American Cinematographer - May 2006 - 41
and elsewhere, it
the second unit, that team based its
Chesapeake Bay Bridge
the
work on Mindel and
McCleery's plan
for lighting the 150'-tall windmills.
"They were all uplit from the base,
colored with a warm gel," says
cated
Mindel. "And each windmill
mounted
helped plot out
Shanghai building-jumping
sequence and even the onscreen
mask change. During the shoot, says
Dozoretz, "we put one of our artists
on set in Palm Springs. [The film¬
makers] would look at the previz, go
out
and shoot it, and then
come
back and put
the video tap into my
guy's computer, and he would do a
rough comp of the greenscreen fore¬
ground element over the back¬
ground plate." In this manner, the
team could determine immediately
backlit with
was
couple of Bebee lights,
rimming them with halfcorrected night light."
For another major action
sequence, a large portion of a
a
which were
Ahmanson
in
Calabasas,
was
California,
surrounded
hundreds of
on
dupli¬
Ranch
in
and
by "hundreds and
yards of greenscreen
the back of semi trail¬
ers," says Mindel. Originally, shoot¬
ing was to take place on the actual
East Coast location, but security
concerns
put the brakes on that
notion. "You couldn't get
further
whether the shot would work.
Once
aerial
again, Nowell was at the
helm
for
the
windmill
plates, but this time he shot
Super 35mm. "Anamorphic lenses
are
pretty slow, and by going the
Super 35 route I was able to gain
back about 1 V\ stop, which helped a
great deal on this night shoot," says
Nowell. The location covered such
P*"
V
m
sequence
-V-
--W '
A,
V.
'
a
a
large area, easily several miles square,
that lighting it was problematic. Says
Mindel, "We tiled the windmill park
with a rig ILM designed for us,
because in the end, the interior heli¬
footage had to be shot
copter
onstage. Six cameras were fixed to a
helicopter, two on each side and two
the front." The background
footage was "anamorphicized" and
plated into the sequence's greenon
screen
element.
Full service 2K/H0/SD
facility
Discreet "Fire". "Smoke", & Avid "Nikis'
All format duplication/conversion
"Early on in one of our
preproduction meetings, we were
talking about the windmill-farm
sequence, and Tom, whom I'd just
met, asked me how I planned to
shoot it," recalls Mindel. "I told him
2K/HD/SD Da Vinci color correction
Film & Video restoration
Quality control
Exceptional customer service and more.
I would
probably try to shoot it day
night because there was no way
to light such a large area. Tom said,
'That doesn't leave you very much
time if you're going to shoot dawn
for
and dusk.' And in the end,
we
couldn't shoot the windmill farm
practically in the time we were given.
We ended up shooting with some
lights in the shot, knowing we could
take them out in post." Though the
sequence was eventually handled by
-
universal studios
digital
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.
800.892.1979
THE FILMMAKERS DESTINATION
WWW.UNIVERSALSTUDIOS.COM/STUDIO
UNIVERSAL
TECHNICAL OPERATIONS
37
American Cinematographer - May 2006
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