American Cinematographer - August 2016 - 51

20-foot truss bars with Par cans to liven up
this [large] space," he adds.
For another scene involving a hotel
room on the 58th floor at Aria, the crew
used two Digital Sputnik DS 6s - 840watt color-mixing LEDs - on a nearby
rooftop to suggest lighting from the strip
below. The DS 6s could be run
conveniently from a nearby 60-amp supply,
avoiding the inconvenience of running
high-power cables from a generator located
52 floors below.
Wiggins adds that for a scene set in
a Las Vegas storm drain - but actually
shot in an underground parking lot in the
U.K. - "we used 32 Arri S60-C Skypanels
and a couple of Kinos to light the storm
drains in a warm, sodium-ish light. The
Skypanels are fantastic; they'll give you
what a color-gelled 5K with a Chimera
will, or more."
AC spoke with Ackroyd during his
last few days of direct involvement with
Jason Bourne, before he would move on to
reteam with director Kathryn Bigelow -

with whom he had collaborated on The
Hurt Locker (AC July '09) - for her asyet-untitled project about the 1967
Detroit riot. The cinematographer and
his Bourne collaborators remember a
well-run production that demanded hard
work but resulted in minimal stress, with
a team long-experienced in working
together. "There's a group that makes this
core, and we understand each other,"
Ackroyd opines. "Communications are
kept to a minimum. We all understand
what we're trying to do - what we're
trying to capture in each moment of the
film."
Recalling the discouragement he
faced early in his career when trying to
bring documentary elements into
narrative projects, the cinematographer
adds, "I worked early on with directors
who were actually kind of afraid to make
the film better. I remember an editor
saying, 'Your camerawork and my editing
will look s--- unless, when you do a
track, you come to the end and hold it.

[Otherwise] I won't be able to cut it.' I
said, 'Have you not seen the films of JeanLuc Godard?' What the cinematographer
needs are directors who dare you to break
the rules. Luckily, I have rarely had much
trouble with that."
‚óŹ

TECHNICAL SPECS
2.39:1
4-perf 35mm, Super 16mm,
Digital Capture
Aaton Penelope, XTR Prod;
Arri Alexa XT; Red Epic Dragon;
Canon Cinema EOS C500
Angenieux Optimo, Fujinon
Cabrio, TLS Morpheus,
Panavision Primo, Arri/Zeiss
Ultra Prime, Zeiss Super Speed,
Canon, Kowa
Kodak Vision3 250D
5207/7207, 500T 5219/7219
Digital Intermediate


http://www.theasc.com

American Cinematographer - August 2016

Table of Contents for the Digital Edition of American Cinematographer - August 2016

Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
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