◗ A Friend in Need and the location shots were captured with [Arri/Zeiss] Master Prime spherical lenses. All the shots were completed by shooting the actors in front of a bluescreen and inserting them in the composition. We also duplicated all the model camera angles on the on-stage cemetery set, as well, so the visualeffects department would be able to blend all the layers - Manchester, model and set - to get the final shot. To ensure we weren't going to be affected by the direct sun, we placed the model in the shade of a big building nearby, on one of the main stages. We had two technical requirements: Both the depth of field and the frame rate had to be enough to make the model look realistic. We had to shoot at noon to reach the desired 75 fps at T11 in the shade with no artificial light. ● Above: The Monster tells Conor a story in this piece of concept art. Right: Faura measures the light on set as the Monster keeps silent watch. TECHNICAL SPECS 2.39:1 Digital Capture Arri Alexa XT Studio, Plus Vantage Film Hawk V-Lite, V-Lite Vintage '74, V-Plus Front Anamorphic Zoom; Arri/Zeiss Master Prime 70 November 2016 American Cinematographer