American Cinematographer - December 2014 - 79
- encounters a column of hundreds of
Nazi SS troops. Stranded at a crossroads, the Fury's crew must hold the
enemy at bay without any backup.
The sequence was shot over seven
nights with four cameras. "The crew
fires on the sawmill and sets it ablaze,"
Vasyanov explains. "Basically that is the
only lighting source in the entire scene,
along with some signal flares and
machine-gun fire. Inside the tank, that
little bit of light comes in flickering and
flaring through the periscopes and those
little hatch windows. I intentionally did
not want to use any moonlight or backlight, [which] would have felt artificial
and very 'Hollywood.' Instead, we built
a huge top-light soft box on a construction crane, which gave us the fire effect
to fill in shadows a bit."
To achieve the effect, Walters'
team built a 40'x40' soft box containing
25 space lights and 48 Par cans; this rig
was suspended over the center of the set
from a 200-ton lifting crane. "Another
large Dino and Wendy rig on another
lifting crane provided our main backlight, and a third crane rig held a 70K
Lightning Strikes and 20 [Panalux]
daylight FloBanks, which emphasized
flares going off in sight of the camera,"
Walters details. "Then, for close-up
work around the camera, we deployed
Sunstrips and made our own 'firelights'
to complement our main rigs. These
firelights had hundreds of bulbs all
wired randomly across 36 circuits.
Along with the large rigs, these were all
powered using an electronic dimmer, so
full control and safe fire effects were
possible."
Such innovative uses of cranes,
remote heads and hard-core gripping
and lighting solutions were a hallmark
of the Fury production. "There was no
safety net," Ayer submits. "Whatever
our inbound plan was, it had to be
pretty darn on point, and that's what
made me the most nervous. We bet the
farm on the plan we came up with in
prep, and I'm happy to say we got the
movie we came for. A lot of that is
because I had so much trust in Roman,
who was so efficient, and the fact that
our grips were total rock stars."
●
TECHNICAL SPECS
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35mm Anamorphic
Panaflex Millennium XL2
Panavision G Series, Telephoto,
ATZ, AWZ2
Kodak Vision3 250D 5207,
500T 5219
Digital Intermediate
79
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American Cinematographer - December 2014
Table of Contents for the Digital Edition of American Cinematographer - December 2014
Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
American Cinematographer - December 2014 - 10
American Cinematographer - December 2014 - 11
American Cinematographer - December 2014 - 12
American Cinematographer - December 2014 - 13
American Cinematographer - December 2014 - 14
American Cinematographer - December 2014 - 15
American Cinematographer - December 2014 - 16
American Cinematographer - December 2014 - 17
American Cinematographer - December 2014 - 18
American Cinematographer - December 2014 - 19
American Cinematographer - December 2014 - 20
American Cinematographer - December 2014 - 21
American Cinematographer - December 2014 - 22
American Cinematographer - December 2014 - 23
American Cinematographer - December 2014 - 24
American Cinematographer - December 2014 - 25
American Cinematographer - December 2014 - 26
American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
American Cinematographer - December 2014 - 31
American Cinematographer - December 2014 - 32
American Cinematographer - December 2014 - 33
American Cinematographer - December 2014 - 34
American Cinematographer - December 2014 - 35
American Cinematographer - December 2014 - 36
American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
American Cinematographer - December 2014 - 39
American Cinematographer - December 2014 - 40
American Cinematographer - December 2014 - 41
American Cinematographer - December 2014 - 42
American Cinematographer - December 2014 - 43
American Cinematographer - December 2014 - 44
American Cinematographer - December 2014 - 45
American Cinematographer - December 2014 - 46
American Cinematographer - December 2014 - 47
American Cinematographer - December 2014 - 48
American Cinematographer - December 2014 - 49
American Cinematographer - December 2014 - 50
American Cinematographer - December 2014 - 51
American Cinematographer - December 2014 - 52
American Cinematographer - December 2014 - 53
American Cinematographer - December 2014 - 54
American Cinematographer - December 2014 - 55
American Cinematographer - December 2014 - 56
American Cinematographer - December 2014 - 57
American Cinematographer - December 2014 - 58
American Cinematographer - December 2014 - 59
American Cinematographer - December 2014 - 60
American Cinematographer - December 2014 - 61
American Cinematographer - December 2014 - 62
American Cinematographer - December 2014 - 63
American Cinematographer - December 2014 - 64
American Cinematographer - December 2014 - 65
American Cinematographer - December 2014 - 66
American Cinematographer - December 2014 - 67
American Cinematographer - December 2014 - 68
American Cinematographer - December 2014 - 69
American Cinematographer - December 2014 - 70
American Cinematographer - December 2014 - 71
American Cinematographer - December 2014 - 72
American Cinematographer - December 2014 - 73
American Cinematographer - December 2014 - 74
American Cinematographer - December 2014 - 75
American Cinematographer - December 2014 - 76
American Cinematographer - December 2014 - 77
American Cinematographer - December 2014 - 78
American Cinematographer - December 2014 - 79
American Cinematographer - December 2014 - 80
American Cinematographer - December 2014 - 81
American Cinematographer - December 2014 - 82
American Cinematographer - December 2014 - 83
American Cinematographer - December 2014 - 84
American Cinematographer - December 2014 - 85
American Cinematographer - December 2014 - 86
American Cinematographer - December 2014 - 87
American Cinematographer - December 2014 - 88
American Cinematographer - December 2014 - 89
American Cinematographer - December 2014 - 90
American Cinematographer - December 2014 - 91
American Cinematographer - December 2014 - 92
American Cinematographer - December 2014 - 93
American Cinematographer - December 2014 - 94
American Cinematographer - December 2014 - 95
American Cinematographer - December 2014 - 96
American Cinematographer - December 2014 - 97
American Cinematographer - December 2014 - 98
American Cinematographer - December 2014 - 99
American Cinematographer - December 2014 - 100
American Cinematographer - December 2014 - 101
American Cinematographer - December 2014 - 102
American Cinematographer - December 2014 - 103
American Cinematographer - December 2014 - 104
American Cinematographer - December 2014 - 105
American Cinematographer - December 2014 - 106
American Cinematographer - December 2014 - 107
American Cinematographer - December 2014 - 108
American Cinematographer - December 2014 - 109
American Cinematographer - December 2014 - 110
American Cinematographer - December 2014 - 111
American Cinematographer - December 2014 - 112
American Cinematographer - December 2014 - Cover3
American Cinematographer - December 2014 - Cover4
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