera boat, on which
both handheld and mounted camera
techniques were employed. In some cases,
the cameras were affixed to a remote,
gyro-stabilized Edge Crane and Head to
achieve what Monro calls "boat-to-boat
filming." He adds that the production
"also rigged a platform to the side of the
catamaran, just underneath the waterline,
so that we could get down there handheld
to film oil-soaked, drowning soldiers
struggling in the ocean."
The Dunkirk beach location in
France was both "a magnificent place" as
well as "an ugly, big, gray monster" that
wasn't particularly compatible with giant
cameras, according to van Hoytema. "The
beach is endless," he says. "When you get

Above: With the help of a custommade snorkel lens, van Hoytema
lines up an Imax camera for a POV
shot. Left: A joint effort by
aeronautic engineers and the
production's grips allowed an Imax
camera to be rigged on the wings of
a two-seater Spitfire replica,
enabling visceral in-flight shots of
actor Jack Lowden (portraying
Collins). Below: Nolan operates the
gimbal rotation and van Hoytema
uses a wire to simulate realistic
camera vibrations on a fully
balanced and hand-operated gimbal
built on a cliff overlooking the
water; this setup gave the
filmmakers full control for realistic
in-cockpit acting scenes.

www.ascmag.com

August 2017

35


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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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