American Cinematographer - July 2014 - 62
◗
Infinite Kills
Edge of Tomorrow rank in terms of the
quantity of visual effects?
Beebe: As soon as you introduce
aliens into your storyline, your visualeffects shot count is going to get pretty
high. With filmmakers like Doug and
Tom, however, there is a lot of emphasis
on practical stunts and trying to get as
much in-camera as possible. To that
end, we built a lot of very big sets. The
beach, where much of the battle takes
place, was built on the studio backlot.
The training facility was another big set
that served as a mostly practical backdrop for the action.
A key decision for us was to shoot
on film. This choice was never about
visual effects or workflow, but about
whether film or digital would work best
for the tone of the story. We thought the
texture of 35mm negative was a good fit
for the movie. The central battle on this
beach unfolds like the Allied forces
storming the beaches of Normandy. We
liked how film resonated against that
backdrop, even though it is a futuristic
battle.
Did you choose the anamorphic
2.40:1 format because of the wide
beachhead vista?
Beebe: The emphasis was on a
big landscape, a broad canvas for the
movie. We felt it gave a sense of scale -
the world is teetering on the brink.
Which film stocks did you
employ, and for what situations?
Beebe: I used a lot of Kodak
Vision3 500T 5219, as well as 200T
5213. I like working in tungsten-based
stocks for exteriors because they have a
little more latitude; they're more bluesensitive, and therefore are more sensitive than their native ASA when used
outdoors, which allows me to stretch out
the day when necessary - and we were
required to do that a lot! We were shooting in winter in London, and there were
days it would get dark around 3:30 p.m.
The plan was to work with the 200T on
the beach and keep the 500 for the interiors, but I knew I'd need the 500 on the
beach quite often because of the murky
winter conditions you get in London.
How did color-correction filters
Top: Cage receives
orders from Sgt.
Farell (Bill
Paxton). Middle:
A Russian Arm
captures the
action on the
Heathrow set.
Bottom: Director
Doug Liman
assists Blunt with
her exosuit.
62
July 2014
American Cinematographer
American Cinematographer - July 2014
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