{"id":2068,"date":"2012-06-01T16:08:45","date_gmt":"2012-06-02T00:08:45","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2068"},"modified":"2014-05-29T23:09:36","modified_gmt":"2014-05-29T23:09:36","slug":"men-of-action","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/men-of-action\/","title":{"rendered":"Men of Action"},"content":{"rendered":"

Stephen Windon, ACS and his Local 600 crew become \u201creal American heroes\u201d for this summer\u2019s mega-action flick, G.I. Joe: Retaliation<\/em><\/strong><\/p>\n

Come on, admit it. When you were a kid you fashioned a mountain range from couch cushions and staged a daring climb for your G.I. Joe figures. Maybe you dreamt up fantastical fight sequences and car chases, earning bonus points for any realistic explosions using caps and small fireworks. Today, of course, most kids do it all in video games. But no matter the medium, it\u2019s still a fact of childhood that if you can dream it, your action hero can be it.<\/strong><\/p>\n

Director Jon Chu (Justin Bieber: Never Say Never<\/em>) is no exception. Getting to direct G.I. Joe: Retaliation<\/em> was a childhood dream come true. (His favorite Joe was Roadblock [portrayed in the film by Dwayne Johnson], a big guy who was always rhyming and having fun.) \u201cHe was the glue that kept G.I. Joe together,\u201d recalls Chu, who also was a fan of superhero movies \u2013 especially Batman. \u201cI love a fantastical world grounded by human beings \u2013 that\u2019s where I got a lot of inspiration. Joes are real human beings. No matter how extraordinary they are, they have the same issues my family or team has.\u201d<\/strong><\/p>\n

That grounding set the stage for Chu\u2019s telling of the action figure\u2019s story<\/strong> in G.I. Joe: Retaliation<\/em>. Or as the film\u2019s director of photography, Stephen Windon, ACS, explains: \u201cThough turning a toy into a film character in front of our cameras could be considered fantasy, Jon and the filmmakers agreed that we could really take a ride with the \u2018Joes.\u2019 Sweat, scratches and battle scars, scuff marks on a helmet or costume help us believe that these characters really exist.\u201d<\/p>\n

To nail the look and feel, Windon and Chu referenced old costume designs sent over by Hasbro, the toymakers who created the G.I. Joe action figure in 1964, and then later a team of \u201cJoes\u201d who do battle with the evil action figure, Cobra, bent on world domination through terrorism.<\/p>\n

\u201cThere were such different worlds [in the film],\u201d Chu continues. \u201cPakistan, a dojo in Japan, a run-down gym and Arlington cemetery \u2013 we needed a palette for each one. We also didn\u2019t want it to be cartoon-y, so we planned texture-on-texture, pattern-on-pattern. The dirtier the better, because we were going to such fantastic extremes, and you have to ground that.\u201d<\/p>\n

\"\"<\/p>\n

The pair\u2019s unique workflow included carpooling to the set each day. \u201cI\u2019ve never done that before,\u201d Chu states. \u201cYou have to get up a little earlier, but it was the most helpful thing. Those were the moments when Stephen and I would go through cut lists or whatever and come up with new ideas. You\u2019re putting yourself in a position to create. Nothing\u2019s forced. That\u2019s where the magic happens.\u201d<\/p>\n

Windon was equally inclusive with his camera department, running through most days\u2019 events at crew call. \u201cHow I see the shots, mud maps of camera positions with lenses and frame rates, whether on a crane or dolly, handheld, et cetera,\u201d the DP explains. \u201cMy key first assistant, Greg Irwin, and I have worked on many films together, and we applied this strategy to our bigger action days.\u201d<\/p>\n

In fact, Windon relied on Irwin from the early stages of prep, whether it was helping to apply the conceptual style in a practical way or accompanying him on a location scout to better understand logistical challenges. \u201cIt\u2019s great to be included this much in pre-production, and Steve is the only DP that has done that for me,\u201d Irwin says. \u201c[The knowledge] allows me to convey these challenges to my entire crew so we have a better understanding of our goals. Interdepartmental communication is paramount, and having a camera crew that is at the top of their craft is crucial. I had both.\u201d<\/p>\n

Of course a cohesive approach was also key in creating authentic on-screen action, achieved through a mix of live action and CGI. \u201cI like to spend a lot of time with the director before we even build a set,\u201d Windon describes. \u201cMarking up on the stage floor or going to locations and simply taking in the space and environment. Quite often Jon and I would use models and miniatures to stage the action sequences. Once sets are close to being finished, I like to spend more time there with the director prior to shooting.\u201d<\/p>\n

One such sequence involved high- and low-tech planning. In it, Ninja Joes and their foes tangle on a craggy mountainside. The action included climbing and zip-lining on a near-vertical rock face.<\/p>\n

\u201cWe had to do previs to get everyone on the same page,\u201d Chu says. \u201cI worked with a great mountain climber [and stunt coordinator] Paul Borne. We grabbed a bunch of G.I. Joes and used the couch to make a set [to determine] the timing and physics of how it would work. We had to block how the ninjas and bad guys would fall, how they\u2019d zip-line. It was hilarious.\u201d<\/p>\n

