{"id":2660,"date":"2013-04-03T12:02:16","date_gmt":"2013-04-03T12:02:16","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2660"},"modified":"2014-06-05T19:22:59","modified_gmt":"2014-06-05T19:22:59","slug":"exposure-joseph-kosinski","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/exposure-joseph-kosinski\/","title":{"rendered":"Joseph Kosinski \u2013 Oblivion"},"content":{"rendered":"

After the success of Alien<\/em>, in 1979, director Ridley Scott became involved in an attempt to adapt the science-fiction classic Dune<\/em> to the big screen. In attempting to convince acclaimed fantasist Harlan Ellison to pen the screenplay, Scott remarked, \u201cThe time is ripe for a John Ford of science-fiction films. I\u2019m determined to be that director.\u201d<\/p>\n

<\/p>\n

Blade Runner<\/em> and three decades later with Prometheus<\/em> notwithstanding, Scott never made good on that promise. But an exciting new filmmaker named Joseph Kosinski might very well take up the \u201cFord of Sci-Fi\u201d mantle. Prior to coming to the attention of David Fincher and signing with Anonymous Content, Kosinski had studied engineering and worked as an architect, often employing the same design tools utilized by major VFX houses.<\/p>\n

An innovative visual style characterized his spots for the Xbox game Halo 3<\/em>, as well as for BMW, Chevrolet and Nike. Kosinski\u2019s commercial for Gears of War<\/em> utilized the game\u2019s actual engine, and he shot performers going to war on a mocap stage, which bypassed the need for extensive CG rendering. Once linked to a remake of Logan\u2019s Run <\/em>and currently attached to a new version of The Black Hole,<\/em> Kosinski, as Kevin H. Martin found out, made the leap from commercials to features with Tron: Legacy<\/em> (2010), followed by his newest release, Oblivion<\/em>, a project he first began to develop back in 2005.<\/p>\n

ICG: Did your original concept for <\/strong>Oblivion <\/em><\/strong>change once you started the film?<\/strong> Joseph Kosinski: I was trying to get my foot in the door for commercials and music videos when I began, so it was initially meant to be a small first feature with a much smaller budget. It was a character-driven story with a modest-sized cast set against a much larger backdrop. Having survived the development process, the story is essentially the same as I conceived it, just much greater in scope, with major movie stars.<\/p>\n

You also developed <\/strong>Oblivion<\/em><\/strong> as a graphic novel, a popular format in Hollywood these days.<\/strong> We were working on an illustrated novel of the story, and circulated what in the industry is called an \u201cashcan,\u201d an opening chapter\/preview with eight sample images. We gave them away at Comic-Con in 2008, and that is what got the attention of Tom Cruise. He actually called me about it, and when we sat down I pitched him the full movie. We continued to develop the graphic novel in parallel with the screenplay until I realized having people experience this story as a film first would be preferable.<\/p>\n

With the book you would essentially be publishing spoilers about the movie.<\/strong> Exactly, I didn\u2019t want to sacrifice the effect of those twists and turns in advance of the film coming out. Though we may still revisit that after the film release, if there\u2019s sufficient interest. The ashcan and graphic novel are great ways to pitch a movie, and it makes a lot of sense to show the world what your ideas for a new environment look like.<\/p>\n

Part of the way you\u2019ve chosen to showcase that new environment comes from your choice to shoot on the high-resolution Sony F65.<\/strong> My DP Claudio Miranda and I have always been first-generation users. For some reason our projects seem to line up well with the production of new cameras: first the F23, then the F35 and now the F65. For me, it was very important to have 4K for this film. I looked at 48 FPS and other systems, but 4K and 24 FPS felt right for what is a largely in-camera big-budget science-fiction film with extreme location looks. I wanted a camera that could capture the beauty of Icelandic landscapes plus the detail featured in our built-in-studio environments [laughs].<\/p>\n

And did it respond well to the extreme conditions?<\/strong> It doesn\u2019t get much more difficult than bright skies and light-colored suits against black sand, so Claudio was really pushing things in terms of dynamic range. But this camera seemed to have a stop or two more than the F35. Also, the Sony cameras in general seem to render skin tones and color in a way that feels very natural to me. I\u2019m super-pleased with how the camera performed \u2013 especially since it came to us pretty much off the assembly line, and we had to do software updates all along the way.<\/p>\n

