American Cinematographer - August 2012 - 44

◗ Batman to the Max
about 5 stops over, and Batman and
Bane move in and out of those as they
fight,” says Geryak.
Adjacent to the lair was a set for
which
Bane’s underground prison,
comprised the prison itself, a 70'
inverted Escher pyramid, and a separate
well mouth that was 100' deep and 20'
across. To create the impression of
daylight being channeled into the deep
well, a massive truss was hung 160' over
the set and rigged with three 6'x75' soft
boxes (as wide as the top of the set), each
fitted with 36 Par bars that were all
wired to dimmers. Each box was
mounted to a sliding track on the truss.
“It sounds like a lot, but we didn’t
have all three on at once, and we wanted
a decent stop, between a T4 and T5.6 at
the bottom, by the time the light made it
down to the floor,” explains Geryak.
“From that distance, the linear nature of
the light gave it a very soft quality, and,
depending on which way we were looking,
we could use it as an edge or side
source.”
Because of its mix of formats, The
Dark Knight Rises utilized a post workflow
similar to that of The Dark Knight.
“Everything we do, production-wise and
post-wise, is focused on photochemical
color timing of a neg-cut film,” says post
supervisor David E. Hall. “That’s pretty
rare in this day and age, but the resultant
look is amazing.”
Technicolor Los Angeles pro-
A diagram provided by Nolan and associate editor John Lee details the production’s
workflow, from image capture to final prints.
behind Light Grid diffusion. Bulkhead
practicals line the walls, and around the
edges of the lair, 300-watt and 500-watt
tungsten-halogen work lights illuminate
entrances to the surrounding tunnels,
along with Par can fixtures mounted in
the ceiling of the lowest level.
A key scene in the lair involves a
brutal hand-to-hand struggle between
44
August 2012
Batman and Bane. “The idea is that
they’re gladiators in the Coliseum,” says
Geryak. The art department devised
stadium-style fixtures to accommodate
four 1K Par cans, which were scattered
on the walkways crisscrossing the set,
with still more at the top of the set, all
pointed down at the action. “They
created hot pools of light that were
American Cinematographer
cessed the production’s 65mm negative
and the 35mm negative shot in the U.S.
Technicolor London serviced the 35mm
shoots in the U.K. and India. David
Keighley at Imax subsidiary DKP
70mm Inc. supervised the large-format
workflow, which included 65mm printdowns
to 35mm for dailies, 65mm
visual-effects filmouts, scanning the
35mm interpositive for blowups to
Imax, and 65mm filmouts. David Hall
explains, “For the Imax print-downs,
David does an optical 35mm reduction
with a flat 1.43:1 aspect ratio. That way,
in dailies, Chris and Wally can see what
the full-frame Imax image will look like.
We also printed select takes in 70mm for
periodic Imax dailies screenings.”

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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