{"id":10606,"date":"2020-10-14T18:25:17","date_gmt":"2020-10-15T01:25:17","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=10606"},"modified":"2021-05-30T17:46:55","modified_gmt":"2021-05-31T00:46:55","slug":"shes-back","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/shes-back\/","title":{"rendered":"She’s Back…"},"content":{"rendered":"

The demigoddess from Themyscira, who broke box office records (and the gender ceiling for superhero movies) soars back onto movie screens \u2013 and into the 1980’s.<\/span><\/p>\n

by Valentina Valentini \/ Photos by Clay Enos\u00a0<\/span>\/ Courtesy of Warner Bros.<\/span><\/span><\/p>\n

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\n

Wonder Woman<\/em>, the first superhero franchise<\/strong> with a female protagonist to open in theaters, exceeded all expectations for its distributor, Warner Bros., when it opened in 2017. The period story, set during World War I, was so successful, the question of a sequel was not if<\/em> but when<\/em>. That day has (almost) arrived with Wonder Woman 1984<\/em>, originally slated to open in March but rescheduled several times due to COVID-19 and now on track for a late December release. WW84<\/em>, the ninth installment in the DC Extended Universe, is also a period story but set in a time and place with which its director of photography, Matthew Jensen, ASC (who returns with Patty Jenkins again directing), is very familiar. \u201cI grew up near Alexandria, Virginia,\u201d Jensen reflects. \u201cIn 1984, I was 12 years old, so, unlike the first movie, this is a world for which I have direct visual references.\u201d<\/p>\n

In Wonder Woman 1984<\/em>, Princess Diana (Gal Gadot), who hails from the island nation of Themyscira, populated by Amazon women, is ensconced in Washington D.C. as her alter ego, Diana Prince, where she faces off with two new foes \u2013 Cheetah (Kristin Wiig) and Max Lord (Pedro Pascal) \u2013 threatening the safety of the world. As in the first film, we are shown glimpses of Diana\u2019s childhood in Themyscira, with the added story point of her reuniting with Steve Trevor (Chris Pine), her American-pilot boyfriend believed to be killed in the first film. For WW84,<\/em> Jensen\u2019s fourth superhero-focused film (including Chronicle<\/em> and Fantastic Four<\/em>), the DP took a low-key visual approach, which seems to be counterintuitive to a project of such massive size and scope.<\/p>\n

\u201cIt was the opposite problem with the first Wonder Woman<\/em>,\u201d Jensen states. \u201cFor that film we were dealing with a desaturated world, in terms of the sets and wardrobe, and had to re-introduce color. Here, my basic philosophy was to light the actors in a clean, neutral, and glamorous way while keeping those bold colors in the background; we wanted the actors to stand out from that environment, without overloading the visuals with an assault of neon-type lighting and color palette.\u201d<\/p>\n

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Director of Photography Matthew Jensen, ASC, says he was challenged on the first\u00a0Wonder Woman<\/em>\u00a0by a desaturated world, in terms of the sets and wardrobe, and had to re-introduce color. “Here, my basic philosophy was to light the actors in a clean, neutral, and glamorous way while keeping those bold colors in the background.”<\/figcaption><\/figure>\n

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Jensen\u2019s chief lighting technicians, led by Chris Prampin<\/strong> for the U.S. portion and David Sinfield for the international shoot, stuck to primary colors in the background, coming up with clever ways to introduce red, green, and blue lighting with fixtures. Close coordination with the art department and wardrobe was required because both had swathes of bold color within their palettes. Adds Jensen: \u201cI just felt like the less I did, the more that their work would show up and would add to the overall look.\u201d<\/p>\n

Patty Jenkins who, with Wonder Woman<\/em>, became the first woman to direct a studio-led superhero movie, had met Jensen on a dark comedy she was preparing to shoot in 2016. Jensen\u2019s work on Filth<\/em> (2013), shot on Kodak 35 mm, impressed her. His superhero movie experience was also a plus. \u201cMatt would have shot that dark comedy,\u201d Jenkins recounts. \u201cBut I ended up [shifting gears to] Wonder Woman<\/em>, which had much bigger challenges. I knew I needed someone like Matt who had done these epic-type films. I also knew his work was incredible \u2013 on Chronicle<\/em>, in particular, I thought the VFX and cinematography were beautifully blended.\u201d<\/p>\n