\"\"<\/p>\n

Background plates for the scene were shot on location at Butte Mountain, near Whistler, British Columbia. The second unit crew, led by director George Marshall Ruge and DP Patrick Loungway, included an aerial team, stunt people, a crane and handhelds used by mountaineers suspended on platforms along the cliff. \u201cWe worked out every detail that we could through two months prep and one month scouting,\u201d says Borne. \u201cFilming at over 9,000 feet on a remote snow-covered mountain with our only access via helicopter is serious.\u201d<\/p>\n

\u201cSteve [Windon] was very clear what he was going for,\u201d Loungway adds. But Fred North, the pilot, assessed the original location and realized there was very little room to get in there. \u201cIt was really limited in what we could achieve practically and safely,\u201d Loungway says.<\/p>\n

Despite the logistical challenges, North, and aerial DP David B. Nowell, ASC, who have worked together on demanding action sequences for the Pirates of the Caribbean<\/em> series and Terminator Salvation<\/em>, were confident they could exceed expectations. \u201cSome things in the previs are impossible,\u201d Nowell explains. \u201cYou see what they want, but the person designing it has no idea of what the terrain or local conditions really are. Often, the look from the ground is spectacular, but the helicopter can\u2019t get that close. I always say we try to get them what they want, then give them what they need.\u201d<\/p>\n

Nowell relied on North\u2019s expert flying skills. He used an Eclipse with an ARRI 435 \u2013 modified with a high-def video tap because he couldn\u2019t actually look through the viewfinder. Framing was anamorphic using KODAK VISION2 50D Color Negative Film 5201. \u201cWe exploited the capabilities of the camera system so we could look down and still roll and pan,\u201d Nowell explains. \u201cWe got shots looking straight down on the people on the zip-lines going through pillars of rock. Lots of quick cuts.\u201d<\/p>\n

Next they shot at an 11,000-foot sheer granite cliff. Previs showed two of the Ninja Joes, Snake Eyes (Ray Park) and Jinx (Elodie Yung) hiking to a vantage point to get to a monastery where a fight would later take place.<\/p>\n

\"\"<\/p>\n

\u201cWe went in for beauty shots at first, but when they saw what we could do, they wanted more,\u201d Nowell notes. \u201cWe had the stunt doubles walk on the ridge line. I was using a 250-millimeter lens so I could get tight waist-to-figures with the background whirling around. We opened it up to the vistas, the terrain, snow, ridgelines and cliffs. It just kept evolving. That\u2019s how it works with aerial. The visual effects supervisor James Madigan, VES said [opening it up] made the sequence.\u201d<\/p>\n

Adds Loungway, \u201cIt\u2019s nice for CG to have something to start with so they\u2019re not creating [imagery] that has no basis in reality. And [the platework] set the tone for what we recreated on the giant green screen at NASA. That exterior work set a high standard for veracity.\u201d<\/p>\n

Ah, yes. The green screen. Windon says he would have preferred<\/strong> to shoot daytime scenes requiring chroma screen photography in an exterior environment. \u201cI can shoot in mostly natural light, using sun control and large overheads from boom lifts and cranes,\u201d he states. \u201cBut the schedule determined that we had to shoot interior green screen on a stage.\u201d Not just any soundstage \u2013 the set was constructed inside a shuttered NASA Michoud Assembly Facility outside of New Orleans. The building, where the Space Shuttle fuel tanks were manufactured, provided a 200-foot ceiling that was perfect for recreating the mountainside and many other sequences. \u201cIt took three weeks to pre-rig, all lights and fixtures set up through dimmers for shooting day and night sequences,\u201d says Windon.<\/p>\n

To aid in matching the green screen capture, Windon asked Loungway and Nowell to shoot as much as they could on the shaded side of the mountain range. \u201cThis would help a lot as I believe you cannot shoot wide green screen \u2018environmental\u2019 shots on a sound stage and recreate sunlight,\u201d Windon says. \u201cPerhaps on a stylized fantasy movie, but not G.I. Joe<\/em>.\u201d<\/p>\n

The sequence required an enormous amount of lighting. \u201cGaffer Andy Ryan set up 8 hybrid helium balloons, a mix of tungsten globes and HMI [from Sourcemaker],\u201d Windon continues. \u201cI wanted the slightly cooler color temperature from above as this matched the crisp blue skies from the plate photography in B.C. and reflected nicely in the ninja costumes and provided natural skin tones. This was supplemented with 15 x 20Ks bounced off 40-foot by 40-foot ultra bounce.\u201d<\/p>\n

\"\"<\/p>\n

Loungway says the cavernous structure enabled the crew to act as if they were really shooting on the side of a cliff. \u201cWe imagined how we\u2019d shoot it if we where there \u2013 using a helicopter or a mountain climber in position,\u201d he relates. \u201cWe had as much freedom of movement as possible. Those shots were fanciful \u2013 you could never shoot in that real environment because you could never rig it.\u201d<\/p>\n

