American Cinematographer - May 2013 - 42

◗

Surviving the Future

Top: The crew
employs a crane to
get a shot of
Cruise on location
in Iceland. Bottom:
Kosinski (front)
consults with
Miranda (second
from right)
and other
crewmembers.

“How to work with the projections occupied my mind for a long time,
and I studied previsualizations and 3-D
models and did a lot of other research to
figure out how this would come
together,” he adds. “If we did a dolly
move, would the projection look false?
Would it look good if the clouds were
always moving? In the end, the result is
really amazing. It doesn’t draw your
attention; it just feels very real. When I
first walked out onto the set with the
projection going, I thought, ‘Wow, this
works way better than I thought it
would!’ It’s definitely a technique Joe and
I will take with us to other productions.”
42

May 2013

Harper spends much of his time
on Earth exploring, and in one scene, he
discovers the remnants of the New York
Public Library. It lies underground,
buried by rubble and debris from the
war, so Harper descends into it through
a hole in the ceiling. A shaft of daylight
coming through the hole lights the
scene.
“I didn’t want that shaft of light
to be really hard and defined,” says
Miranda. “I wanted it to feel softer,
more ambient. Interestingly, we had to
shoot this before we went to Iceland to
shoot the exteriors, so I had to guess
what the light quality would be like. I
American Cinematographer

imagined that even if it were a sunny
day, [the shaft] would feel more like
ambient light than direct light.”
The space above the set was so
limited that Miranda knew he wouldn’t
be able to rig large fixtures and diffuse
them, so instead, he had his crew rig a
12'x20' soft silver reflector to the stage
ceiling and then bounce three 18K
HMIs into it. “Each of the 18Ks was
about 30 feet from the hole, shooting
up into the silver to bounce down,” says
the cinematographer. “The distance
between the hole and the stage ceiling
was about 10 feet, but this solution
created the feeling that the sky was
miles above the hole.”
Once Harper drops into the
library, the lighting becomes even
simpler. “We basically lit that with the
flashlight Tom was carrying,” says
Miranda. “We had a couple of small
‘cheater’ lights in the library, but they
only did about 5 percent of the lighting.
We hid white cards around the set and
asked Tom to hit them, and we also had
grips moving around with muslin sheets
to reflect light. We were mostly wide
open on the Master Primes, rating the
F65 at 800 ISO.”
When the Scavs capture Harper,
they tie him to a chair in the bright



American Cinematographer - May 2013

Table of Contents for the Digital Edition of American Cinematographer - May 2013

American Cinematographer - May 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “Suit & Tie”
Production Slate: Trance • The Reluctant Fundamentalist
Surviving the Future
A Trailblazer’s Tale
Conjuring Hope
The ABCs of DMX
Star Tech
Hot Shots
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - American Cinematographer - May 2013
American Cinematographer - May 2013 - Cover2
American Cinematographer - May 2013 - 1
American Cinematographer - May 2013 - 2
American Cinematographer - May 2013 - Contents
American Cinematographer - May 2013 - 4
American Cinematographer - May 2013 - 5
American Cinematographer - May 2013 - 6
American Cinematographer - May 2013 - 7
American Cinematographer - May 2013 - 8
American Cinematographer - May 2013 - 9
American Cinematographer - May 2013 - Editor’s Note
American Cinematographer - May 2013 - 11
American Cinematographer - May 2013 - President’s Desk
American Cinematographer - May 2013 - 13
American Cinematographer - May 2013 - Short Takes: “Suit & Tie”
American Cinematographer - May 2013 - 15
American Cinematographer - May 2013 - 16
American Cinematographer - May 2013 - 17
American Cinematographer - May 2013 - 18
American Cinematographer - May 2013 - 19
American Cinematographer - May 2013 - Production Slate: Trance • The Reluctant Fundamentalist
American Cinematographer - May 2013 - 21
American Cinematographer - May 2013 - 22
American Cinematographer - May 2013 - 23
American Cinematographer - May 2013 - 24
American Cinematographer - May 2013 - 25
American Cinematographer - May 2013 - 26
American Cinematographer - May 2013 - 27
American Cinematographer - May 2013 - 28
American Cinematographer - May 2013 - 29
American Cinematographer - May 2013 - 30
American Cinematographer - May 2013 - 31
American Cinematographer - May 2013 - 32
American Cinematographer - May 2013 - 33
American Cinematographer - May 2013 - Surviving the Future
American Cinematographer - May 2013 - 35
American Cinematographer - May 2013 - 36
American Cinematographer - May 2013 - 37
American Cinematographer - May 2013 - 38
American Cinematographer - May 2013 - 39
American Cinematographer - May 2013 - 40
American Cinematographer - May 2013 - 41
American Cinematographer - May 2013 - 42
American Cinematographer - May 2013 - 43
American Cinematographer - May 2013 - 44
American Cinematographer - May 2013 - 45
American Cinematographer - May 2013 - 46
American Cinematographer - May 2013 - 47
American Cinematographer - May 2013 - A Trailblazer’s Tale
American Cinematographer - May 2013 - 49
American Cinematographer - May 2013 - 50
American Cinematographer - May 2013 - 51
American Cinematographer - May 2013 - 52
American Cinematographer - May 2013 - 53
American Cinematographer - May 2013 - 54
American Cinematographer - May 2013 - 55
American Cinematographer - May 2013 - Conjuring Hope
American Cinematographer - May 2013 - 57
American Cinematographer - May 2013 - 58
American Cinematographer - May 2013 - 59
American Cinematographer - May 2013 - 60
American Cinematographer - May 2013 - 61
American Cinematographer - May 2013 - 62
American Cinematographer - May 2013 - 63
American Cinematographer - May 2013 - 64
American Cinematographer - May 2013 - 65
American Cinematographer - May 2013 - The ABCs of DMX
American Cinematographer - May 2013 - 67
American Cinematographer - May 2013 - 68
American Cinematographer - May 2013 - 69
American Cinematographer - May 2013 - 70
American Cinematographer - May 2013 - 71
American Cinematographer - May 2013 - Star Tech
American Cinematographer - May 2013 - 73
American Cinematographer - May 2013 - 74
American Cinematographer - May 2013 - 75
American Cinematographer - May 2013 - 76
American Cinematographer - May 2013 - Hot Shots
American Cinematographer - May 2013 - 78
American Cinematographer - May 2013 - 79
American Cinematographer - May 2013 - 80
American Cinematographer - May 2013 - 81
American Cinematographer - May 2013 - 82
American Cinematographer - May 2013 - 83
American Cinematographer - May 2013 - 84
American Cinematographer - May 2013 - 85
American Cinematographer - May 2013 - 86
American Cinematographer - May 2013 - 87
American Cinematographer - May 2013 - 88
American Cinematographer - May 2013 - 89
American Cinematographer - May 2013 - New Products & Services
American Cinematographer - May 2013 - 91
American Cinematographer - May 2013 - 92
American Cinematographer - May 2013 - 93
American Cinematographer - May 2013 - International Marketplace
American Cinematographer - May 2013 - Classified Ads
American Cinematographer - May 2013 - Ad Index
American Cinematographer - May 2013 - 97
American Cinematographer - May 2013 - Clubhouse News
American Cinematographer - May 2013 - 99
American Cinematographer - May 2013 - ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - Cover3
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