American Cinematographer - July 2011 - 38

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Ring of Power

Right: A fateful encounter with Abin Sur (Temuera Morrison) changes Jordan's destiny. Below: Jordan experiments with his ring at home.

fear? These decisions were made together with [director] Martin Campbell, [production designer] Grant Major and [costume designer] Ngila Dickson. “I took a slightly more vibrant approach to color and lighting,” he adds. “At times, we were also more graphic with lighting — a little more defined, a little more high-contrast than something I would apply to a drama. Creating a dynamic aesthetic in this genre was definitely a major challenge.” Beebe wasn’t the only one feeling challenged, given that Green Lantern is a tentpole picture full of visual effects (about 1,500 shots) that were still being worked on a few weeks before the film’s release. “I read the script and loved the story, but I was also horrified by the chal38 July 2011

lenges of the technical process,” recalls Campbell, whose recent credits include Edge of Darkness and Casino Royale (AC Dec. ’06). “We had a lot of bluescreen to deal with, we created an entire planet [called Oa], and our main character had to wear a virtual uniform. It can be overwhelming at the beginning, but you get the best people to help you, and you learn as you go along. For me, Green Lantern was an amazingly dense learning experience.” Although the extensive CGI prompted the filmmakers to consider shooting digitally, they decided on film after testing the available digital cameras. “We really liked what we were seeing on film in terms of contrast range, and in our testing we were looking at high-key situations,” says Beebe.
American Cinematographer

“HD stood up well in most situations, but in firelight and high-contrast scenarios 35mm looked even better. “Another consideration was that Martin has always worked with film, and there did not seem to be reason enough for him to acclimate to HD for this project,” he adds. Beebe chose Kodak Vision3 500T 5219 for all stage work and night exteriors, Vision3 200T 5213 for most day exteriors, and Vision2 50D 5201 for day exteriors set during flashbacks to when Hal Jordan (the Lantern’s alter ego) was a boy. Working with Panaflex Millenniums and Platinums and Arri 235s, Beebe used Panavision Primo prime and zoom lenses and an Angenieux Optimo 15-40mm lightweight zoom. According to 1st AC E.J. Misisco, the workhorse lenses were a 90mm Primo Macro (for close-up ring shots and inserts), a 1090mm Primo Compact Zoom (for all the crane work, including plates for flying sequences), and a 24mm Primo prime (for classic hero push-ins), of which there are fewer than a dozen in service worldwide. Misisco asked Panavision to reserve one of the 24mm Primos for Beebe early on, and he notes that Campbell fell in love with the lens because of his preference for shooting close to actors with wider lenses. Also, the production used a Panavised Century Swing/Shift System for flashback



American Cinematographer - July 2011

Table of Contents for the Digital Edition of American Cinematographer - July 2011

American Cinematographer - July 2011
Contents
Editor’s Note
President’s Desk
Letters
Production Slate: Larry Crowne • Mortal Kombat
Monster Out of the Box
Ring of Power
Shot Down in Flames
A Cultural Cataclysm
Ascending Cinematography’s Summit
Post Focus: Prime Focus New York
Filmmakers’ Forum: Jim Matlosz
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Gerald Perry Finnerman, ASC
Clubhouse News
ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - American Cinematographer - July 2011
American Cinematographer - July 2011 - Cover2
American Cinematographer - July 2011 - 1
American Cinematographer - July 2011 - 2
American Cinematographer - July 2011 - Contents
American Cinematographer - July 2011 - 4
American Cinematographer - July 2011 - 5
American Cinematographer - July 2011 - 6
American Cinematographer - July 2011 - 7
American Cinematographer - July 2011 - Editor’s Note
American Cinematographer - July 2011 - 9
American Cinematographer - July 2011 - President’s Desk
American Cinematographer - July 2011 - 11
American Cinematographer - July 2011 - Letters
American Cinematographer - July 2011 - 13
American Cinematographer - July 2011 - Production Slate: Larry Crowne • Mortal Kombat
American Cinematographer - July 2011 - 15
American Cinematographer - July 2011 - 16
American Cinematographer - July 2011 - 17
American Cinematographer - July 2011 - 18
American Cinematographer - July 2011 - 19
American Cinematographer - July 2011 - 20
American Cinematographer - July 2011 - 21
American Cinematographer - July 2011 - 22
American Cinematographer - July 2011 - 23
American Cinematographer - July 2011 - Monster Out of the Box
American Cinematographer - July 2011 - 25
American Cinematographer - July 2011 - 26
American Cinematographer - July 2011 - 27
American Cinematographer - July 2011 - 28
American Cinematographer - July 2011 - 29
American Cinematographer - July 2011 - 30
American Cinematographer - July 2011 - 31
American Cinematographer - July 2011 - 32
American Cinematographer - July 2011 - 33
American Cinematographer - July 2011 - 34
American Cinematographer - July 2011 - 35
American Cinematographer - July 2011 - Ring of Power
American Cinematographer - July 2011 - 37
American Cinematographer - July 2011 - 38
American Cinematographer - July 2011 - 39
American Cinematographer - July 2011 - 40
American Cinematographer - July 2011 - 41
American Cinematographer - July 2011 - 42
American Cinematographer - July 2011 - 43
American Cinematographer - July 2011 - 44
American Cinematographer - July 2011 - 45
American Cinematographer - July 2011 - Shot Down in Flames
American Cinematographer - July 2011 - 47
American Cinematographer - July 2011 - 48
American Cinematographer - July 2011 - 49
American Cinematographer - July 2011 - 50
American Cinematographer - July 2011 - 51
American Cinematographer - July 2011 - 52
American Cinematographer - July 2011 - 53
American Cinematographer - July 2011 - A Cultural Cataclysm
American Cinematographer - July 2011 - 55
American Cinematographer - July 2011 - 56
American Cinematographer - July 2011 - 57
American Cinematographer - July 2011 - 58
American Cinematographer - July 2011 - 59
American Cinematographer - July 2011 - 60
American Cinematographer - July 2011 - 61
American Cinematographer - July 2011 - Ascending Cinematography’s Summit
American Cinematographer - July 2011 - 63
American Cinematographer - July 2011 - 64
American Cinematographer - July 2011 - 65
American Cinematographer - July 2011 - 66
American Cinematographer - July 2011 - 67
American Cinematographer - July 2011 - 68
American Cinematographer - July 2011 - 69
American Cinematographer - July 2011 - Post Focus: Prime Focus New York
American Cinematographer - July 2011 - 71
American Cinematographer - July 2011 - Filmmakers’ Forum: Jim Matlosz
American Cinematographer - July 2011 - 73
American Cinematographer - July 2011 - 74
American Cinematographer - July 2011 - 75
American Cinematographer - July 2011 - New Products & Services
American Cinematographer - July 2011 - 77
American Cinematographer - July 2011 - 78
American Cinematographer - July 2011 - 79
American Cinematographer - July 2011 - International Marketplace
American Cinematographer - July 2011 - Classified Ads
American Cinematographer - July 2011 - Ad Index
American Cinematographer - July 2011 - 83
American Cinematographer - July 2011 - In Memoriam: Gerald Perry Finnerman, ASC
American Cinematographer - July 2011 - 85
American Cinematographer - July 2011 - Clubhouse News
American Cinematographer - July 2011 - 87
American Cinematographer - July 2011 - ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - Cover3
American Cinematographer - July 2011 - Cover4
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