American Cinematographer - June 2004 - 50

Secret
Because the
church of Saint

Sulpice had
publicly
denounced
Brown's novel,
the production
had to

use

inventive
methods to
simulate the
interior of the
famous Paris
site. A set

depicting the
altar and pews
was built at 85

percent scale on
Stage C at

Shepperton
Studios in

England. The set
was

surrounded

by greenscreens
(lit by Kino Flo
Image 80s) that
would

accommodate
the later
addition of

backgrounds
created from

high-resolution
digital photos
taken at the real
church. These

images were
captured and
composited by
the

new

London

branch of
Rainmaker
Animation and
Visual Effects.
"The

simplest
way of
describing it is
projection
geometry," says
Mark

History
to make sure all the shops on
that street would cooperate; we sent

had

shop, door to
they'd leave their
lights on when they shut up shop
that night Some said they would but

CG. We built the
environment
based on many

layers of
reference and
also first-hand

experience with
the space."

sure

then did not"
For the

needed

interior, they
something extra small and
car

cool, because Neveu's vehicle is

a

petite Smart car. "We were trying to
find a light that wouldn't get too hot
and melt the car
they're all plastic
inside," says Evans. Looking for
something like Panalight's 18"x4"
LED panel, they eventually found a
-

smaller version

through an office¬
lighting catalog. They tucked one
into the speedometer for the driver's
key light and one into an air vent for
the passenger's.
Five Smart cars were modified

for the shoot

by father-son stunt

coordinators

Remy and Dominique
Julienne. Some cars could accom¬
modate

three-camera setup. "They
sort of go-car, taking the

a

had built

a

body and engine of the Smart car
and building a different frame that
was extended further," says Totino.
"We could put platforms on the side
of it, which meant
the Smart

we

didn't have to

It could

actually
through the traffic. It appeared
as
though the actors were driving
when there was actually a driver
tow

car.

drive

outside the

car.

And I mounted three

it It

cameras on

was

fantastic."

Langdon and Neveu's trail
to England and

Rainmakers

supervisor. "We
basically do
wallpapering in

every

door, to make

Breakspear,
visual-effects

to

someone

leads from France
church

to

church.

Given

the

Vatican's condemnation of Brown's

book, it's
Catholic

no

surprise that several

churches

denied

the

production access. Even West¬
minster Abbey, which is not part of
the Catholic church, refused permis¬
sion. Fleet Street's Temple Church,
on the other hand, said yes, as did
Lincoln Cathedral, which stood in

for Westminster. (The

1,000-year-

old cathedral had launched

46 June 2006

a

200-

year

restoration project and

was

keen

to

receive both the

publicity



American Cinematographer - June 2004

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