\u201cPatty keeps me on my toes,\u201d Jensen smiles. \u201cShe made it impossible to get complacent with the look or to ride the coattails of the first film. And we learned a lot from that first movie about what works well for this particular franchise. I certainly was very familiar with the actors and how to shoot them, but everything else was new.\u201d<\/p>\n

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\u201cAs tricky as IMAX is…the results are stunning,\u201d Jensen (above with Jenkins) notes of the decision to shoot two large sequences in the large screen format. “You get all the clarity and sharpness associated with digital, and the color fidelity that only film has; you have the benefit of film lenses and that great cinematic depth-of-field fall-off.”<\/figcaption><\/figure>\n

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The most dramatic change, capture-wise, for WW84<\/em>, <\/strong>which, like Wonder Woman<\/em>, was shot on film, was the addition of the IMAX format, which bookended two larger-than-life sequences. The decision to shoot IMAX was partly due to one of the film\u2019s producers, Oscar-nominee Chuck Roven, who had used the format on The Dark Knight<\/em> movies. \u201cAs tricky as IMAX is,\u201d Jensen notes, \u201cthe results are stunning. You get all the clarity and sharpness associated with digital, yet you have that color fidelity that only film has; you have the benefit of film lenses and that great cinematic depth-of-field fall-off. It\u2019s mind-blowing.\u201d<\/p>\n

First AC Ray Milazzo, who assisted on 90 percent of the IMAX capture for Chris Nolan\u2019s action film Tenet<\/em> (also from Warner Bros.) and had worked with Jensen on Fantastic Four<\/em> and I Am the Night<\/em>, agrees. \u201cI don\u2019t think in our lifetime we\u2019ll see a 15-perf digital sensor, so IMAX is your main option if you want to go with a larger format.\u201d<\/p>\n

Milazzo says there are challenges, but not because of the format itself.<\/p>\n

\u201cIt\u2019s expensive, it has to be custom ordered, it can\u2019t be returned, and Kodak needs at least a four-week lead to create the stock, which, of course, only gives three minutes of filming time for every 1,000 feet of 15-perf,\u201d he relates.<\/p>\n

\u201cLogistically it\u2019s big and cumbersome,\u201d adds Milazzo, who shot all of the 35-mm portions of\u00a0 WW84<\/em> and the D.C. portion of the IMAX sequences, and worked in tandem with U.K. 1st AC Sam Barnes for a smooth transition. \u201cOf course, you can also put [IMAX] into aerials, on a gyro, even on your shoulder if you want; you can do almost anything with it now. I just think people are apprehensive about it at the beginning.\u201d<\/p>\n

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The camera team looked at other Warner Bros. movies (The Dark Knight,\u00a0Batman v Superman: Dawn of Justice<\/em>, and Dunkirk<\/em>) that mixed \u00a0IMAX with 35mm capture. ” That 1.90 on an IMAX screen feels like your peripheral vision is suddenly filled with image and then shrinks back down,” Jensen explains, “so we worked to make that jump less perceptible.\u201d<\/figcaption><\/figure>\n

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Jensen and Jenkins wanted to shoot the entire project<\/strong> on 65-mm 5-perf for added clarity and resolution; but when that proved to have financial and logistical barriers, they decided to pick specific sequences to shoot in large format. Once IMAX was confirmed for the opening and closing sequences, 65-mm 5-perf was used to augment the dialogue portion of those IMAX sequences. And the two formats blended easily in the DI.<\/p>\n

