American Cinematographer - December 2006 - 61

High Stakes for 007
exterior

using

entirely digital

effects, and I thought if we started
with

a

miniature that looked

good,

could augment it with CG and
make it look totally believable."

we

Begg supervised the filming of
plates in Venice with 120 extras
looking on and practical bubble
effects going on in the canal. "Then
we

shot

a

25-foot-tall model that

designed to represent the fivevilla sinking into the tank at

was

story

Pinewood. I wanted the natural
on the model to match the
conditions we had when we did the

light

Venice

about

Above:

and the

Lights

camera

mounted

are

cranes

on

to show

off the exterior
of

an

upscale

hotel in the
Czech
that

Republic
provided the
exterior and

outer room of the

Casino

Royale
setting. Right:
The

crew

illuminates

a

set

that emulates
the Moorish
architectural

flourishes of

Venice, where
the film's climax

is set.

54 December 2006

light level. "Eddie's Dino rig solved
this problem. Every time the set
sank, more of the lights came into
the field of view of each skylight, so
even
though it dropped 20 feet, the
amount of light inside hardly
varied. Needless to say, that was a
big lighting job!"

plates, and that
a

gave us

only

two-hour window for

outdoor tank. "The Bond movies

shooting the model."
Begg's team used four Arri
435s at speeds ranging from 30-40
fps because of the scale of the water.
"I was very careful not to shoot at
ultra-high speeds, because I think
that can be a big giveaway with

have

water. We

The

villa

exterior

was

a

miniature filmed in Pinewood's

a

tradition

of

large-scale

miniatures," says Begg, who also

supervised the miniatures work on
Batman Begins. "I thought it would
be quite difficult to create the villa

also shot

a

lot of full-scale

splashes at 24 fps by dropping
things like car engines into the tank.
Those splashes were later compos¬
ited

onto

the miniature."



American Cinematographer - December 2006

Table of Contents for the Digital Edition of American Cinematographer - December 2006

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American Cinematographer - December 2006 - 159
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