American Cinematographer - August 2017 - 71

move the drone laterally - as if it were on
dolly track - from behind an iceberg,
revealing a ship traveling on the other side.
By taking advantage of planned camera
moves, the environment, and the time of
day, we were able to create the kind of
cinematic shots that I wanted to replicate
from Planet Earth II - and from Disney's
Soarin' Over California, which I think stands
as one of the finest examples of aerial cinematography.
Now that LED lighting has become
so lightweight and powerful, we've started
to attach fixtures such as Light & Motion's
2200D to our Phantoms to help illuminate
objects during both the day and night. The
2200D is powerful enough to create some
additional fill in a cave or on the shadowside of an iceberg. At night, a drone carrying a light can also create the feeling of a
mystery - for example, when it illuminates
the name on the side of a ship that's a
target of interest. Larger drones can carry
lights like Light & Motion's Stella Pro
10000C, which can more easily illuminate a
large area. As both drone and LED technology continue to evolve, remote lighting is
certain to play an increasing role in our
productions.
For all that drones help us achieve,
we can't yet reconcile the disparity between
the serenity of their gimbal-stabilized
"God's eye view" and the relative chaos of
the handheld camerawork on the ship. The
two perspectives feel very different. To me,
though, this can create a welcome release;
the drone footage allows the audience a
moment to take a breath and soak in the
scene before diving back into the handheld,
high-energy footage and the adrenalinepumping narrative.
Drones have certainly become an
indispensable tool that adds enormous
value to our productions. With them, we
can achieve breathtaking imagery that just
isn't possible any other way - even with a
full-scale helicopter. UAVs such as DJI's
Phantom 4 will continue to inform how we
go about shaping the aesthetic of our
shows. As long as we strategically deploy
these highly capable tools to underscore
our storytelling, I have high hopes that
drones will help us craft narratives that
continue to surprise and delight audiences
‚óŹ
around the world.
71


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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
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American Cinematographer - August 2017 - 70
American Cinematographer - August 2017 - 71
American Cinematographer - August 2017 - 72
American Cinematographer - August 2017 - 73
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American Cinematographer - August 2017 - 76
American Cinematographer - August 2017 - 77
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American Cinematographer - August 2017 - 79
American Cinematographer - August 2017 - 80
American Cinematographer - August 2017 - Cover3
American Cinematographer - August 2017 - Cover4
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