American Cinematographer - February 2015 - 29

Unit photography by Murray Close. Photos and frame grabs courtesy of Warner Bros. Pictures.

description," Toll concedes. It's no
wonder, seeing as the film is both written and directed by siblings Andy and
Lana Wachowski, who have consistently pushed technical boundaries and
defied genre categorization with such
work as The Matrix (AC April '99) and
Speed Racer (AC May '08). Toll, a twotime Oscar winner for his work on
Legends of the Fall (AC March '95) and
Braveheart (AC June '96), first teamed
with the Wachowskis for their portions
of the sci-fi/action/reincarnation dramedy Cloud Atlas, which the siblings codirected with Tom Tykwer.
The Wachowskis, Toll says,
"seem to go out of their way to do things
they haven't done before. On Jupiter,
they were constantly looking for an
unusual approach, and this often
became very challenging. For me, this
sometimes meant using tools that were
familiar, but using them in a different
way."
Toll jumped into Jupiter's preproduction immediately after wrapping
Iron Man 3. Most of his six weeks of
prep was spent at Warner Bros. Studios
Leavesden, and roughly two-thirds of
principal photography took place in the
greater-London area before the production relocated stateside, where the filmmakers worked in and around Chicago,
Ill. (Principal photography began in
mid-March 2013 and continued
through the end of August.) "The

Caine (Channing
Tatum, opposite)
arrives on Earth to
protect Jupiter
Jones (Mila Kunis,
above), the
unwitting heir to
the galactic throne,
in Jupiter
Ascending. The
feature marks the
second
collaboration
between sibling
directors Andy and
Lana Wachowski
and
cinematographer
John Toll, ASC
(left).

second half of our schedule was being
reworked even as we were shooting,"
says Toll. "We prepped what we needed
to begin production, and then we were
shooting and prepping as we went
along."
Toll had employed Arri Alexa
cameras on Iron Man 3, and he elected
to continue working with the Alexa on
www.theasc.com

Jupiter. "I'd become comfortable with
the Alexa, and I learned to trust it," he
says. "Once I became familiar with it, I
was never hesitant to put it into any
kind of day or night situation."
Working out of Panavision
London, the production carried Alexa
Plus 4:3 cameras in the U.K., then
switched to Alexa XT systems for the
February 2015

29



http://www.theasc.com

American Cinematographer - February 2015

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

Contents
American Cinematographer - February 2015 - Cover1
American Cinematographer - February 2015 - Cover2
American Cinematographer - February 2015 - 1
American Cinematographer - February 2015 - 2
American Cinematographer - February 2015 - Contents
American Cinematographer - February 2015 - 4
American Cinematographer - February 2015 - 5
American Cinematographer - February 2015 - 6
American Cinematographer - February 2015 - 7
American Cinematographer - February 2015 - 8
American Cinematographer - February 2015 - 9
American Cinematographer - February 2015 - 10
American Cinematographer - February 2015 - 11
American Cinematographer - February 2015 - 12
American Cinematographer - February 2015 - 13
American Cinematographer - February 2015 - 14
American Cinematographer - February 2015 - 14a
American Cinematographer - February 2015 - 14b
American Cinematographer - February 2015 - 15
American Cinematographer - February 2015 - 16
American Cinematographer - February 2015 - 17
American Cinematographer - February 2015 - 18
American Cinematographer - February 2015 - 19
American Cinematographer - February 2015 - 20
American Cinematographer - February 2015 - 21
American Cinematographer - February 2015 - 22
American Cinematographer - February 2015 - 23
American Cinematographer - February 2015 - 24
American Cinematographer - February 2015 - 25
American Cinematographer - February 2015 - 26
American Cinematographer - February 2015 - 27
American Cinematographer - February 2015 - 28
American Cinematographer - February 2015 - 29
American Cinematographer - February 2015 - 30
American Cinematographer - February 2015 - 31
American Cinematographer - February 2015 - 32
American Cinematographer - February 2015 - 33
American Cinematographer - February 2015 - 34
American Cinematographer - February 2015 - 35
American Cinematographer - February 2015 - 36
American Cinematographer - February 2015 - 37
American Cinematographer - February 2015 - 38
American Cinematographer - February 2015 - 39
American Cinematographer - February 2015 - 40
American Cinematographer - February 2015 - 41
American Cinematographer - February 2015 - 42
American Cinematographer - February 2015 - 43
American Cinematographer - February 2015 - 44
American Cinematographer - February 2015 - 45
American Cinematographer - February 2015 - 46
American Cinematographer - February 2015 - 47
American Cinematographer - February 2015 - 48
American Cinematographer - February 2015 - 49
American Cinematographer - February 2015 - 50
American Cinematographer - February 2015 - 51
American Cinematographer - February 2015 - 52
American Cinematographer - February 2015 - 53
American Cinematographer - February 2015 - 54
American Cinematographer - February 2015 - 55
American Cinematographer - February 2015 - 56
American Cinematographer - February 2015 - 57
American Cinematographer - February 2015 - 58
American Cinematographer - February 2015 - 59
American Cinematographer - February 2015 - 60
American Cinematographer - February 2015 - 61
American Cinematographer - February 2015 - 62
American Cinematographer - February 2015 - 63
American Cinematographer - February 2015 - 64
American Cinematographer - February 2015 - 65
American Cinematographer - February 2015 - 66
American Cinematographer - February 2015 - 67
American Cinematographer - February 2015 - 68
American Cinematographer - February 2015 - 69
American Cinematographer - February 2015 - 70
American Cinematographer - February 2015 - 71
American Cinematographer - February 2015 - 72
American Cinematographer - February 2015 - 73
American Cinematographer - February 2015 - 74
American Cinematographer - February 2015 - 75
American Cinematographer - February 2015 - 76
American Cinematographer - February 2015 - 77
American Cinematographer - February 2015 - 78
American Cinematographer - February 2015 - 79
American Cinematographer - February 2015 - 80
American Cinematographer - February 2015 - 81
American Cinematographer - February 2015 - 82
American Cinematographer - February 2015 - 83
American Cinematographer - February 2015 - 84
American Cinematographer - February 2015 - 85
American Cinematographer - February 2015 - 86
American Cinematographer - February 2015 - 87
American Cinematographer - February 2015 - 88
American Cinematographer - February 2015 - Cover3
American Cinematographer - February 2015 - Cover4
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