Was there any particular technical challenge that caused you the most concern?<\/strong> That would be our main character\u2019s home in the clouds, the Sky Tower. It featured a lot of glass and reflective surfaces, and I was not going to use blue screen or green screen, which would compromise the look I wanted. So we went with projected backgrounds. For 2001<\/em>, Kubrick had medium-format stills front-projected onto 3M material during his \u201cDawn of Man\u201d sequence with the apes. Our approach was in that vein, but we shot a week of sky plates with three 5K Epic cameras in an array atop a volcano on the island of Maui. Using 21 projectors, we projected that 15K imagery onto a giant cyc surrounding the sky tower set, which was actually lit by these huge projections.<\/p>\n

How could you pull that off photographically? <\/strong>By rating the F65 at 800 ASA and shooting wide-open most of the time. All the reflective elements that can\u2019t be readily used in a conventional keying process are allowed, and everything looks better because of the naturally occurring light interaction on those elements. You can see the view reflected in the eyes of the actors, so they\u2019re really in that world without any need for post work. Claudio deserves an enormous amount of credit; he figured out how to make this complex technical system work for us.<\/p>\n

It sounds like an approach that satisfied aesthetics and economics.<\/strong> There\u2019s no compositing that can match lighting done for real on the day. That\u2019s because there\u2019s no faking that level of interactivity. And once people realize what we did and how it was done, they\u2019ll see what it could mean for costs on the back end with visual effects. Our movie should have been a 1,500-plus VFX shot show, but instead we came in at a number closer to 800, plus you have footage that is just finished on the spot.<\/p>\n

Based on the trailer it looks like you have some futuristic version of an aerial dogfight, with the star of <\/strong>Top Gun<\/em><\/strong> in the cockpit.<\/strong> [Laughs]. Tom is a licensed pilot who flies everything from helicopters to aerobatic planes, so having an actor who really knows aircraft is a big part of selling that aspect. Additionally, we gimbaled his ship, and Claudio built a lighting rig to address a variety of environments. All of this together helps build the idea that we\u2019re flying along with our main character in this machine, almost as if you\u2019re sitting there with him, which makes for a very visceral experience.<\/p>\n

A lot of your early commercials were VFX-heavy, yet with <\/strong>Tron<\/em><\/strong> you built as much of the environment practically as possible \u2013 a trend you\u2019re continuing here. <\/strong>The first spot Claudio and I did together was entirely green screen; there wasn\u2019t a single physical set. So [Oblivion<\/em>] is a full circle back toward Tron, where so much was done in-camera. In science fiction, you want to preserve the illusion as much as you can so people can lose themselves in the story. Being able to go on location in Iceland really helped Claudio and me to maximize the cinematic experience.<\/p>\n

What are your plans for tackling <\/strong>The Black Hole<\/em><\/strong>?<\/strong> We\u2019re working on that script at Disney now, and there are some very exciting ideas, as I love science and astronomy. I went to Space Camp back in the 80s when it was the thing to do \u2013 not the cool thing to do, but the thing to do. [Laughs.]<\/p>\n

So it will be based on solid science?<\/strong> What actually happens in the area of space surrounding black holes sounds like science fiction but it\u2019s not. And being able to depict such an environment, exploit that in the context of a movie \u2013 a real<\/em> science-fiction movie that deals with the drama of manned spaceflight and time dilation issues in a realistic way \u2013 could be incredible. Lots of movies don\u2019t go that far. 2001<\/em> is probably still the benchmark. Kubrick didn\u2019t just hire concept illustrators; he hired NASA engineers to design a lot of that, which is why it still holds up, instead of playing like a Flash Gordon<\/em> serial.<\/p>\n

Why are you drawn to science fiction?<\/strong> It\u2019s an inspiring genre, where stories can be told in different and exciting ways. There are times when I\u2019m halfway through post, going through endless visual effects reviews, that I start telling myself to go shoot a movie that doesn\u2019t need all this, get it in-camera without any effects at all. But when you actually finish and can see what everyone\u2019s come up with, you realize there is no limit to what can be put on the screen, and that makes it all fun again. Ninety-nine percent of the time, making films is not glamorous; it\u2019s just a whole lot of hard work, so it needs to inspire you every day. A big part of the reason I can be happy to get out of bed and go to work comes from the thought of getting to invite people along to some other world we\u2019ve made for them. These kinds of stories do that for me.<\/p>\n

Photo by David James<\/p>\n","protected":false},"excerpt":{"rendered":"

After the success of Alien, in 1979, director Ridley Scott became involved in an attempt to adapt the science-fiction classic Dune to the big screen. In attempting to convince acclaimed fantasist Harlan Ellison to pen the screenplay, Scott remarked, \u201cThe time is ripe for a John Ford of science-fiction films. 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