American Cinematographer - December 2016 - 63
dialed in from the automated lighting
board."
Burgess emphasizes that the Arri
SkyPanels were essential, and were used
with added diffusion to light the scene.
"What I wanted was the ability to raise
and lower the light bank, and individual
control of the lights," the cinematographer says. "And I wanted to be able to
send rain to cover the frame with just
the right amount of backlight, so that
you could see the rain properly, and [the
image] would also be soft enough that
we could intercut with [shots of ] a real
airfield. It had to intercut and be seamless, so that you really felt like you were
on the airfield. That was where we built
our biggest rig," which was raised about
20' above the set using a motorized
gantry.
Perhaps the rawest emotional
moment in the movie is when Max
receives horrifying news and is forced to
make an inconceivable choice.
Zemeckis "wanted to emphasize
[Max's] shock and desolation, and make
it a moment when time stands still,"
says Cavaciuti. Therefore, as the character's new reality sinks in, the filmmakers
captured Pitt's performance with a
Steadicam mounted on a three-wheel
Rickshaw "for extra stability," he adds.
"As Max exits the interrogation
room," Cavaciuti continues, "we track
back with him, and after a few yards,
we contra-zoom in tighter and
tighter, from 35mm to 76mm on the
[28-76mm (T2.6)] Angenieux Optimo
zoom." The sequence, shot at 96 fps,
"slows the world down and narrows the
lens perspective as the crushing news
sinks in," Cavaciuti says. "It's a profound
visual, emotional moment as his world
shrinks and the pressure increases."
At press time, Burgess had just
launched into the final digital grade.
Zemeckis explains that his normal
process is to let Burgess supervise the
DI and color questions, while he works
with Baillie and the editors to finalize
visual-effects shots and seamlessly weave
them into the cut. "Anything involved
with manipulating or creating a hybrid
shot or a morph or a blend - I do all
that working in the visual-effects world,
but I don't typically go into the DI,"
Zemeckis says. "I leave that to Don
Burgess. That's his sphere of artistry, and
he applies anything that is on my laundry list. He and I have always had a
wonderful creative shorthand."
●
TECHNICAL SPECS
2.39:1
Digital Capture
Red Weapon 6K Dragon,
8K Dragon
Leica Summicron-C,
Summilux-C; Cooke S4;
Panavision Primo 70 Series;
Angenieux Optimo
63
http://www.kinoflo.com
Table of Contents for the Digital Edition of American Cinematographer - December 2016
Contents
American Cinematographer - December 2016 - Cover1
American Cinematographer - December 2016 - Cover2
American Cinematographer - December 2016 - 1
American Cinematographer - December 2016 - 2
American Cinematographer - December 2016 - Contents
American Cinematographer - December 2016 - 4
American Cinematographer - December 2016 - 5
American Cinematographer - December 2016 - 6
American Cinematographer - December 2016 - 7
American Cinematographer - December 2016 - 8
American Cinematographer - December 2016 - 9
American Cinematographer - December 2016 - 10
American Cinematographer - December 2016 - 11
American Cinematographer - December 2016 - 12
American Cinematographer - December 2016 - 13
American Cinematographer - December 2016 - 14
American Cinematographer - December 2016 - 15
American Cinematographer - December 2016 - 16
American Cinematographer - December 2016 - 17
American Cinematographer - December 2016 - 18
American Cinematographer - December 2016 - 19
American Cinematographer - December 2016 - 20
American Cinematographer - December 2016 - 21
American Cinematographer - December 2016 - 22
American Cinematographer - December 2016 - 23
American Cinematographer - December 2016 - 24
American Cinematographer - December 2016 - 25
American Cinematographer - December 2016 - 26
American Cinematographer - December 2016 - 27
American Cinematographer - December 2016 - 28
American Cinematographer - December 2016 - 29
American Cinematographer - December 2016 - 30
American Cinematographer - December 2016 - 31
American Cinematographer - December 2016 - 32
American Cinematographer - December 2016 - 33
American Cinematographer - December 2016 - 34
American Cinematographer - December 2016 - 35
American Cinematographer - December 2016 - 36
American Cinematographer - December 2016 - 37
American Cinematographer - December 2016 - 38
American Cinematographer - December 2016 - 39
American Cinematographer - December 2016 - 40
American Cinematographer - December 2016 - 41
American Cinematographer - December 2016 - 42
American Cinematographer - December 2016 - 43
American Cinematographer - December 2016 - 44
American Cinematographer - December 2016 - 45
American Cinematographer - December 2016 - 46
American Cinematographer - December 2016 - 47
American Cinematographer - December 2016 - 48
American Cinematographer - December 2016 - 49
American Cinematographer - December 2016 - 50
American Cinematographer - December 2016 - 51
American Cinematographer - December 2016 - 52
American Cinematographer - December 2016 - 53
American Cinematographer - December 2016 - 54
American Cinematographer - December 2016 - 55
American Cinematographer - December 2016 - 56
American Cinematographer - December 2016 - 57
American Cinematographer - December 2016 - 58
American Cinematographer - December 2016 - 59
American Cinematographer - December 2016 - 60
American Cinematographer - December 2016 - 61
American Cinematographer - December 2016 - 62
American Cinematographer - December 2016 - 63
American Cinematographer - December 2016 - 64
American Cinematographer - December 2016 - 65
American Cinematographer - December 2016 - 66
American Cinematographer - December 2016 - 67
American Cinematographer - December 2016 - 68
American Cinematographer - December 2016 - 69
American Cinematographer - December 2016 - 70
American Cinematographer - December 2016 - 71
American Cinematographer - December 2016 - 72
American Cinematographer - December 2016 - 73
American Cinematographer - December 2016 - 74
American Cinematographer - December 2016 - 75
American Cinematographer - December 2016 - 76
American Cinematographer - December 2016 - 77
American Cinematographer - December 2016 - 78
American Cinematographer - December 2016 - 79
American Cinematographer - December 2016 - 80
American Cinematographer - December 2016 - 81
American Cinematographer - December 2016 - 82
American Cinematographer - December 2016 - 83
American Cinematographer - December 2016 - 84
American Cinematographer - December 2016 - 85
American Cinematographer - December 2016 - 86
American Cinematographer - December 2016 - 87
American Cinematographer - December 2016 - 88
American Cinematographer - December 2016 - 89
American Cinematographer - December 2016 - 90
American Cinematographer - December 2016 - 91
American Cinematographer - December 2016 - 92
American Cinematographer - December 2016 - 93
American Cinematographer - December 2016 - 94
American Cinematographer - December 2016 - 95
American Cinematographer - December 2016 - 96
American Cinematographer - December 2016 - 97
American Cinematographer - December 2016 - 98
American Cinematographer - December 2016 - 99
American Cinematographer - December 2016 - 100
American Cinematographer - December 2016 - 101
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American Cinematographer - December 2016 - 103
American Cinematographer - December 2016 - 104
American Cinematographer - December 2016 - Cover3
American Cinematographer - December 2016 - Cover4
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