American Cinematographer - February 2020 - 38
Saga's End
on human beings in front of the
camera," he explains. "I wanted to
use high-quality color-balanced lighting that was more sympathetic to skin
tones. It would be fine to use LED
lighting on the periphery and the
backgrounds, but not for key lights.
Instead, we used mostly tungsten 'Big
We wanted close-ups of characters riding the speeders and
other machines in the desert to be
shot in that environment. We set
up a big greenscreen out in the
desert [in Wadi Rum, Jordan] and
oriented it so we could do the
shots to match where the sun and
light would be at the locations.
We'd spin the gimbal around and
shoot so the light was in the right
place all the time. We never could
have fully replicated, back home,
the light quality of the desert -
and this way, it was a seamless
join when the visual-effects artists
put it all together. The [wide shots
and close-ups] were both shot in
the same environment.
- Perry Evans, Gaffer
Eye' lights - including 20Ks and
10Ks - as well as 2K Blondes. We
used Fresnels with the ability to spot
and flood, along with various diffusions, and they just looked gorgeous."
"We used light [Tiffen] Black ProMist on every series of lens in certain
situations, usually close-ups," reports
Nafa. "There were times when the T
Series 60mm and 135mm required
additional diffusion because they're a
little more contrasty.
"We mainly shot on Kodak
[Vision3 500T] 5219," Nafa continues.
"We also used some [Vision3 50D]
5203 for the outdoor daylight work,
mostly in Jordan. We had some
[Vision3 250D] 5207 as a contingency
for whenever the sun was fighting
through clouds and we needed more
stop, but primarily we used 5219 and
5203."
Mindel adds, "The Kodak lab
has improved its workflow, and it's
now right here at Pinewood in the old
Technicolor lab. We scan the negative
and watch projected digital dailies
every day with a Company 3 colorist
in order to color and view at the same
time. The corrected dailies then go
right into online editorial, so no one
"I think at the heart of it, what we were trying to do is make this huge visual-effects movie look as though it was
completely shot practically - and, of course, make the effects as invisible as possible and as photo-real as possible. Obviously,
by the very nature of what we were doing, that's completely mad in some respects!"
- Roger Guyett, ILM Visual-Effects Supervisor
38
February 2020
American Cinematographer - 100 Years
American Cinematographer - February 2020
Table of Contents for the Digital Edition of American Cinematographer - February 2020
Contents
American Cinematographer - February 2020 - Cover1
American Cinematographer - February 2020 - Cover2
American Cinematographer - February 2020 - 1
American Cinematographer - February 2020 - Contents
American Cinematographer - February 2020 - 3
American Cinematographer - February 2020 - 4
American Cinematographer - February 2020 - 5
American Cinematographer - February 2020 - 6
American Cinematographer - February 2020 - 7
American Cinematographer - February 2020 - 8
American Cinematographer - February 2020 - 9
American Cinematographer - February 2020 - 10
American Cinematographer - February 2020 - 11
American Cinematographer - February 2020 - 12
American Cinematographer - February 2020 - 13
American Cinematographer - February 2020 - 14
American Cinematographer - February 2020 - 15
American Cinematographer - February 2020 - 16
American Cinematographer - February 2020 - 17
American Cinematographer - February 2020 - 18
American Cinematographer - February 2020 - 19
American Cinematographer - February 2020 - 20
American Cinematographer - February 2020 - 21
American Cinematographer - February 2020 - 22
American Cinematographer - February 2020 - 23
American Cinematographer - February 2020 - 24
American Cinematographer - February 2020 - 25
American Cinematographer - February 2020 - 26
American Cinematographer - February 2020 - 27
American Cinematographer - February 2020 - 28
American Cinematographer - February 2020 - 29
American Cinematographer - February 2020 - 30
American Cinematographer - February 2020 - 31
American Cinematographer - February 2020 - 32
American Cinematographer - February 2020 - 33
American Cinematographer - February 2020 - 34
American Cinematographer - February 2020 - 35
American Cinematographer - February 2020 - 36
American Cinematographer - February 2020 - 37
American Cinematographer - February 2020 - 38
American Cinematographer - February 2020 - 39
American Cinematographer - February 2020 - 40
American Cinematographer - February 2020 - 41
American Cinematographer - February 2020 - 42
American Cinematographer - February 2020 - 43
American Cinematographer - February 2020 - 44
American Cinematographer - February 2020 - 45
American Cinematographer - February 2020 - 46
American Cinematographer - February 2020 - 47
American Cinematographer - February 2020 - 48
American Cinematographer - February 2020 - 49
American Cinematographer - February 2020 - 50
American Cinematographer - February 2020 - 51
American Cinematographer - February 2020 - 52
American Cinematographer - February 2020 - 53
American Cinematographer - February 2020 - 54
American Cinematographer - February 2020 - 55
American Cinematographer - February 2020 - 56
American Cinematographer - February 2020 - 57
American Cinematographer - February 2020 - 58
American Cinematographer - February 2020 - 59
American Cinematographer - February 2020 - 60
American Cinematographer - February 2020 - 61
American Cinematographer - February 2020 - 62
American Cinematographer - February 2020 - 63
American Cinematographer - February 2020 - 64
American Cinematographer - February 2020 - 65
American Cinematographer - February 2020 - 66
American Cinematographer - February 2020 - 67
American Cinematographer - February 2020 - 68
American Cinematographer - February 2020 - 69
American Cinematographer - February 2020 - 70
American Cinematographer - February 2020 - 71
American Cinematographer - February 2020 - 72
American Cinematographer - February 2020 - 73
American Cinematographer - February 2020 - 74
American Cinematographer - February 2020 - 75
American Cinematographer - February 2020 - 76
American Cinematographer - February 2020 - 77
American Cinematographer - February 2020 - 78
American Cinematographer - February 2020 - 79
American Cinematographer - February 2020 - 80
American Cinematographer - February 2020 - 81
American Cinematographer - February 2020 - 82
American Cinematographer - February 2020 - 83
American Cinematographer - February 2020 - 84
American Cinematographer - February 2020 - 85
American Cinematographer - February 2020 - 86
American Cinematographer - February 2020 - 87
American Cinematographer - February 2020 - 88
American Cinematographer - February 2020 - Cover3
American Cinematographer - February 2020 - Cover4
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