American Cinematographer - September 2014 - 56
◗
Brain Power
know what to do with it.' She has no
goal, no one to avenge, no one to save,
nothing to win. That's one of the questions of the film that interested me: If
you have all this power, what do you do
with it?"
Lucy was shot over 12 weeks,
with the production spending two
weeks in Taiwan and several weeks in
Paris and other European locations.
The rest of the film was shot on soundstages at the new Cité du Cinéma facility outside Paris, which Besson helped
to design and create.
The film was Besson's first
entirely digital production. During
prep, the filmmakers shot comparison
tests with an Arri Alexa XT, a Red Epic,
a Sony F65 and 35mm film. The
"The light has to be
natural, but it also
has to be beautiful.
Otherwise, why
bother?"
Lucy is abducted
by thugs in the
employ of Mr.
Jang (Choi Min-sik,
bottom), a drug
trafficker who
surgically implants
a potent chemical
substance within
her for transport.
footage was then projected in a blind
test for Besson, who chose the F65
because he felt the image was "a little
sharper," with "good contrast." Arbogast
had come to a similar conclusion, and
also cites what he regards as the F65's
superior color space, and its finesse in
rendering skin tones and the green hues
in nature.
1st AC René-Pierre Rouaux
organized the tests and managed the
equipment prep before production, and
he was joined by 1st AC Vincent
Richard halfway through the shoot.
Rouaux prepared two F65s: an A
camera operated by Besson and a B
camera for Steadicam operators
56
September 2014
American Cinematographer
American Cinematographer - September 2014
Table of Contents for the Digital Edition of American Cinematographer - September 2014
Contents
American Cinematographer - September 2014 - Cover1
American Cinematographer - September 2014 - Cover2
American Cinematographer - September 2014 - 1
American Cinematographer - September 2014 - 2
American Cinematographer - September 2014 - Contents
American Cinematographer - September 2014 - 4
American Cinematographer - September 2014 - 5
American Cinematographer - September 2014 - 6
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American Cinematographer - September 2014 - 41
American Cinematographer - September 2014 - 42
American Cinematographer - September 2014 - 43
American Cinematographer - September 2014 - 44
American Cinematographer - September 2014 - 44a
American Cinematographer - September 2014 - 44b
American Cinematographer - September 2014 - 45
American Cinematographer - September 2014 - 46
American Cinematographer - September 2014 - 47
American Cinematographer - September 2014 - 48
American Cinematographer - September 2014 - 49
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American Cinematographer - September 2014 - 104
American Cinematographer - September 2014 - 104a
American Cinematographer - September 2014 - 104b
American Cinematographer - September 2014 - 105
American Cinematographer - September 2014 - 106
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