American Cinematographer - August 2012 - 37
for high-flying stunt work. In order to
capture high-dynamic-range lighting
references of the full-sized Bat on set,
Franklin developed a panoramic camera
system that comprised four DSLRs
with 8mm lenses that produced overlapping
fields of view. The panoramas were
stitched together digitally, and lighting
maps were created to drive a custom
physics-based lighting system.
As is typical of his collaborations
with Nolan, Pfister operated the A
camera of the first and only unit. On this
production, however, he was joined by
B-camera/Steadicam operator Scott
Sakamoto, SOC. “Chris and I used a
second camera more on this film than
we have on any other, mostly because of
Scott’s extraordinary skills and abilities,”
enthuses Pfister.
The Dark Knight Rises opens on a
small plane wherein some CIA operatives
are interrogating their prisoner,
Bane. Despite his shackles, Bane threatens
to hijack the aircraft, much to his
captors’ amusement. Suddenly, a C-130
flying fortress overtakes the small plane,
and armed mercenaries rappel from the
C-130 onto the passenger plane and
hook wires to its tail. The larger plane
then literally jerks the smaller plane off
course so that it’s suspended nose-down,
and then the attackers blow off its wings
and tail.
Corbould and production design-
ers Nathan Crowley and Kevin
Kavanaugh collaborated on a full-scale
fuselage mockup for tight shots outside
the small plane, a Bandeirante, and
dramatic action inside. The fuselage was
mounted to a gimbal outside the
production’s stages at Cardington in
Bedfordshire, England. The task of
destroying the plane’s wings and tail fell
to a miniature unit ensconced at New
Deal Studios in Playa Del Rey.
(Cinematographer Tim Angulo shot
this work in VistaVision.) Wider shots
of the crippled plane were filmed with
the full-scale fuselage dangling on wires
from a heavy-lift helicopter over
Scotland; Nolan and aerial cinematographer
Hans Bjerno captured the stunt in
both Imax and VistaVision from a
37
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American Cinematographer - August 2012
Table of Contents for the Digital Edition of American Cinematographer - August 2012
American Cinematographer - August 2012
Contents
Editor’s Note
Short Takes: New York Story
Production Slate: 360 • Midnight in Paris/To Rome with Love
Batman to the Max
Web-Slinging in Stereo
Memory Upgrade
Vampire Veto
Post Focus: Man, Chicks Are Just Different
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: David Boyd
American Cinematographer - August 2012 - American Cinematographer - August 2012
American Cinematographer - August 2012 - Cover2
American Cinematographer - August 2012 - 1
American Cinematographer - August 2012 - 2
American Cinematographer - August 2012 - Contents
American Cinematographer - August 2012 - 4
American Cinematographer - August 2012 - 5
American Cinematographer - August 2012 - 6
American Cinematographer - August 2012 - 7
American Cinematographer - August 2012 - Editor’s Note
American Cinematographer - August 2012 - 9
American Cinematographer - August 2012 - 10
American Cinematographer - August 2012 - 11
American Cinematographer - August 2012 - Short Takes: New York Story
American Cinematographer - August 2012 - 13
American Cinematographer - August 2012 - 14
American Cinematographer - August 2012 - 15
American Cinematographer - August 2012 - 16
American Cinematographer - August 2012 - 17
American Cinematographer - August 2012 - Production Slate: 360 • Midnight in Paris/To Rome with Love
American Cinematographer - August 2012 - 19
American Cinematographer - August 2012 - 20
American Cinematographer - August 2012 - 21
American Cinematographer - August 2012 - 22
American Cinematographer - August 2012 - 23
American Cinematographer - August 2012 - 24
American Cinematographer - August 2012 - 25
American Cinematographer - August 2012 - 26
American Cinematographer - August 2012 - 27
American Cinematographer - August 2012 - 28
American Cinematographer - August 2012 - 29
American Cinematographer - August 2012 - Batman to the Max
American Cinematographer - August 2012 - 31
American Cinematographer - August 2012 - 32
American Cinematographer - August 2012 - 33
American Cinematographer - August 2012 - 34
American Cinematographer - August 2012 - 35
American Cinematographer - August 2012 - 36
American Cinematographer - August 2012 - 37
American Cinematographer - August 2012 - 38
American Cinematographer - August 2012 - 39
American Cinematographer - August 2012 - 40
American Cinematographer - August 2012 - 41
American Cinematographer - August 2012 - 42
American Cinematographer - August 2012 - 43
American Cinematographer - August 2012 - 44
American Cinematographer - August 2012 - 45
American Cinematographer - August 2012 - Web-Slinging in Stereo
American Cinematographer - August 2012 - 47
American Cinematographer - August 2012 - 48
American Cinematographer - August 2012 - 49
American Cinematographer - August 2012 - 50
American Cinematographer - August 2012 - 51
American Cinematographer - August 2012 - 52
American Cinematographer - August 2012 - 53
American Cinematographer - August 2012 - 54
American Cinematographer - August 2012 - 55
American Cinematographer - August 2012 - 56
American Cinematographer - August 2012 - 57
American Cinematographer - August 2012 - Memory Upgrade
American Cinematographer - August 2012 - 59
American Cinematographer - August 2012 - 60
American Cinematographer - August 2012 - 61
American Cinematographer - August 2012 - 62
American Cinematographer - August 2012 - 63
American Cinematographer - August 2012 - 64
American Cinematographer - August 2012 - 65
American Cinematographer - August 2012 - 66
American Cinematographer - August 2012 - 67
American Cinematographer - August 2012 - Vampire Veto
American Cinematographer - August 2012 - 69
American Cinematographer - August 2012 - 70
American Cinematographer - August 2012 - 71
American Cinematographer - August 2012 - 72
American Cinematographer - August 2012 - 73
American Cinematographer - August 2012 - 74
American Cinematographer - August 2012 - 75
American Cinematographer - August 2012 - Post Focus: Man, Chicks Are Just Different
American Cinematographer - August 2012 - 77
American Cinematographer - August 2012 - 78
American Cinematographer - August 2012 - 79
American Cinematographer - August 2012 - New Products & Services
American Cinematographer - August 2012 - 81
American Cinematographer - August 2012 - 82
American Cinematographer - August 2012 - 83
American Cinematographer - August 2012 - 84
American Cinematographer - August 2012 - 85
American Cinematographer - August 2012 - International Marketplace
American Cinematographer - August 2012 - Classified Ads
American Cinematographer - August 2012 - Ad Index
American Cinematographer - August 2012 - 89
American Cinematographer - August 2012 - Clubhouse News
American Cinematographer - August 2012 - 91
American Cinematographer - August 2012 - ASC Close-Up: David Boyd
American Cinematographer - August 2012 - Cover3
American Cinematographer - August 2012 - Cover4
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