American Cinematographer - April 2015 - 46

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Electric Hero

Top: Chappie protects Yo-Landi Visser (who plays a fictionalized version of herself) from gunfire.
Middle and Bottom: Chappie leaps into action to battle Moore's robotic creation.

Vancouver's Bridge Studios for a scene
that involved Jackman and a bathroom
mirror. It was the only set the production built.)
Splinter units used Sony PMW46

April 2015

EX3s to capture footage for purposes
such as news reports and broadcast
interviews. And for large-scale battle
scenes involving robots, air strikes and
explosions, still more cameras were
American Cinematographer

employed, including a Sony HDC1500 in a Cineflex stabilizer and an
eight-blade drone - "or octocopter,"
notes Muller, "custom built by its pilot,
John Gore, to carry a gimbal-stabilized
Photon 320 FLIR infrared camera and
a GoPro camera at the same time."
GoPro Hero3 Black cameras were also
used for robot POVs.
For one sequence, the producers
asked the crew to go to CNN studios in
New York's Time Warner Center to
shoot a segment in which anchor
Anderson Cooper, appearing as himself,
delivers a newscast about the robotic
police scouts. "I told them, 'It would be
really cool to meet the guy, but why
don't you just get the crew that does his
show to do it?'" Opaloch recalls.
"Otherwise you get a bunch of film
dummies trying to make it look like
their show. The real crew would knock
it out of the park." And so they did.
Opaloch shot Chappie in the
2.40:1 aspect ratio with Panavision
anamorphic prime lenses. "I grew up
loving movies from the 1970s [that
were] more often than not shot in
Panavision anamorphic," he says.
"There's something about the way [the
format] renders backgrounds and
throws your attention to the focal
plane."
The crew's extensive Panavision
lens package included E Series, G Series



American Cinematographer - April 2015

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

Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
American Cinematographer - April 2015 - 8
American Cinematographer - April 2015 - 9
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American Cinematographer - April 2015 - 11
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American Cinematographer - April 2015 - 36
American Cinematographer - April 2015 - 37
American Cinematographer - April 2015 - 38
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American Cinematographer - April 2015 - 43
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American Cinematographer - April 2015 - 45
American Cinematographer - April 2015 - 46
American Cinematographer - April 2015 - 47
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American Cinematographer - April 2015 - 49
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American Cinematographer - April 2015 - 62
American Cinematographer - April 2015 - 63
American Cinematographer - April 2015 - 64
American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
American Cinematographer - April 2015 - I8
American Cinematographer - April 2015 - 65
American Cinematographer - April 2015 - 66
American Cinematographer - April 2015 - 67
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American Cinematographer - April 2015 - Cover3
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