American Cinematographer - April 2020 - 34

Rehired Gun

p A spotlight shines on Bond at a SPeCTRe party
held in a dark ballroom. t CIA agent Paloma
(Ana de Armas) chases the action out of the
ballroom and onto the street.

TECH SPeCS
2.39:1 and 1.90:1/1.43:1

4-perf 35mm; 5- and 15-perf 65mm

Panavision Panaflex Millennium XL2,
System 65 65SPFX; Imax MSM 9802 and Mark IV;
Arriflex 765
Panavision G Series, Sphero 65,
custom close-focus and zoom (for Imax);
Hasselblad (for Imax); Arri/Hasselblad 765

Kodak Vision3 500T 5219, 250D 5207, 50D 5203

34

April 2020

fluorescent-looking fixtures that
could work underwater."
The Cuba sequence required Acamera/Steadicam operator Jason
Ewart and B-camera/Steadicam
operator Ossie McLean to handhold
the Imax cameras. "Those cameras
are a lot heavier and quite awkward
to operate," Ewart says. "They
weren't
designed
for
action
sequences. We did quite a lot of handheld with them, which was challenging, to say the least. Their size and
weight took a lot of getting used to,
and it was physically demanding to
follow these fast-paced fight and
action scenes."
American Cinematographer - 100 Years

Camera moves called for varying degrees of planning, Fukunaga
says. "Some moves were thought
about ahead of time," he adds,
"certainly for action scenes and
scenes that needed previs, but for the
most part, the actors, Linus and I
would [map] out the camera positions
once the blocking had been set."
"Sometimes a simple, intimate,
handheld shot was much better than a
dramatic crane shot," Sandgren adds.
"The range in this film is as wide as it
can be!"
One notable crane shot featured
in a scene where Bond, showing up at
a SPECTRE party in a dark ballroom,
is revealed by a spotlight to be
surrounded by unfriendly figures.
The first portion of the scene was
covered on Steadicam and dolly as
Bond moves about, and then a highangle setup revealed the sea of opposition he faces.
➔



American Cinematographer - April 2020

Table of Contents for the Digital Edition of American Cinematographer - April 2020

Contents
American Cinematographer - April 2020 - 1
American Cinematographer - April 2020 - Cover1
American Cinematographer - April 2020 - Cover2
American Cinematographer - April 2020 - 1
American Cinematographer - April 2020 - Contents
American Cinematographer - April 2020 - 3
American Cinematographer - April 2020 - 4
American Cinematographer - April 2020 - 5
American Cinematographer - April 2020 - 6
American Cinematographer - April 2020 - 7
American Cinematographer - April 2020 - 8
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American Cinematographer - April 2020 - 29
American Cinematographer - April 2020 - 30
American Cinematographer - April 2020 - 31
American Cinematographer - April 2020 - 32
American Cinematographer - April 2020 - 32a
American Cinematographer - April 2020 - 32b
American Cinematographer - April 2020 - 32c
American Cinematographer - April 2020 - 32d
American Cinematographer - April 2020 - 32e
American Cinematographer - April 2020 - 32f
American Cinematographer - April 2020 - 32g
American Cinematographer - April 2020 - 32h
American Cinematographer - April 2020 - 32i
American Cinematographer - April 2020 - 32j
American Cinematographer - April 2020 - 32k
American Cinematographer - April 2020 - 32l
American Cinematographer - April 2020 - 33
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