American Cinematographer - February 2017 - 31
Unit photography by Jonathan Olley, Giles Keyte and John Wilson. Photos and frame grabs courtesy of Lucasfilm Ltd.
Opposite: Imperial
Death Troopers charge
into the fray in Rogue
One: A Star Wars Story.
This page, left: Flanked
by Rebel Alliance
Intelligence officer
Cassian Andor (Diego
Luna) and
reprogrammed Imperial
security droid K-2SO
(Alan Tudyk), Jyn Erso
(Felicity Jones) embarks
on a mission that will
lead her to the secret
plans for the Galactic
Empire's ultimate
weapon, the Death Star.
Below: Shooting with
an Arri Alexa 65 camera
and Ultra Panavision 70
lenses, cinematographer
Greig Fraser, ASC, ACS
lines up a shot of Darth
Vader, the Dark Lord of
the Sith, whose
menacing timbre was
once again provided by
James Earl Jones.
S
ince Star Wars: Episode IV - A New
Hope premiered in 1977, audiences
have known - thanks to the film's
famed opening crawl - that "Rebel
spaceships, striking from a hidden base,
have won their first victory against the
evil Galactic Empire. During the battle,
Rebel spies managed to steal secret plans
to the Empire's ultimate weapon, the
Death Star, an armored space station
with enough power to destroy an entire
planet." Now, with Rogue One - the first
standalone "Star Wars Story" set outside
the episodic films of the Skywalker saga
- Lucasfilm tells the full tale surrounding those Rebel spies: Jyn Erso (Felicity
Jones), Cassian Andor (Diego Luna), K2SO (Alan Tudyk), Chirrut Îmwe
(Donnie Yen), Baze Malbus ( Jiang Wen)
and Bodhi Rook (Riz Ahmed).
Lucasfilm President Kathleen
Kennedy green-lit the project based on a
pitch by Industrial Light & Magic's chief
creative officer and senior visual-effects
supervisor, John Knoll, who also served
as Rogue One's visual-effects supervisor
alongside Mohen Leo. As Knoll and
Gary Whitta refined the story, which
would receive additional script service
from Chris Weitz and Tony Gilroy,
Doug Chiang - who would share
production-design duties with Neil
Lamont - and a team of artists began
exploring design concepts. Gareth
Edwards was soon brought on to direct,
and Greig Fraser, ASC, ACS to shoot.
During production, Fraser invited
AC senior European correspondent
Benjamin B to visit the Rogue One set at
Pinewood Studios near London. What
follows is Benjamin's firsthand account
www.theasc.com
of his visit, as well as Q&As with Fraser;
ASC associate Dan Sasaki, Panavision's
vice president of optical engineering and
lens strategy; Chiang; and Knoll.
