American Cinematographer - July 2017 - 36

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A Warrior Rises

A circular tracking shot captures Diana's "dance with the devil."

36

July 2017

American Cinematographer

walking characters - while Sam
Barnes served as 1st AC. Jensen was
happy to involve them, as the trio had
collaborated on Filth and Game of
Thrones. It was Jensen's first time working with B-camera operator Simon
Finney and 1st AC Adam Coles, who
were, the cinematographer reports,
"spectacular."
The crew shot at London landmarks including the interior of King's
Cross railway station, which was
employed for a scene in which Diana,
Steve and their comrades board a train
toward the front, alongside young, warbound soldiers. The production parked
a period train in the only part of the
1850s-era building that has retained its
historical appearance - an environment that was further dressed by the art
department. The section was extended,
and in-frame modern trains and glasswork were painted out, via visual effects.
"Visual-effects work for this sequence
was split between Pixomondo and our
team of in-house production compositors," Westenhofer notes.
From a shooting standpoint, the
scene was practically a day exterior, with
natural light streaming through the
arched glass ceiling. U.K.-based gaffer
David Sinfield reports that the crew also
bounced Arri M90s and 18K HMIs to
backlight smoke and illuminate the
actors' faces. The production lit the train
interior and its passengers - seen
through the train windows - with
LiteGear LED LiteMat fixtures and
BB&S Lighting Area 48 Soft LEDs.
The Area 48, Sinfield says, "is
basically a blue LED to which you add
a tungsten or daylight phosphor panel.
We'd lay them inside the train and
bounce them off the ceiling to bring up
the ambience."
One of the film's most elaborate
sequences was staged a half-hour from
the studio at the palatial 17th-century
Hatfield House estate. In the scene,
Diana and Steve infiltrate a German
military ball attended by Ludendorff.
Diana makes a grand entrance with the
God Killer sword surreptitiously tucked
in the back of her craftily procured blue



American Cinematographer - July 2017

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Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
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American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
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