American Cinematographer - June 2018 - 78

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London Calling

Clockwise from top left: DeMarco oversees three
cameras; operator Jamie Harcourt wields the
camera on his "low rig"; key grip Anthony Ward
discusses a shot with DeMarco, while operator
Gareth Hughes (right) eyes the setup.

cover the full Super 35mm sensor.
Did you have any assistance in
composing your Super 16 extraction
shots?
DeMarco: We had 1.85:1 lines
within the 16:9 Super 16 extraction
frame in the center of the Super 35mm
screen, so we could compose all of our
shots with room to spare. Three weeks
into our shoot, thanks to Neil Fanthom
at Arri Rental London, Arri Munich
sent us an Amira with a setting that
blows up the Super 16 extraction to full
frame in the viewfinder. Now all Arri
cameras have this function built in.
78

June 2018

There's also a particular attitude
toward the way the camera moves for
the punks versus the aliens.
DeMarco: I told operators
Gareth Hughes and Jamie Harcourt to
'think punk.' For the punks' environment, 'what's wrong is right'; we took
the matte box off, shot a lot of handheld,
and shot the film's opening sequence in
'smeary' 6 fps. For the polished alien
world, we operated on OConnor heads
with key grip Anthony Ward [controlling] a Chapman PeeWee or Fisher 10
dolly on tracks. Anthony also worked
the Aerocrane Jib with an Aurora hot
American Cinematographer

head that I usually operated - I like to
have fun, too! There's very little handheld in the world of aliens, though
Jamie did do some fun things, like using
a boom pole with a mini gimbal to fly a
GoPro Hero4 Black camera around for
a dream sequence. He also made a lowprofile cheese-plate platform on skateboard wheels for the alien dancing
scenes.
Was the movie a single- or
multi-camera shoot?
It was mostly a single-camera
shoot, with some [multicamera] days
when we had a lot of actors and action
sequences.
The lighting in much of this
film has a kind of raw edge to it, but it's
also very beautiful and colorful. Can
you elaborate on your use of color as a
storytelling device?
DeMarco: [On] those 1970s
punk-club stages, they would just screw
in colored light bulbs or they'd have
fluorescent light - and in the 1970s,
cool-white fluorescents skewed green.
The film stocks of that time reacted very
strongly, so if your light wasn't 3,200K



Table of Contents for the Digital Edition of American Cinematographer - June 2018

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
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American Cinematographer - June 2018 - Contents
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