The bulk of WW84 <\/em>was shot on Kodak Vision3 50D 5203, 250D 5207, and 500T 5219, creating a distinct jump in resolution between the IMAX 1.90:1 aspect ratio and the 2.39:1 of anamorphic 35 mm, and necessitating a 4K finish to ease those transitions. ALEXA 65 was used for an underwater section in the opening IMAX sequence, and ALEX XT for a scene at the Lincoln Memorial at night, as well as inside the L\u2019Enfant Plaza metro station. In both locations, strict restrictions prevented Jensen from lighting to the degree he needed for film, so a 1280 ISO was necessary, easily handled by the ALEXA XT\u2019s sensor.<\/p>\n

International filming, which included the Canary Islands and Almer\u00eda, Spain, was handled by the mainly U.K.-based crew. While the Washington D.C. unit featured a Local 600 team, A-Camera Operator Simon Jayes, SOC, accompanied Jensen overseas. Production meetings began right after Wonder Woman<\/em> was released, along with the first IMAX tests; shooting wrapped in December 2018 with some additional photography over summer 2019 and coloring in November.<\/p>\n

\u201cWe went through a rigorous testing process to outline our workflow, as it\u2019s complex when you\u2019re mixing these formats,\u201d Jensen explains. \u201cWe looked at The Dark Knight<\/em> and Batman v Superman: Dawn of Justice<\/em>, Dunkirk<\/em> and other Warner Bros. movies that had used IMAX, and how they presented in the theater. That 1.90 on an IMAX screen feels like your peripheral vision is suddenly filled with image and then shrinks back down, so we worked to make that jump less perceptible.\u201d<\/p>\n

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\u201cPatty loves the look of film,\u201d notes Warner Bros. Postproduction Supervisor Tim Grover.\u00a0<\/span>\u201cEspecially its sense of movement. The pans in digital particularly bother her. \u00a0Thank goodness we still have skilled staff who can do it [all on film]. Because it was definitely worth the effort.\u201d<\/figcaption><\/figure>\n

Ultimately, the mix of formats led to an all-4K release, which added<\/strong> another layer of configuring to the pipeline. Warner Bros. Postproduction Supervisor Tim Grover, whose credits include the Fantastic Beasts<\/em> films, Paddington 2<\/em> and Edge of Tomorrow<\/em>, came on early in prep to help with budgeting, scheduling, and lab-coordinating. \u201cThirty-five millimeter is straightforward,\u201d Grover describes. \u201cIt\u2019s just a matter of shooting on it, scanning once in 4K at Company 3, using those as our master files for rushes and the digital intermediate. The 65 millimeter and IMAX film were more complicated.\u201d<\/p>\n

With various ways to accomplish the blended formats, WW84<\/em> ultimately sent its film negative to FotoKem LA for processing, then scanned that footage at 2K as a temporary resolution on a pin-registered scanner, all of which meant a delay in seeing dailies. In some instances, the process took several weeks, and the more material shot in 65 mm, the further behind the team got. \u201cThe good thing,\u201d adds Grover, \u201cis that we had video assist that allowed the editors to cut with the video taps. They pretty much knew what they had, but official rushes clearance was not available until the negative had been processed and scanned, and no prints were made.\u201d<\/p>\n

Once dailies finally came, the editorial team would overlay with the video taps to cut and screen at a higher quality. Then the negative was rescanned at 8K to be used for visual effects plates. With that locked cut, non-VFX 65 mm was also scanned at 8K for the DI. De-spotting, an extremely time-consuming but necessary step to get the film cleaned to a high enough standard for the 2D 4K DCP\u2019s, 3D DCP\u2019s, IMAX, and Dolby Vision 2D\/3D DCP\u2019s, plus home-entertainment releases, was also employed.<\/p>\n

\u201cPatty loves the look of film,\u201d notes Grover. \u201cEspecially its sense of movement. The pans in digital particularly bother her. But, of course, these days, it\u2019s time-consuming to do it all on film, with labs who\u2019ve pared-down over recent years. Thank goodness we still have skilled staff who can do it. Because it was definitely worth the effort.\u201d<\/p>\n

