American Cinematographer - October 2014 - 89
slimy bodies. We wanted to be true to
Dashner's descriptions, but with a Wes
Ball twist!
"Method also created several variations of the 100-foot Maze walls,
complete with CG vines," Rowe continues. We were able to enhance the lighting from the set location, especially the
sunset shots. Three-quarter back lighting and long shadows made the imposing walls look truly filmic." To derive
visual-effects plates, Method deBayered
DPX files from the original ArriRaw
files captured with the Gemini Recorder.
Animators used Autodesk's Maya for
3D work, The Foundry's Nuke for
compositing, and Chaos Group's V-Ray
for rendering. The finished movie
contains approximately 530 visualeffects shots.
During the show's finale, the
Gladers are picked up and flown away
from the Maze in a helicopter, concluding what is the first story in the ongoing
Maze Runner novels. "We got a real heli-
copter and placed it into a giant sandpit
location surrounded by bluescreen," says
Ball. "We ran the scene with the cast
inside the helicopter sitting on the
ground using poor-man's process. Then
we were able to actually run the scene
again with the chopper in flight, which
added a real level of shifting light and
lens flares that the process photography
couldn't quite get. It was a great discovery on the day."
When it was time to supervise
The Maze Runner's digital intermediate
at EFilm, Chediak and Ball joined
colorist Yvan Lucas, who worked with
Autodesk's Lustre during an intensive
two-week grading session. Chediak
notes, "I tried to shoot things as close as
possible to the final product. Going into
some projects, I know I'm going to be
reworking and retouching things
tremendously during the DI, so I shoot
them differently. In this case, apart from
the visual effects themselves, I tried to
achieve the look of the movie as much as
possible while on the set."
According to 20th Century Fox,
The Maze Runner is an entirely digital
release. No film was printed for theaters;
instead, a 4K DCP master was
produced.
"I think Wes' vision and my vision
are pretty much there in the finished
movie," says Chediak. "I'm very happy
with the way it looks, and I think Wes is
also very happy. I have this feeling that
what you envision at the start of a
project somehow becomes something
better by the end."
●
TECHNICAL SPECS
2.40:1
Digital capture
Arri Alexa Classic, Red Epic,
Silicon Imaging SI-2K
Cooke S4, Angenieux Optimo
89
http://www.leefilters.com
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
American Cinematographer - October 2014 - 10
American Cinematographer - October 2014 - 11
American Cinematographer - October 2014 - 12
American Cinematographer - October 2014 - 13
American Cinematographer - October 2014 - 14
American Cinematographer - October 2014 - 15
American Cinematographer - October 2014 - 16
American Cinematographer - October 2014 - 17
American Cinematographer - October 2014 - 18
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
American Cinematographer - October 2014 - 25
American Cinematographer - October 2014 - 26
American Cinematographer - October 2014 - 27
American Cinematographer - October 2014 - 28
American Cinematographer - October 2014 - 29
American Cinematographer - October 2014 - 30
American Cinematographer - October 2014 - 31
American Cinematographer - October 2014 - 32
American Cinematographer - October 2014 - 33
American Cinematographer - October 2014 - 34
American Cinematographer - October 2014 - 35
American Cinematographer - October 2014 - 36
American Cinematographer - October 2014 - 37
American Cinematographer - October 2014 - 38
American Cinematographer - October 2014 - 39
American Cinematographer - October 2014 - 40
American Cinematographer - October 2014 - 41
American Cinematographer - October 2014 - 42
American Cinematographer - October 2014 - 43
American Cinematographer - October 2014 - 44
American Cinematographer - October 2014 - 45
American Cinematographer - October 2014 - 46
American Cinematographer - October 2014 - 47
American Cinematographer - October 2014 - 48
American Cinematographer - October 2014 - 49
American Cinematographer - October 2014 - 50
American Cinematographer - October 2014 - 51
American Cinematographer - October 2014 - 52
American Cinematographer - October 2014 - 53
American Cinematographer - October 2014 - 54
American Cinematographer - October 2014 - I3
American Cinematographer - October 2014 - I4
American Cinematographer - October 2014 - 55
American Cinematographer - October 2014 - 56
American Cinematographer - October 2014 - 57
American Cinematographer - October 2014 - 58
American Cinematographer - October 2014 - 59
American Cinematographer - October 2014 - 60
American Cinematographer - October 2014 - 61
American Cinematographer - October 2014 - 62
American Cinematographer - October 2014 - 63
American Cinematographer - October 2014 - 64
American Cinematographer - October 2014 - 65
American Cinematographer - October 2014 - 66
American Cinematographer - October 2014 - 67
American Cinematographer - October 2014 - 68
American Cinematographer - October 2014 - 69
American Cinematographer - October 2014 - 70
American Cinematographer - October 2014 - 71
American Cinematographer - October 2014 - 72
American Cinematographer - October 2014 - 73
American Cinematographer - October 2014 - 74
American Cinematographer - October 2014 - 75
American Cinematographer - October 2014 - 76
American Cinematographer - October 2014 - 77
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
American Cinematographer - October 2014 - 85
American Cinematographer - October 2014 - 86
American Cinematographer - October 2014 - 87
American Cinematographer - October 2014 - 88
American Cinematographer - October 2014 - 89
American Cinematographer - October 2014 - 90
American Cinematographer - October 2014 - 91
American Cinematographer - October 2014 - 92
American Cinematographer - October 2014 - 93
American Cinematographer - October 2014 - 94
American Cinematographer - October 2014 - 95
American Cinematographer - October 2014 - 96
American Cinematographer - October 2014 - 97
American Cinematographer - October 2014 - 98
American Cinematographer - October 2014 - 99
American Cinematographer - October 2014 - 100
American Cinematographer - October 2014 - 101
American Cinematographer - October 2014 - 102
American Cinematographer - October 2014 - 103
American Cinematographer - October 2014 - 104
American Cinematographer - October 2014 - 105
American Cinematographer - October 2014 - 106
American Cinematographer - October 2014 - 107
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American Cinematographer - October 2014 - Cover3
American Cinematographer - October 2014 - Cover4
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