American Cinematographer - August 2015 - 41

Elswit frames the action for an interior scene with Ferguson.

tion. I didn't want it to feel like we had
an arc up, hitting people in the face,
balancing the light. It's a little bit
rougher than that. We also didn't want
to feel like we were on a back lot, even
when we were on a back lot for certain
scenes.
Vienna was more elegant and
stylized, colder and darker, more
romantic - that is the location where
we finally meet [Ferguson's character],
and where we have another complicated action sequence backstage during
a performance at the Vienna Opera
House. That's the most theatrical look
in the movie, because we mainly use
spill and direct lights from the opera on
stage, which was fun to play with.
As far as camera movement,
Christopher really wanted a lot of
movement and energy - lots of
Steadicam, lots of handheld. He
wanted to emphasize camera movement, but have it grow out of whatever
the staging and blocking was, to add
another level of energy. There aren't
many moments where people are standing still.
Lee Walters: For the Vienna
Opera House, we used more than 40
24Ks fitted with high-sodium filters on
top of every corner of every surround-

ing building rooftop; they were all wirelessly controlled by a pad on set. We
had a lighting designer help in using
LH2 [Studios] in London to re-create
the interior lighting of the opera, with
moving lights, Source Fours and floods.
Did all the complexities make it
difficult to pull focus?
Brown: It was challenging on
several fronts. Since it was a film show,
there was no instant digital gratification
of knowing a shot was in focus, so I was
quite eager for lab and transfer reports
every morning. You have to know your
lenses, and know they are calibrated
accurately, because you're actually using
the lens scales. And then, anamorphic
lenses are more difficult with regard to
focus than spherical, because of the
inherently shallower depth of field.
They look beautiful, but it comes at a
cost to the focus puller. We were often
just off wide open for much of the stage
work and all of the night work.
Many of the action scenes took
place in locations that made it impossible to use a tape measure or get any
reference marks - backstage at an
opera, where most of the action takes
place off the ground, on moving trestles
and in towers; underwater; outside of
flying airplanes; car and motorcycle



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Table of Contents for the Digital Edition of American Cinematographer - August 2015

Contents
American Cinematographer - August 2015 - Cover1
American Cinematographer - August 2015 - Cover2
American Cinematographer - August 2015 - 1
American Cinematographer - August 2015 - 2
American Cinematographer - August 2015 - Contents
American Cinematographer - August 2015 - 4
American Cinematographer - August 2015 - 5
American Cinematographer - August 2015 - 6
American Cinematographer - August 2015 - 7
American Cinematographer - August 2015 - 8
American Cinematographer - August 2015 - 9
American Cinematographer - August 2015 - 10
American Cinematographer - August 2015 - 11
American Cinematographer - August 2015 - 12
American Cinematographer - August 2015 - 13
American Cinematographer - August 2015 - 14
American Cinematographer - August 2015 - 15
American Cinematographer - August 2015 - 16
American Cinematographer - August 2015 - 17
American Cinematographer - August 2015 - 18
American Cinematographer - August 2015 - 19
American Cinematographer - August 2015 - 20
American Cinematographer - August 2015 - 21
American Cinematographer - August 2015 - 22
American Cinematographer - August 2015 - 23
American Cinematographer - August 2015 - 24
American Cinematographer - August 2015 - 25
American Cinematographer - August 2015 - 26
American Cinematographer - August 2015 - 27
American Cinematographer - August 2015 - 28
American Cinematographer - August 2015 - 29
American Cinematographer - August 2015 - 30
American Cinematographer - August 2015 - 31
American Cinematographer - August 2015 - 32
American Cinematographer - August 2015 - 33
American Cinematographer - August 2015 - 34
American Cinematographer - August 2015 - 35
American Cinematographer - August 2015 - 36
American Cinematographer - August 2015 - 37
American Cinematographer - August 2015 - 38
American Cinematographer - August 2015 - 39
American Cinematographer - August 2015 - 40
American Cinematographer - August 2015 - 41
American Cinematographer - August 2015 - 42
American Cinematographer - August 2015 - 43
American Cinematographer - August 2015 - 44
American Cinematographer - August 2015 - 45
American Cinematographer - August 2015 - 46
American Cinematographer - August 2015 - 47
American Cinematographer - August 2015 - 48
American Cinematographer - August 2015 - 49
American Cinematographer - August 2015 - 50
American Cinematographer - August 2015 - 51
American Cinematographer - August 2015 - 52
American Cinematographer - August 2015 - 53
American Cinematographer - August 2015 - 54
American Cinematographer - August 2015 - 55
American Cinematographer - August 2015 - 56
American Cinematographer - August 2015 - 57
American Cinematographer - August 2015 - 58
American Cinematographer - August 2015 - 59
American Cinematographer - August 2015 - 60
American Cinematographer - August 2015 - 61
American Cinematographer - August 2015 - 62
American Cinematographer - August 2015 - 63
American Cinematographer - August 2015 - 64
American Cinematographer - August 2015 - 65
American Cinematographer - August 2015 - 66
American Cinematographer - August 2015 - 67
American Cinematographer - August 2015 - 68
American Cinematographer - August 2015 - 69
American Cinematographer - August 2015 - 70
American Cinematographer - August 2015 - 71
American Cinematographer - August 2015 - 72
American Cinematographer - August 2015 - 73
American Cinematographer - August 2015 - 74
American Cinematographer - August 2015 - 75
American Cinematographer - August 2015 - 76
American Cinematographer - August 2015 - 77
American Cinematographer - August 2015 - 78
American Cinematographer - August 2015 - 79
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American Cinematographer - August 2015 - 81
American Cinematographer - August 2015 - 82
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American Cinematographer - August 2015 - 84
American Cinematographer - August 2015 - 85
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American Cinematographer - August 2015 - 87
American Cinematographer - August 2015 - 88
American Cinematographer - August 2015 - Cover3
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