The final result delighted the director. \u201cI love the sequence because I\u2019ve never seen climbing like that \u2013 it was almost like anti-gravity Jedis!\u201d Chu relates.<\/p>\n

The NASA location also was used to film a scene in which the Joes raid a villain\u2019s nuclear weapons facility. \u201cFor this sequence, we had up to eight cameras working on all levels of this building everyday, top to bottom,\u201d Irwin recalls. \u201cIt was great fun to shoot but it was a logistic nightmare. It was a military raid, so we fired thousands of rounds of ammunition that left all of us a bit shell shocked. It takes all of my concentration to not jump, keep my eyes open and perform my job.\u201d<\/p>\n

Michoud wasn\u2019t the only draw for shooting in Louisiana. The City of New Orleans and Louisiana both offer tax incentives ranging from money spent with Louisiana-based companies to rebates for hiring local employees. \u201cThe reason for filming as many practical locations in the New Orleans and surrounding areas is because of the many iconic locations,\u201d explains Elston James Howard, the film\u2019s location manager. \u201cOne of the more unique examples is when we filmed for several weeks at Fort Pike, which is a national historical Civil War fort that is still in pristine condition.\u201d Another key location was an old gravel pit in St. Francisville, northwest of New Orleans. \u201cOnce a gravel pit has been stripped of all the existing gravel it becomes a landscape of white sand,\u201d Howard says. \u201cWe needed a desert-like environment for one of our ambush scenes, making this the obvious choice.\u201d<\/p>\n

Cool, right? Not so much. \u201cThe daytime temperature of the sand was measured at over 140 degrees Fahrenheit! The air temp was close to 100 degrees with intense humidity and we were all humping loads of camera gear over and through the sand dunes,\u201d Irwin recalls. \u201cAt night there was little relief since the humidity would increase leaving everyone and everything hot and wet. That was brutal.\u201d<\/p>\n

But it wasn\u2019t all bad, says second unit A-camera and steadicam operator Colin Hudson. \u201cThis is my ninth job in Louisiana, most of them in New Orleans,\u201d he says. \u201cIt\u2019s filled with good people, good crew, good drinks and good food. I have no problem shooting there. If they closed their bars earlier we\u2019d probably get more sleep.\u201d<\/p>\n

\"\"<\/p>\n

Everyone on the <\/strong>Joe<\/em><\/strong> camera team needed a good night\u2019s sleep<\/strong> for the super-charged fight scene between Snake Eyes and Jinx on a dojo rooftop (also shot at the NASA facility).<\/p>\n

\u201cWe used extensive Steadicam,\u201d Hudson describes, \u201cto keep the camera wide for the full visual of the swordplay, quick wrap-arounds and push-ins to see the details of the characters\u2019 expressions, or even a cut on Snake Eyes\u2019 hand. I got to fly the Arri 235, which allowed me to really use whip pans and aggressive operating.\u201d<\/p>\n

The sequence was broken into several parts.<\/p>\n

\u201cStarting in the dojo, jumping out onto trees, through swinging bells, into a hallway and ending up back outside knee-deep in a koi pond,\u201d Hudson recounts. \u201c[It was] incredibly fun \u2013 but made our 1st AC, Jimmy Jensen, hate me because of all the changing focal distances. But because Jimmy was so good, he got it right.\u201d<\/p>\n

\u201cEverything\u2019s a bigger deal on action films,\u201d adds Chu. \u201cThat can draw your focus away from telling the story with the actors and the cameras. But on this film, everybody was on point and that allowed me to make sure we got the shots.\u201d<\/p>\n

Windon\u2019s trick on big-budget action flicks (his r\u00e9sum\u00e9 includes two films in the Fast and the Furious<\/em> franchise and the upcoming Fast and Furious 6<\/em>) is to keep a small checklist attached to the back set security ID. \u201cCamera movement, camera speed, shutter and story, just words that apply to that production,\u201d he explains. \u201cYou may not use them all or any of them for that matter; it just gets you thinking about what what\u2019s important [to an action film\u2019s success]. Even for a one- or two-second shot, there is always added energy when the camera can move.\u201d<\/p>\n

As for Chu, he says he can\u2019t wait for the film to hit theatres. \u201cWhen you\u2019re dealing with G.I. Joe and multiple companies, it can be overwhelming,\u201d he admits. \u201cBut G.I. Joe inspired me as a kid to create. I\u2019m convinced I learned storytelling from playing with my toys. To pass that on and spark kids\u2019 imaginations is really great. That\u2019s what I\u2019m looking forward to the most.\u201d<\/p>\n

By\u00a0<\/em>Margot Carmichael Lester \/ photos by Jaimie Trueblood\/Paramount Pictures<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Stephen Windon, ACS and his Local 600 crew become \u201creal American heroes\u201d for this summer\u2019s mega-action flick, G.I. 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