Visiting the Set
Security is tight when I arrive at
Pinewood Studios - not unlike that of
the Galactic Empire's Citadel facility on
the planet Scarif. Instead of stolen
Imperial codes, I hand over my ID and
sign the non-disclosure agreement. And
February 2017
31
http://www.theasc.com
American Cinematographer - February 2017
Table of Contents for the Digital Edition of American Cinematographer - February 2017
Contents
American Cinematographer - February 2017 - Cover1
American Cinematographer - February 2017 - Cover2
American Cinematographer - February 2017 - 1
American Cinematographer - February 2017 - 2
American Cinematographer - February 2017 - Contents
American Cinematographer - February 2017 - 4
American Cinematographer - February 2017 - 5
American Cinematographer - February 2017 - 6
American Cinematographer - February 2017 - 7
American Cinematographer - February 2017 - 8
American Cinematographer - February 2017 - 9
American Cinematographer - February 2017 - 10
American Cinematographer - February 2017 - 11
American Cinematographer - February 2017 - 12
American Cinematographer - February 2017 - 13
American Cinematographer - February 2017 - 14
American Cinematographer - February 2017 - 15
American Cinematographer - February 2017 - 16
American Cinematographer - February 2017 - 17
American Cinematographer - February 2017 - 18
American Cinematographer - February 2017 - 19
American Cinematographer - February 2017 - 20
American Cinematographer - February 2017 - 21
American Cinematographer - February 2017 - 22
American Cinematographer - February 2017 - 23
American Cinematographer - February 2017 - 24
American Cinematographer - February 2017 - 25
American Cinematographer - February 2017 - 26
American Cinematographer - February 2017 - 27
American Cinematographer - February 2017 - 28
American Cinematographer - February 2017 - 29
American Cinematographer - February 2017 - 30
American Cinematographer - February 2017 - 31
American Cinematographer - February 2017 - 32
American Cinematographer - February 2017 - 33
American Cinematographer - February 2017 - 34
American Cinematographer - February 2017 - 35
American Cinematographer - February 2017 - 36
American Cinematographer - February 2017 - A
American Cinematographer - February 2017 - B
American Cinematographer - February 2017 - 37
American Cinematographer - February 2017 - 38
American Cinematographer - February 2017 - 39
American Cinematographer - February 2017 - 40
American Cinematographer - February 2017 - 41
American Cinematographer - February 2017 - 42
American Cinematographer - February 2017 - 43
American Cinematographer - February 2017 - 44
American Cinematographer - February 2017 - 45
American Cinematographer - February 2017 - 46
American Cinematographer - February 2017 - 47
American Cinematographer - February 2017 - 48
American Cinematographer - February 2017 - 49
American Cinematographer - February 2017 - 50
American Cinematographer - February 2017 - 51
American Cinematographer - February 2017 - 52
American Cinematographer - February 2017 - 53
American Cinematographer - February 2017 - I1
American Cinematographer - February 2017 - I2
American Cinematographer - February 2017 - I3
American Cinematographer - February 2017 - I4
American Cinematographer - February 2017 - I5
American Cinematographer - February 2017 - I6
American Cinematographer - February 2017 - 54
American Cinematographer - February 2017 - 55
American Cinematographer - February 2017 - 56
American Cinematographer - February 2017 - 57
American Cinematographer - February 2017 - 58
American Cinematographer - February 2017 - 59
American Cinematographer - February 2017 - 60
American Cinematographer - February 2017 - 61
American Cinematographer - February 2017 - 62
American Cinematographer - February 2017 - 63
American Cinematographer - February 2017 - 64
American Cinematographer - February 2017 - 65
American Cinematographer - February 2017 - 66
American Cinematographer - February 2017 - 67
American Cinematographer - February 2017 - 68
American Cinematographer - February 2017 - 69
American Cinematographer - February 2017 - 70
American Cinematographer - February 2017 - 71
American Cinematographer - February 2017 - 72
American Cinematographer - February 2017 - 73
American Cinematographer - February 2017 - 74
American Cinematographer - February 2017 - 75
American Cinematographer - February 2017 - 76
American Cinematographer - February 2017 - 77
American Cinematographer - February 2017 - 78
American Cinematographer - February 2017 - 79
American Cinematographer - February 2017 - 80
American Cinematographer - February 2017 - 81
American Cinematographer - February 2017 - 82
American Cinematographer - February 2017 - 83
American Cinematographer - February 2017 - 84
American Cinematographer - February 2017 - 85
American Cinematographer - February 2017 - 86
American Cinematographer - February 2017 - 87
American Cinematographer - February 2017 - 88
American Cinematographer - February 2017 - 89
American Cinematographer - February 2017 - 90
American Cinematographer - February 2017 - 91
American Cinematographer - February 2017 - 92
American Cinematographer - February 2017 - 93
American Cinematographer - February 2017 - 94
American Cinematographer - February 2017 - 95
American Cinematographer - February 2017 - 96
American Cinematographer - February 2017 - Cover3
American Cinematographer - February 2017 - Cover4
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