American Cinematographer - May 2006 - 35

Hunt and Ferris
make their
escape in
cinematic

fashion.

technicians

we

have here

are

the best

in the world. And it became obvious
once

we

amount

be

started

shooting that the
going to

of visual effects was

huge."
Despite the extensive effects,

the bulk of which

were

handled

at

Super 35 is a compromise." Then,
during the testing process, the pesky
anamorphic focus issue reared its
head. "J.J. had a fit," recalls the cine¬

matographer, who adds that if John
Connor, his regular 1st AC, had
worked on the tests, the problem

Industrial

would

under

to

Light & Magic (ILM)
Roger Guyett's supervision,
the picture was shot in anamorphic
2.40:1. Early on, Mindel told Abrams
"the only thing that really, really

never

have occurred. "We had

edit all the soft

tests

so

when

footage out of the
the [producers]

screened it, it didn't look
Then

as

bad.

started

widescreen.

crewing the movie
the way it was going to be shot."
Going against conventional

I

wisdom, Mindel believes

mattered

to me was

that

we

shoot

Apart from the fact that
just love widescreen, the fact that
[the characters] were traveling all
over the world provided a perfect
opportunity to balance the studio
effects footage with nice, big, organic
widescreen vista footage."
Although the first two Mission
chapters had been shot in anamor¬
phic, Cruise expressed concern
about

some

focus issues that had

cropped up on the second film. Also,
as

a

TV veteran,

Abrams had

no

prior experience with the format's
lenses. "But to me," says Mindel,
"anamorphic is what movies are, and

we

anamor¬

phic is preferable to Super 35mm for
effects work. "I think it's logical to
use the most picture area you can
get. Being that Super 35 uses less
picture area, the rendition in the final
product isn't as good - it's not as
crisp, there isn't as much color, and
there's grain. I was very keen to give
the effects people at ILM as much
picture as I could." From the outset,
the filmmakers planned to finish
with a digital intermediate (DI), and
at press time Mindel was supervising
this work at Company 3. "I'd seen
American

Cinematographer 31



American Cinematographer - May 2006

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