American Cinematographer - September 2015 - 64

◗

Superspy Alliance
'Scope image formats. Regarding the
Alexa, we also had to choose cameras that
would be visually compatible and still
match our needs. We chose the Alexa M
for the aerial units. Then, for a couple of
situations, we needed to add a Canon 5D
[Mark III] - recording internal H.264,
[which was then] converted to ProRes -
because we needed a small underwater
camera with which we could still mount
'proper' lenses."
The production's main side-camera,
however, was the Canon Cinema EOS
C500, which recorded Canon 4K Raw to
a Codex S recorder. The C500 was chosen
"mainly because it's a small camera,"
Giardiello notes. "It's not that expensive, in
case something happens, and by using a
Codex recorder, we could keep the same
workflow - metadata, color and data
pipelines - as the Alexa." The C500's
sensor size and resolution made it capable
of working with both spherical and
anamorphic lenses. "John was very happy
about the fact that it's very sensitive in low
light," he says. "You can go up to 20,000
ASA. That kind of setting obviously
[introduces] some artifacts, but they can be
dealt with - and for some situations it was
the only choice to achieve what Guy
wanted to shoot. For instance, we did a
shot where we attached the C500 to a
military RIB [rigid inflatable boat] with a
Mini Libra to shoot a chase sequence at
night. The camera needed to be both
compact and able to shoot in open sea in
the middle of the night with no additional
lighting. The C500 worked perfectly for
this, as we got incredibly good results,
considering we were shooting at such a
high ASA.
"Generally speaking," Giardiello
continues, "we modified the ASA on all
cameras according to the situation.
Typically, we shot at the Alexa's native 800
ASA - however, there were many occasions where we modified this. We
frequently chose to shoot at 1,600 ASA
even when not in low light conditions, in
order to give better code-value distribution
in the shadows. It just depended on what
was appropriate for the scene."
This combination of cameras would
have made the production a natural fit for

Top: The crew
captures a scene
with Hammer,
Cavill and
Vikander on
location in
Rome. Middle: A
trailer rig helps
the crew capture
traveling shots
from multiple
angles around a
car. Bottom: Cast
and crew work
on location at
the Piazza di
Spagna at the
base of the
Spanish Steps in
Rome.

64

September 2015

American Cinematographer



American Cinematographer - September 2015

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

Contents
American Cinematographer - September 2015 - Intro
American Cinematographer - September 2015 - Cover1
American Cinematographer - September 2015 - Cover2
American Cinematographer - September 2015 - 1
American Cinematographer - September 2015 - 2
American Cinematographer - September 2015 - Contents
American Cinematographer - September 2015 - 4
American Cinematographer - September 2015 - 5
American Cinematographer - September 2015 - 6
American Cinematographer - September 2015 - 7
American Cinematographer - September 2015 - 8
American Cinematographer - September 2015 - 9
American Cinematographer - September 2015 - 10
American Cinematographer - September 2015 - 11
American Cinematographer - September 2015 - 12
American Cinematographer - September 2015 - 13
American Cinematographer - September 2015 - 14
American Cinematographer - September 2015 - 15
American Cinematographer - September 2015 - 16
American Cinematographer - September 2015 - 17
American Cinematographer - September 2015 - 18
American Cinematographer - September 2015 - 19
American Cinematographer - September 2015 - 20
American Cinematographer - September 2015 - 21
American Cinematographer - September 2015 - 22
American Cinematographer - September 2015 - 23
American Cinematographer - September 2015 - 24
American Cinematographer - September 2015 - 25
American Cinematographer - September 2015 - 26
American Cinematographer - September 2015 - 27
American Cinematographer - September 2015 - 28
American Cinematographer - September 2015 - 29
American Cinematographer - September 2015 - 30
American Cinematographer - September 2015 - 31
American Cinematographer - September 2015 - 32
American Cinematographer - September 2015 - 33
American Cinematographer - September 2015 - 34
American Cinematographer - September 2015 - 35
American Cinematographer - September 2015 - 36
American Cinematographer - September 2015 - 37
American Cinematographer - September 2015 - 38
American Cinematographer - September 2015 - 39
American Cinematographer - September 2015 - 40
American Cinematographer - September 2015 - 41
American Cinematographer - September 2015 - 42
American Cinematographer - September 2015 - 43
American Cinematographer - September 2015 - 44
American Cinematographer - September 2015 - 45
American Cinematographer - September 2015 - 46
American Cinematographer - September 2015 - 47
American Cinematographer - September 2015 - 48
American Cinematographer - September 2015 - 49
American Cinematographer - September 2015 - 50
American Cinematographer - September 2015 - 51
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American Cinematographer - September 2015 - 53
American Cinematographer - September 2015 - 54
American Cinematographer - September 2015 - 55
American Cinematographer - September 2015 - 56
American Cinematographer - September 2015 - 57
American Cinematographer - September 2015 - 58
American Cinematographer - September 2015 - 59
American Cinematographer - September 2015 - 60
American Cinematographer - September 2015 - 61
American Cinematographer - September 2015 - 62
American Cinematographer - September 2015 - 63
American Cinematographer - September 2015 - 64
American Cinematographer - September 2015 - 64a
American Cinematographer - September 2015 - 64b
American Cinematographer - September 2015 - 64c
American Cinematographer - September 2015 - 64d
American Cinematographer - September 2015 - 64e
American Cinematographer - September 2015 - 64f
American Cinematographer - September 2015 - 64g
American Cinematographer - September 2015 - 64h
American Cinematographer - September 2015 - 65
American Cinematographer - September 2015 - 66
American Cinematographer - September 2015 - 67
American Cinematographer - September 2015 - 68
American Cinematographer - September 2015 - 69
American Cinematographer - September 2015 - 70
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American Cinematographer - September 2015 - 72
American Cinematographer - September 2015 - 73
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American Cinematographer - September 2015 - 75
American Cinematographer - September 2015 - 76
American Cinematographer - September 2015 - 77
American Cinematographer - September 2015 - 78
American Cinematographer - September 2015 - 79
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American Cinematographer - September 2015 - 81
American Cinematographer - September 2015 - 82
American Cinematographer - September 2015 - 83
American Cinematographer - September 2015 - 84
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American Cinematographer - September 2015 - Cover3
American Cinematographer - September 2015 - Cover4
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