American Cinematographer - November 2015 - 49
The Walk photos by Takashi Seida, courtesy of Sony Pictures Entertainment. The Martian photos by Giles Keyte and Aidan Monaghan, courtesy of Twentieth Century Fox.
American
Cinematographer:
Thematically, there are a lot of similarities between The Walk and The
Martian. They would make quite a
double feature.
Dariusz Wolski, ASC: That's
interesting, because they're very different pictures from two directors with
completely different styles. And I had
an established relationship with Ridley
that helped me understand his way of
thinking - using multiple cameras,
setting up the event and capturing it -
while Bob's way of thinking is
completely different, working with very
long, design-intensive shots. Photographically, though, both films were
very challenging but a lot of fun to do.
After having seen both films -
one set largely on Mars and the other
high above Manhattan - I can only
imagine how many days you spent that
year shooting on greenscreen stages.
Wolski: Actually, not as many as
you might think, specifically because of
the way Ridley and Bob wanted to
shoot both pictures. They both wanted
their stories to feel real, which meant
building as much as we could for real.
On The Martian, much of what
we shot for Mars was done on location
Opposite:
Philippe Petit
(Joseph GordonLevitt) tests his
high-wire skills in
The Walk. This
page, top: NASA
scientist Mark
Watney (Matt
Damon) struggles
to survive in
The Martian.
Left: Dariusz
Wolski, ASC.
in Jordan. Our main stage [Stage 6 at
Korda Studios, just west of Budapest]
was 65 feet tall and wider than the Bond
stage [at Pinewood Studios], so it was
huge, and we could re-create Mars there
with all the dirt and the full-size 'Hub'
habitat building. We could even drive
our rover around. So we really only
needed greenscreen to add the
[computer-generated] mountains in the
distance, which were completed with
360-degree plates we shot in Jordan
during our scout there in prep. The
result is quite realistic, as opposed to
shooting on a greenscreen stage and just
www.theasc.com
making everything up later. There was
a lot of study and design that went into
it, and those scouts in Jordan made
that possible. Part of that included not
only the colors of the landscape, but
our exterior lighting approach on
stage, which was essentially one big
single source standing in for the sun -
comprising five Arrimax 18/12K
HMI Par units punching through
layers of Rosco ½ Soft Frost diffusion
- so I had just one shadow. And then
I did a lot of the modeling with
bounce and negative fill.
Of course, because of the stage's
November 2015
49
http://www.theasc.com
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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