American Cinematographer - August 2015 - 60
◗
Time Travelers
Top and middle: Cast and crew shoot onstage for portions of a chase sequence that
results in the school bus Sarah has commandeered flipping over and teetering off the
edge of the Golden Gate Bridge. Bottom: More bus action is shot outside.
60
August 2015
American Cinematographer
Brett, whose ambition was to have
Arnold's proportions from that period,
although he was not exactly the same,"
Sirrs recalls. "Brett's in some of the overthe-shoulder shots, but as soon as we get a
good look at his proportions or face, we
had to make him a CG character.
"It was painstaking to build a photorealistic digital Arnold aged 37," Sirrs
continues. "There are no cyber scans from
that time. We had to go on pictures and
sculpts and interpret things quite a lot."
To shoot the confrontation, an 80'
Condor with a Maxi-Brute and another
with a 20K were moved about as backlight.
A moon box was placed above
Schwarzenegger and Azar, who were
surrounded on three sides by a tall greenscreen where the observatory and backgrounds would be digitally added. The
greenscreen was lit by 52 Image 80s
cantilevered off a truss and hung off a
container wall. Actors' fill was supplied by
Celebs through a diffusion through Full
Grid diffusion frames.
A chase later in the film sees a
powerful nemesis landing via motorcycle
on top of a school bus being driven by
Sarah, accompanied by Reese and the
Guardian, on the Golden Gate Bridge.
The villain crawls underneath the bus and
pulls out the brake line, causing it to flip
spectacularly and roll to the edge of the
bridge.
The production could not shoot on
the actual bridge, so the art department
replicated 500' of it in a parking lot, incorporating four lanes of road, the curb, and
the familiar orange railing and light poles
alongside a bluescreen. It was a limited
amount of space for the required car stunts,
so Double Negative added digital cars and
extended the bridge. Morgenthau adds,
"We shot many different incarnations of
the bus, including a process bus on stage,
where we emulated movement with large
truss rigs with dimmer-board-controlled
moving lights, and a hanging bus and an
upside-down bus. It was very involved."
The main unit also traveled to San
Francisco for a day of shooting the actors
near the real bridge. Aerial views were also
shot, with digital vehicles added to match
the action on the ground.
American Cinematographer - August 2015
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
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American Cinematographer - August 2015 - 14
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