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\u201cVFX is always trying to communicate clearly across every single department so that we don\u2019t end up in a conversation at the end where the director [isn\u2019t happy],\u201d describes VFX supervisor John Moffatt, whose credits include five of the Harry Potter<\/em> films, United 93<\/em> and Atonement<\/em>.<\/figcaption><\/figure>\n

Jensen describes Jenkins as a \u201cmethod director,\u201d meaning if the<\/strong> story calls for a battle scene on Pennsylvania Avenue or Amazons honing their skills on Themyscira, Jenkins wants to shoot those moments in Washington D.C. and on a tropical island, while keeping the CGI portions as seamless as possible. In that respect, VFX supervisor John Moffatt and his team of hundreds were on the same page.<\/p>\n

\u201cVFX is always trying to communicate clearly across every single department so that we don\u2019t end up in a conversation at the end where the director [isn\u2019t happy],\u201d describes Moffatt, whose credits include five of the Harry Potter<\/em> films, United 93<\/em> and Atonement<\/em>. \u201cI think there are many interpretations when someone tells me they want as little VFX as possible. My job is to understand what that means to them and why they\u2019re saying that. In this instance, it meant that if we could shoot it practically, we would.\u201d<\/p>\n

In fact, Jenkins began planning shots many months out to ensure as much of the film could be done in-camera as possible \u2013 a holdover, perhaps, from her days as a Local 600 camera assistant. One such example was a location Moffatt scouted in Spain\u2019s Masca Valley (chosen by Jenkins as a location for the opening shot of Themyscira), where maps of the area helped to build a previsualization of the scene, which in turn allowed Moffatt to help plot the helicopter\u2019s course for VFX plates. Working with Aerial Director of Photography Jeremy Braben, Moffatt rigged an IMAX film camera to the Shotover helicopter mount for specific backplates, to which he later added matte-painted elements and full CG environments. IMAX tiles of various valleys were also captured to help create distant views seen from within the stadium scene looking out to the island.<\/p>\n

\u201cIf what was shot practically needed changing or augmenting,\u201d Moffatt continues, \u201cthen we\u2019d always have it to use as a benchmark and the look-book as reference. What we try bringing to the table in VFX is knowing what the reference is for every single scene. If we\u2019re not on the same page, literally, then we\u2019re going to reach a point somewhere in the DI when I\u2019m presenting a shot as a final in the visual effects review, and the director is going say, \u2018That\u2019s not what I wanted because it doesn\u2019t look like what we shot.\u2019\u201d<\/p>\n

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Jensen’s aim to ground the movie in simplicity was apparent with camera movement, which the DP wanted reminiscent of 1980’s Steven Spielberg films.\u00a0\u201cThe modern approach is much more self-reflective, where the camera\u2019s aware of itself,” Jensen observes. “Raiders of the Lost Ark<\/em>\u00a0has quite a few long takes, but you don\u2019t realize it.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

As for Jensen\u2019s aim to ground the movie in simplicity, it was particularly<\/strong> apparent with camera movement. Jensen says he wanted it to be reminiscent of movies from that period \u2013 Steven Spielberg movies in particular. References included Close Encounters of the Third Kind<\/em>, and Indiana Jones: Raiders of the Lost Ark<\/em>. Both he and Jenkins sought that epic Spielbergian style, which often excelled at making technique invisible.<\/p>\n

\u201cThose movies did that so well,\u201d Jensen insists. \u201cThe modern approach is much more self-reflective, where the camera\u2019s aware of itself. Spielberg routinely did longer shots \u2013 Raiders of the Lost Ark<\/em> is made up of quite a few long takes, but you don\u2019t realize it.\u201d<\/p>\n

Jensen wasn\u2019t necessarily capturing very long takes, mostly 60 to 90 seconds, which operator Jayes says isn\u2019t common for action movies. \u201cThe goal was to let the action unfold in-camera rather than through cuts,\u201d reflects Jayes, who has worked with Jensen and Jenkins on I Am the Night<\/em>, and with Jensen on a few seasons of True Blood<\/em>.<\/p>\n

