American Cinematographer - December 2015 - 88

◗

Endgame

The rebels
celebrate the
marriage of
Annie Cresta
(Stef Dawson)
and Finnick
Odair (Sam
Claflin).

have cracked the glass due to moisture.)
The crew supplemented the practicals
with Jem Balls and Rifa lights positioned at high angles. Flames, ostensibly
caused by the detonation of armed
crossbow arrows, were produced by fire
bars in the tunnel entrances, adding a
further glow. Mac Tech 12s on a chase
boosted the level of the flames' flickering, and a 1K on a dolly with Full and ½
CTO simulated light from explosions.
As in the previous films, the wartorn districts and decadent Capitol have
distinctly different looks. "The districts
have less color," Willems notes. "It's
always slightly cooler, bleaker and more
depressing. Meanwhile, the Capitol is
golden, richer and more colorful."
88

December 2015

He adds that director Gary Ross
and cinematographer Tom Stern, ASC,
AFC, who collaborated on 2012's The
Hunger Games, "started that [look] in the
first movie, but [applied] starker contrast
to it. Snow's world is always more regal,
but then we have some scenes in there
that are dark and sinister, because Snow
is the evil character from that side."
One such scene is a dinner meeting attended by Snow, where one of his
ministers is poisoned. Shot in France's
Château de Voisins, the scene was lit
mostly by practicals, including five chandeliers and five wall-lamps with clear
50-watt tungsten bulbs, candles on the
table, and a large mirror providing
bounce. A dimmed-down pancake
American Cinematographer

balloon-light against the ceiling
provided some additional warmth and
ambient lighting.
It was not always gloom and
doom in the districts, however. An
underground meadow where District 13
survivors have replicated an outdoor
pasture provides the picturesque setting
for the wedding of Finnick and Annie
(Stef Dawson). Rigging gaffer Mike
Tyson and his crew rimmed the circular
set - which was constructed in a warehouse - with more than 300 2K
Blondes, and 14 Par bars each mounted
with six 1K Par cans, while 73 space
lights illuminated from above. (A CG
ceiling was placed over the meadow
under the guidance of visual-effects
supervisor Charles Gibson.) A total of
72 Kino Flo Image 45s - some hanging and some on the floor - and a
dozen Image 85s on combo stands illuminated a 360-degree bluescreen at the
end of the meadow for digital-set extension; bluescreen was used due to the
green of the foliage and the actors'
fatigues, the latter provided by costume
designers Kurt and Bart. Bulbs that were
in frame were later covered over with
digitally created lights.
Lighting-console programmer
Scott Barnes had the Blondes on
dimmers so he could turn banks of them
on or off to suggest the shifting position
of the meadow's pseudo-sunlight at
different times of day. In one of the
scene's most touching moments, Katniss
and her sister, Prim (Willow Shields),
dance and hug; the Steadicam circled
them multiple times as Barnes manipulated the Blondes on the fly. "You don't
notice it in the scene, but the light is
constantly dimming around the room,"
Willems explains. "As the camera's
moving, the characters stay in constant
backlight - avoiding frontlight - for a
moody feel. Scott is a genius at that. He
would just look at the monitor and make
the changes."
Micheletti hung a variety of diffusion frames that could be lowered for
close-ups, to help keep the floor clear.
The frames were skinned with Opal
Frost, 250 and 216 diffusions.



Table of Contents for the Digital Edition of American Cinematographer - December 2015

Contents
American Cinematographer - December 2015 - Cover1
American Cinematographer - December 2015 - Cover2
American Cinematographer - December 2015 - 1
American Cinematographer - December 2015 - 2
American Cinematographer - December 2015 - Contents
American Cinematographer - December 2015 - 4
American Cinematographer - December 2015 - 5
American Cinematographer - December 2015 - 6
American Cinematographer - December 2015 - 7
American Cinematographer - December 2015 - 8
American Cinematographer - December 2015 - 9
American Cinematographer - December 2015 - 10
American Cinematographer - December 2015 - 11
American Cinematographer - December 2015 - 12
American Cinematographer - December 2015 - 13
American Cinematographer - December 2015 - 14
American Cinematographer - December 2015 - 15
American Cinematographer - December 2015 - 16
American Cinematographer - December 2015 - 17
American Cinematographer - December 2015 - 18
American Cinematographer - December 2015 - 19
American Cinematographer - December 2015 - 20
American Cinematographer - December 2015 - 21
American Cinematographer - December 2015 - 22
American Cinematographer - December 2015 - 23
American Cinematographer - December 2015 - 24
American Cinematographer - December 2015 - 25
American Cinematographer - December 2015 - 26
American Cinematographer - December 2015 - 27
American Cinematographer - December 2015 - 28
American Cinematographer - December 2015 - 29
American Cinematographer - December 2015 - 30
American Cinematographer - December 2015 - 31
American Cinematographer - December 2015 - 32
American Cinematographer - December 2015 - 33
American Cinematographer - December 2015 - 34
American Cinematographer - December 2015 - 35
American Cinematographer - December 2015 - 36
American Cinematographer - December 2015 - 37
American Cinematographer - December 2015 - 38
American Cinematographer - December 2015 - 39
American Cinematographer - December 2015 - 40
American Cinematographer - December 2015 - 41
American Cinematographer - December 2015 - 42
American Cinematographer - December 2015 - 43
American Cinematographer - December 2015 - 44
American Cinematographer - December 2015 - 45
American Cinematographer - December 2015 - 46
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American Cinematographer - December 2015 - 48
American Cinematographer - December 2015 - 49
American Cinematographer - December 2015 - 50
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American Cinematographer - December 2015 - 54
American Cinematographer - December 2015 - 55
American Cinematographer - December 2015 - 56
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American Cinematographer - December 2015 - 63
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American Cinematographer - December 2015 - 73
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American Cinematographer - December 2015 - 75
American Cinematographer - December 2015 - 76
American Cinematographer - December 2015 - 77
American Cinematographer - December 2015 - 78
American Cinematographer - December 2015 - 79
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American Cinematographer - December 2015 - 81
American Cinematographer - December 2015 - 82
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American Cinematographer - December 2015 - 84
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American Cinematographer - December 2015 - 86
American Cinematographer - December 2015 - 87
American Cinematographer - December 2015 - 88
American Cinematographer - December 2015 - 89
American Cinematographer - December 2015 - 90
American Cinematographer - December 2015 - 91
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American Cinematographer - December 2015 - 101
American Cinematographer - December 2015 - 102
American Cinematographer - December 2015 - 103
American Cinematographer - December 2015 - 104
American Cinematographer - December 2015 - 105
American Cinematographer - December 2015 - 106
American Cinematographer - December 2015 - 107
American Cinematographer - December 2015 - 108
American Cinematographer - December 2015 - 109
American Cinematographer - December 2015 - 110
American Cinematographer - December 2015 - 111
American Cinematographer - December 2015 - 112
American Cinematographer - December 2015 - Cover3
American Cinematographer - December 2015 - Cover4
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