American Cinematographer - April 2016 - 75
16 with Arriflex 416s, and TV-station
footage was shot on digital video with
Panasonic VariCams by Geoff George
and his team. Canon EOS 5Ds and
GoPros were used for select car-mount
and surveillance-camera footage, and
even iPhones were used for minor digital-video elements. "I think the only
format we didn't shoot was Super 8,"
says 1st AC Bill Coe.
Shooting the Imax sequences
posed certain challenges. Actors sometimes found the cameras' size and noise
levels intimidating when filming closeups, prompting Fong to swap in the
quieter and more compact System 65
camera bodies, fitted with System 65
prime lenses. With Dan Mindel, ASC,
BSC concurrently shooting Imax for
Star Wars: The Force Awakens, parts and
personnel were often shuttled internationally between the two productions.
The struggle was more than worth it to
the filmmakers. "That giant format is a
way to take the audience one step
further into an immersive world," says
Snyder. "I love the feeling you get from
those cameras. It's like looking at large-
Top: Lois Lane (Amy Adams), Kent and Perry White (Laurence Fishburne) discuss events in the
Daily Planet bullpen. Bottom: The crew preps a scene with Kent at his office desk.
format still photography."
According to Coe, the MSM and
MKIII Imax cameras are mechanically
the same, except that the production
paired the MSM with spherical
Hasselblad lenses and the MKIII with
spherical Zeiss lenses. By far, the filmmakers' preferred lens was an 80mm
www.theasc.com
Hasselblad owned by Christopher
Nolan.
"We called it 'the Nolan 80,'" says
Coe. "It's a fast lens, and it focuses down
to 2 feet, 3 inches. The other lens we
used a lot was the Hasselblad 100mm,
but the minimum focus on that lens was
4 feet, so we'd use diopters to get into
April 2016
75
http://www.theasc.com
American Cinematographer - April 2016
Table of Contents for the Digital Edition of American Cinematographer - April 2016
Contents
American Cinematographer - April 2016 - Cover1
American Cinematographer - April 2016 - Cover2
American Cinematographer - April 2016 - 1
American Cinematographer - April 2016 - 2
American Cinematographer - April 2016 - Contents
American Cinematographer - April 2016 - 4
American Cinematographer - April 2016 - 5
American Cinematographer - April 2016 - 6
American Cinematographer - April 2016 - 7
American Cinematographer - April 2016 - 8
American Cinematographer - April 2016 - 9
American Cinematographer - April 2016 - 10
American Cinematographer - April 2016 - 11
American Cinematographer - April 2016 - 12
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American Cinematographer - April 2016 - 14
American Cinematographer - April 2016 - 15
American Cinematographer - April 2016 - 16
American Cinematographer - April 2016 - 17
American Cinematographer - April 2016 - 18
American Cinematographer - April 2016 - 19
American Cinematographer - April 2016 - 20
American Cinematographer - April 2016 - 21
American Cinematographer - April 2016 - 22
American Cinematographer - April 2016 - 23
American Cinematographer - April 2016 - 24
American Cinematographer - April 2016 - 25
American Cinematographer - April 2016 - 26
American Cinematographer - April 2016 - 27
American Cinematographer - April 2016 - 28
American Cinematographer - April 2016 - 29
American Cinematographer - April 2016 - 30
American Cinematographer - April 2016 - 31
American Cinematographer - April 2016 - 32
American Cinematographer - April 2016 - 33
American Cinematographer - April 2016 - 34
American Cinematographer - April 2016 - 35
American Cinematographer - April 2016 - 36
American Cinematographer - April 2016 - 37
American Cinematographer - April 2016 - 38
American Cinematographer - April 2016 - 39
American Cinematographer - April 2016 - 40
American Cinematographer - April 2016 - 41
American Cinematographer - April 2016 - 42
American Cinematographer - April 2016 - 43
American Cinematographer - April 2016 - 44
American Cinematographer - April 2016 - 45
American Cinematographer - April 2016 - 46
American Cinematographer - April 2016 - 47
American Cinematographer - April 2016 - 48
American Cinematographer - April 2016 - 49
American Cinematographer - April 2016 - 50
American Cinematographer - April 2016 - 51
American Cinematographer - April 2016 - 52
American Cinematographer - April 2016 - 53
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American Cinematographer - April 2016 - 55
American Cinematographer - April 2016 - 56
American Cinematographer - April 2016 - 57
American Cinematographer - April 2016 - 58
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American Cinematographer - April 2016 - 60
American Cinematographer - April 2016 - 61
American Cinematographer - April 2016 - 62
American Cinematographer - April 2016 - 63
American Cinematographer - April 2016 - 64
American Cinematographer - April 2016 - 64a
American Cinematographer - April 2016 - 64b
American Cinematographer - April 2016 - 65
American Cinematographer - April 2016 - 66
American Cinematographer - April 2016 - 67
American Cinematographer - April 2016 - 68
American Cinematographer - April 2016 - 69
American Cinematographer - April 2016 - 70
American Cinematographer - April 2016 - 71
American Cinematographer - April 2016 - 72
American Cinematographer - April 2016 - 73
American Cinematographer - April 2016 - 74
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American Cinematographer - April 2016 - 79
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American Cinematographer - April 2016 - 81
American Cinematographer - April 2016 - 82
American Cinematographer - April 2016 - 83
American Cinematographer - April 2016 - 84
American Cinematographer - April 2016 - 85
American Cinematographer - April 2016 - 86
American Cinematographer - April 2016 - 87
American Cinematographer - April 2016 - 88
American Cinematographer - April 2016 - 89
American Cinematographer - April 2016 - 90
American Cinematographer - April 2016 - 91
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American Cinematographer - April 2016 - 120
American Cinematographer - April 2016 - Cover3
American Cinematographer - April 2016 - Cover4
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