American Cinematographer - December 2006 - 83

Humanity's Last Hope
looking at. The
that these
or

camera

two cops are

is telling you
also parents,

fascists, or whatever. The camera is
you to see something exter¬
the plot and saying that it is

inviting
nal

to

also

important. The camera is invit¬
ing you to see the context in another
way. I like that a lot."
The staging of handheld cam¬
era motion was the
subject of much
discussion between
Cuaron. "When the
on an

actor

who is

Lubezki and

camera moves

in

sitting, it distracts

me," says the cinematographer. "I

Theo

setting

crosses a

bridge to visit his friend in the Ministry of the Arts. This scene's futuristic

was also created by Double Negative. The ministry building was actually a composite
of two elements: London's Battersea Power Station and a bridge located over the M3

roadway in Surrey. Once a suitable bridge was located. Double Negative's 3-D team, led by
CG supervisor David Vickery, began augmenting the station with a glass structure to create a
building of the future. The designs for the glass structure were taken from actual plans for the
station's development, but were enhanced by the Double Negative team to match the
aesthetics of the film. Final touches included the addition of a sculpture to the right side of
the station and a CG floating pink pig (visible above the third chimney from the left), built by
Philip Johnson and anchored to the roof in homage to the cover of Pink Floyd's 1974 album
Animals. Finally, a matte painting of London was used as a background.

//two

didn't

want to

ence,

but Cuaron said that

feel the camera's pres¬
on

the

contrary, we should feel the camera¬
man, almost like in a documentary.
Sometimes the

difficulty doing
counterintuitive
camera

ing,

operator had
shot, because it's
to start moving the

camera

a

when the

or to

actor

let the actor

is not

mov¬

move out

of

frame. I still had in my mind a more
naturalistic approach, which is that

/)>)/. /. y

New from TECHNOCRANE: Precise and

repeatable

camera movements, the
tool for virtual sets and CGI.

perfect

www.technodolly.com

sample

3.0



American Cinematographer - December 2006

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

American Cinematographer - December 2006 - 1
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