American Cinematographer - October 2017 - 69

Walker, the special-effects department and
the crew created a sunset "red flame" look.
In the background, the Redcoats set fire to
the heather, bringing dark smoke into the
scene. The fast cutting featured throughout the bulk of the battle slows down as the
characters tire and the flames become
more prominent. With restrictions on
which materials could be burned, "paper
cannons" were employed to shoot black
particles in the air for added realism.
"We shot the scene at sunset and we
really did have an amazing sunset in the
sky that evening," Walker says. He reports
that as the real sun sank further into the
horizon, "18K Arrimaxes, color-corrected
to tungsten and warmed further with
CTS," were gradually added for a seamless
transfer between light sources. "We also
used Maxi-Brute Nine Lites with a fireflicker effect at ground level to simulate
heather fires," Walker adds. The combination of sunset and fire effects resulted in a
scene that Walker describes as something
out of a J.M.W. Turner painting.
When the battle flashbacks end,
night and snow fall upon the battlefield. In
a dreamlike state, Jamie imagines Claire
walking through the field, searching for
him in the moonlight. "[Gaffer] Scott
Napier asked Ross Pearson, the rigger, to
build a truss cage into which two 18-footby-8-foot SourceMaker balloons were
fitted," Walker says. "They each contained
four 4K MSR lamps." The cage was
mounted to "an 80-ton construction
crane," he reports, to create the soft moonlight effect. "Arri S60 SkyPanels were used
to provide a harder moonlight rim,"
Walker adds.
Meanwhile, as it were, the narrative
shifts to Claire's point-of-view in 1948 as
she arrives in Boston with Frank, who has
taken a position at Harvard University.
After three years in the 18th century,
Claire finds it challenging to re-acclimate
to modern times. According to production
designer Jon Gary Steele, the challenge for
the crew was not unlike Claire's, in that
they are constantly on the move and shifting gears as they handle different time
periods.
Steele recounts how a scenic-artist
friend had once told him about a director

Top: Jamie comes face-to-face with his mortal enemy on the battlefield. Middle and bottom:
Handheld cameras and Steadicams were employed for the final encounter between Jamie and
Jack, shot at sunset, with smoke effects contributing to the atmosphere.

www.ascmag.com

October 2017

69


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Table of Contents for the Digital Edition of American Cinematographer - October 2017

Contents
American Cinematographer - October 2017 - Cover1
American Cinematographer - October 2017 - Cover2
American Cinematographer - October 2017 - 1
American Cinematographer - October 2017 - 2
American Cinematographer - October 2017 - Contents
American Cinematographer - October 2017 - 4
American Cinematographer - October 2017 - 5
American Cinematographer - October 2017 - 6
American Cinematographer - October 2017 - 7
American Cinematographer - October 2017 - 8
American Cinematographer - October 2017 - 9
American Cinematographer - October 2017 - 10
American Cinematographer - October 2017 - 11
American Cinematographer - October 2017 - 12
American Cinematographer - October 2017 - 13
American Cinematographer - October 2017 - 14
American Cinematographer - October 2017 - 15
American Cinematographer - October 2017 - 16
American Cinematographer - October 2017 - 17
American Cinematographer - October 2017 - 18
American Cinematographer - October 2017 - 19
American Cinematographer - October 2017 - 20
American Cinematographer - October 2017 - 21
American Cinematographer - October 2017 - 22
American Cinematographer - October 2017 - 23
American Cinematographer - October 2017 - 24
American Cinematographer - October 2017 - 25
American Cinematographer - October 2017 - 26
American Cinematographer - October 2017 - 27
American Cinematographer - October 2017 - 28
American Cinematographer - October 2017 - 29
American Cinematographer - October 2017 - 30
American Cinematographer - October 2017 - 31
American Cinematographer - October 2017 - 32
American Cinematographer - October 2017 - 33
American Cinematographer - October 2017 - 34
American Cinematographer - October 2017 - 35
American Cinematographer - October 2017 - 36
American Cinematographer - October 2017 - 37
American Cinematographer - October 2017 - 38
American Cinematographer - October 2017 - 39
American Cinematographer - October 2017 - 40
American Cinematographer - October 2017 - 41
American Cinematographer - October 2017 - 42
American Cinematographer - October 2017 - 43
American Cinematographer - October 2017 - 44
American Cinematographer - October 2017 - 45
American Cinematographer - October 2017 - 46
American Cinematographer - October 2017 - 47
American Cinematographer - October 2017 - 48
American Cinematographer - October 2017 - 49
American Cinematographer - October 2017 - 50
American Cinematographer - October 2017 - 51
American Cinematographer - October 2017 - 52
American Cinematographer - October 2017 - 53
American Cinematographer - October 2017 - 54
American Cinematographer - October 2017 - 55
American Cinematographer - October 2017 - 56
American Cinematographer - October 2017 - 57
American Cinematographer - October 2017 - 58
American Cinematographer - October 2017 - 59
American Cinematographer - October 2017 - 60
American Cinematographer - October 2017 - 61
American Cinematographer - October 2017 - 62
American Cinematographer - October 2017 - 63
American Cinematographer - October 2017 - 64
American Cinematographer - October 2017 - 65
American Cinematographer - October 2017 - 66
American Cinematographer - October 2017 - 67
American Cinematographer - October 2017 - 68
American Cinematographer - October 2017 - 69
American Cinematographer - October 2017 - 70
American Cinematographer - October 2017 - 71
American Cinematographer - October 2017 - 72
American Cinematographer - October 2017 - 73
American Cinematographer - October 2017 - 74
American Cinematographer - October 2017 - 75
American Cinematographer - October 2017 - 76
American Cinematographer - October 2017 - 77
American Cinematographer - October 2017 - 78
American Cinematographer - October 2017 - 79
American Cinematographer - October 2017 - 80
American Cinematographer - October 2017 - 81
American Cinematographer - October 2017 - 82
American Cinematographer - October 2017 - 83
American Cinematographer - October 2017 - 84
American Cinematographer - October 2017 - 85
American Cinematographer - October 2017 - 86
American Cinematographer - October 2017 - 87
American Cinematographer - October 2017 - 88
American Cinematographer - October 2017 - Cover3
American Cinematographer - October 2017 - Cover4
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