American Cinematographer - November 2015 - 16
Top: Edward
rushes to board a
plane. Middle: The
greenscreen set
and lighting setup
for the scene
above. Bottom:
Cinematographer
Wes Cardino (left)
discusses the
scene with visualeffects supervisor
Elliott Jobe.
fully trusting Elliott and his team that it
would all work out, despite not having seen
it," reflects Dumonceau. "That was a huge
ask for someone like myself, because I like to
see what I'm getting. I won't lie - I lost a
few nights of sleep over that, but ultimately
it more than worked out."
According to Jobe, Dumonceau
selected the best reference images he could
find for Charles de Gaulle Airport and then
cut together a rough animatic to see how
that airport's interiors would sequence
16
November 2015
together. Once the filmmakers were satisfied
with the animatic, the team at There
modeled, lit and rendered the sets digitally
to match the reference images, then shot
the CG plates to further refine the look of
each scene. Jobe adds, "We had already
captured the JFK terminal during the day [for
initial previs work], so it was just a matter of
switching the time of day to night and using
the digital set to then previsualize all the
camera setups."
For both terminals, Jobe continues,
American Cinematographer
"[Cardino] suggested additional lighting
elements we could add to the scene that
would enhance each angle. On set, we were
able to use the previs details to line up all of
the blocking, lenses and lighting, so we only
had one major lighting change for the day
and were able to hit all 40 setups [for both
airports] in 10 hours without feeling
rushed."
Even though the filmmakers had
playback capabilities on set and were able to
see a real-time composite of the actors in
the virtual environment, it was still a challenge to ensure that the lighting matched
across the real and CG worlds. Cardino
remembers wondering, "Does this lighting
match the plates, and can the visual effects
find a medium ground [with the on-set
lighting] where it's all going to come
together and feel real for the audience? For
me, it was all about selling the space via the
lighting."
The greenscreen scenes were shot on
a stage at Thunder Studios in Long Beach,
Calif., where Cardino brought in an array of
lights from Mole-Richardson, including
10Ks, 5Ks and Zips. He lit the greenscreen
with a series of 1,000-watt Molorama Cyc
lights, and for a base ambience, he used a
large overhead Fisher Light. Overall, he says
he tried to approach the virtual set as he
would any other set, while keeping in mind
the technical requirements of pulling good
keys. "A big part of the [production] was
having a lot of dialogue with Elliott - and
making sure there wasn't greenscreen
bleeding all over the actors," the cinematog➣
rapher notes.
American Cinematographer - November 2015
Table of Contents for the Digital Edition of American Cinematographer - November 2015
Contents
American Cinematographer - November 2015 - Cover1
American Cinematographer - November 2015 - Cover2
American Cinematographer - November 2015 - 1
American Cinematographer - November 2015 - 2
American Cinematographer - November 2015 - Contents
American Cinematographer - November 2015 - 4
American Cinematographer - November 2015 - 5
American Cinematographer - November 2015 - 6
American Cinematographer - November 2015 - 7
American Cinematographer - November 2015 - 8
American Cinematographer - November 2015 - 9
American Cinematographer - November 2015 - 10
American Cinematographer - November 2015 - 11
American Cinematographer - November 2015 - 12
American Cinematographer - November 2015 - 13
American Cinematographer - November 2015 - 14
American Cinematographer - November 2015 - 15
American Cinematographer - November 2015 - 16
American Cinematographer - November 2015 - 17
American Cinematographer - November 2015 - 18
American Cinematographer - November 2015 - 19
American Cinematographer - November 2015 - 20
American Cinematographer - November 2015 - 21
American Cinematographer - November 2015 - 22
American Cinematographer - November 2015 - 23
American Cinematographer - November 2015 - 24
American Cinematographer - November 2015 - 25
American Cinematographer - November 2015 - 26
American Cinematographer - November 2015 - 27
American Cinematographer - November 2015 - 28
American Cinematographer - November 2015 - 29
American Cinematographer - November 2015 - 30
American Cinematographer - November 2015 - 31
American Cinematographer - November 2015 - 32
American Cinematographer - November 2015 - 33
American Cinematographer - November 2015 - 34
American Cinematographer - November 2015 - 35
American Cinematographer - November 2015 - 36
American Cinematographer - November 2015 - 37
American Cinematographer - November 2015 - 38
American Cinematographer - November 2015 - 39
American Cinematographer - November 2015 - 40
American Cinematographer - November 2015 - 41
American Cinematographer - November 2015 - 42
American Cinematographer - November 2015 - 43
American Cinematographer - November 2015 - 44
American Cinematographer - November 2015 - 45
American Cinematographer - November 2015 - 46
American Cinematographer - November 2015 - 47
American Cinematographer - November 2015 - 48
American Cinematographer - November 2015 - 49
American Cinematographer - November 2015 - 50
American Cinematographer - November 2015 - 51
American Cinematographer - November 2015 - 52
American Cinematographer - November 2015 - 53
American Cinematographer - November 2015 - 54
American Cinematographer - November 2015 - 55
American Cinematographer - November 2015 - 56
American Cinematographer - November 2015 - 57
American Cinematographer - November 2015 - 58
American Cinematographer - November 2015 - 59
American Cinematographer - November 2015 - 60
American Cinematographer - November 2015 - 61
American Cinematographer - November 2015 - 62
American Cinematographer - November 2015 - 63
American Cinematographer - November 2015 - 64
American Cinematographer - November 2015 - 65
American Cinematographer - November 2015 - 66
American Cinematographer - November 2015 - 67
American Cinematographer - November 2015 - 68
American Cinematographer - November 2015 - 69
American Cinematographer - November 2015 - 70
American Cinematographer - November 2015 - 71
American Cinematographer - November 2015 - 72
American Cinematographer - November 2015 - 73
American Cinematographer - November 2015 - 74
American Cinematographer - November 2015 - 75
American Cinematographer - November 2015 - 76
American Cinematographer - November 2015 - 77
American Cinematographer - November 2015 - 78
American Cinematographer - November 2015 - 79
American Cinematographer - November 2015 - 80
American Cinematographer - November 2015 - 81
American Cinematographer - November 2015 - 82
American Cinematographer - November 2015 - 83
American Cinematographer - November 2015 - 84
American Cinematographer - November 2015 - 85
American Cinematographer - November 2015 - 86
American Cinematographer - November 2015 - 87
American Cinematographer - November 2015 - 88
American Cinematographer - November 2015 - 89
American Cinematographer - November 2015 - 90
American Cinematographer - November 2015 - 91
American Cinematographer - November 2015 - 92
American Cinematographer - November 2015 - 93
American Cinematographer - November 2015 - 94
American Cinematographer - November 2015 - 95
American Cinematographer - November 2015 - 96
American Cinematographer - November 2015 - Cover3
American Cinematographer - November 2015 - Cover4
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