American Cinematographer - October 2014 - 84

◗

Twists and Turns
whom were local to New Orleans,
included 1st ACs Dean Simmon and
Glenn Kaplan, digital-imaging technician Curtis Abbott, gaffer Andy Ryan,
key grip Jimi Ryan, and Steadicam
operator Stephen Campanelli. The
crew faced a tight schedule that averaged 35-40 setups a day. "Part of the
style was run-and-gun," says Ball. "We
all wanted more time, but the adrenaline from the brisk pace added something to the movie."
"The schedule was made even
more intense because the doors of the
Maze open and close with the sunrise
and sunset," adds Chediak. "In an ideal
world, we would have been able to
schedule the time of the day to shoot
those transition sequences, but those
scenes were too long and the schedule
was too tight to do so.
"When we did tests cutting
directly from the day-lit locations to the
tungsten lighting of the Maze set
onstage, the match wasn't perfect," the
cinematographer continues. "I found
that a half-blue filter helped the Alexa's
sensor react better to the warm tungsten
lights [onstage] and create the match
between location and stage work."
The movie opens with the main
protagonist, Thomas (Dylan O'Brien),
awakening, disoriented, inside an elevator car that's rapidly ascending toward
an unknown location. The filmmakers
previsualized the scene extensively to
determine the most feasible way
to stage and shoot it; working
with NewTek's LightWave and The
Foundry's Modo, Ball created some of
the previs himself, with the rest handled
by The Third Floor. The elevator was
then built in an abandoned Sam's Club
warehouse in Baton Rouge that the
production turned into a soundstage.
"It was an interesting challenge
because we wanted to shoot the elevator
in front of greenscreen with a main light
source that would move up and down
very quickly," says Andy Ryan. "But the
source needed to move 100-percent
vertically, as if it were lights on the wall
[being passed by the elevator]. We
couldn't just do a moving-light gag

Top: Gally (Will
Poulter, right) and
other "Gladers"
take stock of their
situation. Middle:
The Gladers
investigate the
entrance to the
Maze. Bottom: The
elevator delivers
Teresa (Kaya
Scodelario), the
first girl to arrive
inside the Glade.

84

October 2014

American Cinematographer



American Cinematographer - October 2014

Table of Contents for the Digital Edition of American Cinematographer - October 2014

Contents
American Cinematographer - October 2014 - Cover1
American Cinematographer - October 2014 - Cover2
American Cinematographer - October 2014 - 1
American Cinematographer - October 2014 - 2
American Cinematographer - October 2014 - Contents
American Cinematographer - October 2014 - 4
American Cinematographer - October 2014 - 5
American Cinematographer - October 2014 - 6
American Cinematographer - October 2014 - 7
American Cinematographer - October 2014 - 8
American Cinematographer - October 2014 - 9
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American Cinematographer - October 2014 - 14
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American Cinematographer - October 2014 - 16
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American Cinematographer - October 2014 - 19
American Cinematographer - October 2014 - 20
American Cinematographer - October 2014 - 21
American Cinematographer - October 2014 - 22
American Cinematographer - October 2014 - 23
American Cinematographer - October 2014 - 24
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American Cinematographer - October 2014 - 54
American Cinematographer - October 2014 - I3
American Cinematographer - October 2014 - I4
American Cinematographer - October 2014 - 55
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American Cinematographer - October 2014 - 58
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American Cinematographer - October 2014 - 78
American Cinematographer - October 2014 - I1
American Cinematographer - October 2014 - I2
American Cinematographer - October 2014 - 79
American Cinematographer - October 2014 - 80
American Cinematographer - October 2014 - 81
American Cinematographer - October 2014 - 82
American Cinematographer - October 2014 - 83
American Cinematographer - October 2014 - 84
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