American Cinematographer - May 2019 - 53

Photos courtesy of the AC archives.

vised the movie Dinosaur.
Richard Yuricich, ASC (Blade
Runner [1982], Event Horizon [1997],
Mission: Impossible II [2000]): Our
work on Under Siege 2: Dark Territory
[1995] included a unique, though not
much noticed, major breakthrough:
the multicamera synchronous background plate system. It became
apparent that 40 minutes or more of
the movie would take place inside a
moving train. I mentioned to the
producers that in the future, a digital
tracking system would allow us to
actually go handheld on a stationary
set surrounded by a large greenscreen, and to add moving exterior
backgrounds. A producer put a finger
in my face and said, 'Do that!' VFXcrew
lighting
gaffer
Mark
Weingartner designed the system for
lighting the screens, and shot many of
the plates, and then we did a successful proof-of-concept shot. [In the
finished film, the technique] was
used for more than 500 shots - 38
minutes of screen time.
Mark
Weingartner,
ASC
(Event Horizon [1997], I Am Legend
[2007], Dunkirk [2017]): On [2000's]
Mission: Impossible II, we pioneered
the use of bracketed still photos tiled
together to create HDRI textures. A
few years later, we were using digital
still-cameras on motion-control
pan/tilt heads to create textures for
the [nighttime] elevated-train scenes
in [2005's] Batman Begins.
Dykstra: When I [served as
visual-effects supervisor on 1999's]
Stuart Little, we had a digital mouse
that was 4 inches tall. This was my
entrée into the world of digital characters. With macrophotography of a
mouse in the foreground, the background goes soft-focus - this is
where understanding the principles
of cinematography became critical.
We developed a lens tilt for our
virtual camera to allow us to create
synthetic depth of field so that our
subject, the mouse, could be sharp,
and we could be selective about what
was sharp in the background,

pp Dennis Muren, ASC at work on Return of the Jedi.
p John Dykstra, ASC trains his lens skyward during the making of Firefox.
www.ascmag.com

May 2019

53



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American Cinematographer - May 2019

Table of Contents for the Digital Edition of American Cinematographer - May 2019

Contents
American Cinematographer - May 2019 - Cover1
American Cinematographer - May 2019 - Cover2
American Cinematographer - May 2019 - 1
American Cinematographer - May 2019 - Contents
American Cinematographer - May 2019 - 3
American Cinematographer - May 2019 - 4
American Cinematographer - May 2019 - 5
American Cinematographer - May 2019 - 6
American Cinematographer - May 2019 - 7
American Cinematographer - May 2019 - 8
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American Cinematographer - May 2019 - 40
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American Cinematographer - May 2019 - 53
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