One prime example is the opening mall sequence, shot in Alexandria, VA in a recently closed mall that featured 60 stores. When Diana bursts into the mall to confront a group of baddies, we see a series of classic Spielberg-like camera moves \u2013 long tracking shots with handoffs in which the camera flows from a character\u2019s face down to what they\u2019re holding and back up to their face and then pans across the room to see a bad guy in the background.<\/p>\n

 <\/p>\n

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A-Camera\/Steadicam Operator Simon Jayes, SOC, who worked with Jensen and Jenkins on I Am the Night<\/em>, says he’s never been on a project “that has used such a wide range of equipment and specialized rigs,” including the\u00a0Libra remote head for wire work, as Diana lassos herself from one floor to another in the opening mall scene (above.)<\/figcaption><\/figure>\n

 <\/p>\n

\u201cWe were working on multiple planes of action,\u201d Jensen describes.<\/strong> \u201cSomething else we noticed about those 1980s action movies was that many seemed to want to place the viewer into the action like you\u2019re witnessing this spectacular action from a normal person\u2019s point of view. So, we\u2019d have a shot of Wonder Woman from the point of view of one of the mall bystanders.\u201d<\/p>\n

Adds Jayes: \u201cIt was a choice not to be aware of camera movements, and to place [the camera] where the action was unfolding. Rather than unmotivated camera moves, which call attention to the filmmaking, there were more handoffs between story points as the camera followed the action.\u201d<\/p>\n

Throughout the film, Jayes and his team used dozens of different tools to support the wide array of camera systems they were employing. In the mall, specifically, they got a lot of use from the Libra remote head for wire work, as Diana lassos herself from one floor to another. For other tracking shots, they utilized Super-Technocranes and electric Patriot Camera Cars, as well as dollies.\u00a0For the rest of the shoot in Europe, they relied heavily on a Maximus 7 remote head for A camera.<\/p>\n

\u201cI\u2019m not sure I\u2019ve ever been on a project that has used such a wide range of equipment and specialized rigs,\u201d Jayes concludes. \u201cI\u2019m forever grateful to the teams who made that all possible, especially [U.S. Key Grip] Walter \u2018Bud\u2019 Scott and [U.K. Key Grip] Kevin Fraser.\u201d<\/p>\n

Jenkins herself can\u2019t overstate the importance of collaborative teamwork in helping to bring Wonder Woman back to the big screen. \u201cI [want] everybody talking constantly. I used to be very one-on-one with my creative meetings and a bit private about the process,\u201d she concludes. \u201cBut making these big movies, I\u2019ve realized that having creative meetings in front of everybody becomes so important because somebody down the line might have to carry something through, and if they\u2019re hearing you and the DP talk about it, they can better understand the intention of things; and that\u2019s a real benefit.\u201d<\/p>\n

 <\/p>\n

\"\"
Jensen says his director (above with Chris Pine) “made it impossible to get complacent with the look or to ride the coattails of the first film. And we learned a lot from that first movie about what works well for this particular franchise,” he concludes.<\/figcaption><\/figure>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The demigoddess from Themyscira, who broke box office records (and the gender ceiling for superhero movies) soars back onto movie screens \u2013 and into the 1980’s. by Valentina Valentini \/ Photos by Clay Enos\u00a0\/ Courtesy of Warner Bros.   Wonder Woman, the first superhero franchise with a female protagonist to open in theaters, exceeded all expectations for its distributor, Warner Bros., when it opened in 2017. The period story, set during World War I, was so successful, the question of […]<\/p>\n","protected":false},"author":2,"featured_media":10623,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-10606","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nShe's Back... - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/shes-back\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"She's Back... - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"The demigoddess from Themyscira, who broke box office records (and the gender ceiling for superhero movies) soars back onto movie screens \u2013 and into the 1980’s. by Valentina Valentini \/ Photos by Clay Enos\u00a0\/ Courtesy of Warner Bros.   Wonder Woman, the first superhero franchise with a female protagonist to open in theaters, exceeded all expectations for its distributor, Warner Bros., when it opened in 2017. 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