American Cinematographer - November 2015 - 36
Sinister Sect
himself, adding, "You have to put our
film on the cover of American
Cinematographer!"
We joke that Bond might get the
cover if Craig provides an exclusive, tellall interview. The notoriously private
actor responds with a good-natured
smile and goes back to shooting. We're
pleasantly surprised, however, when he
does return to offer his thoughts about
the importance of shooting on film. "As
far as I'm concerned, nothing beats
shooting on 35mm film," the actor
opines. "Film is so much more beautiful
than digital; it gives so many more
textures and variations. I don't know very
much, but the amount of work that goes
into working on digital to make it look
like film after the event seems like a great
waste of time. Why not just shoot on
film?"
Indeed, if there's a single theme
that emerges from our time with van
Hoytema, it's his unconditional devotion
to film negative. After the production
wraps, the cinematographer kindly
invites AC to appreciate the film's grain
and texture during the DI at Company 3
in London, where he reads amusing
statistics about the production sent by 1st
AC Julian Bucknall: "The Spectre camera
crew used 30 cameras, 280 lenses,
consumed 1,800 espressos ... and almost
a million feet of film!"
Spectre was shot over seven
months in Mexico City, London, Rome,
Austria and Morocco. In addition, giant
sets were built at several facilities at
Pinewood Studios, including the famous
007 Stage, the back lot and the "Paddock
Tank." Van Hoytema worked mainly
with Panavision C Series anamorphic
lenses, with exceptions including the
opening sequence, which was filmed
with spherical Primos, and a nocturnal
boat chase along miles of the Thames
riverfront in London; for reasons of
exposure, the latter was shot with
Panavision's new Primo 70s on Arri's
new Alexa 65 digital camera (see sidebar,
p. 44).
The cinematographer used three
Kodak Vision3 negatives on Spectre: 50D
5203, 250D 5207 and 500T 5219. The
Top: Bond
inspects his new
car. Middle: The
camera crew
preps the car
reveal. Bottom:
A Performance
Filmworks Edge
crane trails
Bond's vehicle.
36
November 2015
American Cinematographer
Unit photography by Jonathan Olley, François Duhamel, Stephen Vaughan and Jasin Boland, SMPSP, courtesy of Metro-Goldwyn-Mayer Studios, Inc.; Danjaq, LLC; and Columbia Pictures.
◗
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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