American Cinematographer - May 2018 - 35
top of the silo - and to reach into those
sets, we needed the range of the arm.
"I had an absolutely fabulous key
grip, Kevin Lowry," the cinematographer adds. "He handled all the grip
work, cranes, and the huge blackouts of
the barn. Thanks to [his organizational
skills], we managed to stay flexible with
the ever-changing schedule, despite the
fact that those key tools were booked to
serve shots on specific days. [The barn]
was a practical location, and because of
the kids and the schedule, we had to
shoot some interior barn scenes day-fornight. Kevin and his team did an amazing job making this happen. The
schedule was a real challenge, and the
teams - Kevin and the grip department, Bill Almeida and lighting, and the
hardworking camera team led by
Stanley Fernandez Jr. - did incredible
work, 'flexing' in and out of different
camera modes and locations to be ready
and deliver precise work in a very short
time. We simply wouldn't have made the
schedule and days without their expertise and patience."
Only a handful of locations in the
script required the building of sets. "A
beautiful horse farm [was located] about
a mile up the road, with a huge indoor
riding arena," says Christensen. "The
place was empty. The construction team
removed all the sand on the ground and
replaced it with boards, and that floor
became our stage. That was where they
built the 'safe room,' which the Abbotts
had dug underneath their barn."
A
particularly
ambitious
construction task was the re-creation of
certain elements of the full-size six-story
silo. These elements were also built on
the horse-farm property, and served as
the location for several scenes, including
a sequence featuring Lee sitting on top
of it, gazing back at the farmhouse and
barn just as the sun is setting. It ended
up being one of Krasinski's favorite
scenes in the film. "All the handheld
work for this scene was shot on stage,"
Christensen says. "The wider shots of
John actually sitting on top of the real
60-foot silo were achieved on location,
➣
shot from two lifts."
http://cinematographyelectronics.com
http://backstageweb.com
http://gripatlanta.com
http://www.theasc.com
Table of Contents for the Digital Edition of American Cinematographer - May 2018
Contents
American Cinematographer - May 2018 - Cover1
American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
American Cinematographer - May 2018 - 2
American Cinematographer - May 2018 - Contents
American Cinematographer - May 2018 - 4
American Cinematographer - May 2018 - 5
American Cinematographer - May 2018 - 6
American Cinematographer - May 2018 - 7
American Cinematographer - May 2018 - 8
American Cinematographer - May 2018 - 9
American Cinematographer - May 2018 - 10
American Cinematographer - May 2018 - 11
American Cinematographer - May 2018 - 12
American Cinematographer - May 2018 - 13
American Cinematographer - May 2018 - 14
American Cinematographer - May 2018 - 15
American Cinematographer - May 2018 - 16
American Cinematographer - May 2018 - 17
American Cinematographer - May 2018 - 18
American Cinematographer - May 2018 - 19
American Cinematographer - May 2018 - 20
American Cinematographer - May 2018 - 21
American Cinematographer - May 2018 - 22
American Cinematographer - May 2018 - 23
American Cinematographer - May 2018 - 24
American Cinematographer - May 2018 - 25
American Cinematographer - May 2018 - 26
American Cinematographer - May 2018 - 27
American Cinematographer - May 2018 - 28
American Cinematographer - May 2018 - 29
American Cinematographer - May 2018 - 30
American Cinematographer - May 2018 - 31
American Cinematographer - May 2018 - 32
American Cinematographer - May 2018 - 33
American Cinematographer - May 2018 - 34
American Cinematographer - May 2018 - 35
American Cinematographer - May 2018 - 36
American Cinematographer - May 2018 - 37
American Cinematographer - May 2018 - 38
American Cinematographer - May 2018 - 39
American Cinematographer - May 2018 - 40
American Cinematographer - May 2018 - 41
American Cinematographer - May 2018 - 42
American Cinematographer - May 2018 - 43
American Cinematographer - May 2018 - 44
American Cinematographer - May 2018 - 45
American Cinematographer - May 2018 - 46
American Cinematographer - May 2018 - 47
American Cinematographer - May 2018 - 48
American Cinematographer - May 2018 - 49
American Cinematographer - May 2018 - 50
American Cinematographer - May 2018 - 51
American Cinematographer - May 2018 - 52
American Cinematographer - May 2018 - 53
American Cinematographer - May 2018 - 54
American Cinematographer - May 2018 - 55
American Cinematographer - May 2018 - 56
American Cinematographer - May 2018 - 57
American Cinematographer - May 2018 - 58
American Cinematographer - May 2018 - 59
American Cinematographer - May 2018 - 60
American Cinematographer - May 2018 - 61
American Cinematographer - May 2018 - 62
American Cinematographer - May 2018 - 63
American Cinematographer - May 2018 - 64
American Cinematographer - May 2018 - 65
American Cinematographer - May 2018 - 66
American Cinematographer - May 2018 - 67
American Cinematographer - May 2018 - 68
American Cinematographer - May 2018 - 69
American Cinematographer - May 2018 - 70
American Cinematographer - May 2018 - 71
American Cinematographer - May 2018 - 72
American Cinematographer - May 2018 - 73
American Cinematographer - May 2018 - 74
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American Cinematographer - May 2018 - 76
American Cinematographer - May 2018 - 77
American Cinematographer - May 2018 - 78
American Cinematographer - May 2018 - 79
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American Cinematographer - May 2018 - 81
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American Cinematographer - May 2018 - 85
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American Cinematographer - May 2018 - 87
American Cinematographer - May 2018 - 88
American Cinematographer - May 2018 - Cover3
American Cinematographer - May 2018 - Cover4
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