{"id":2952,"date":"2014-03-19T15:40:54","date_gmt":"2014-03-19T15:40:54","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2952"},"modified":"2014-06-03T18:28:58","modified_gmt":"2014-06-03T18:28:58","slug":"split-level","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/split-level\/","title":{"rendered":"Split Level"},"content":{"rendered":"

Alwin K\u00fcchler, BSC, reflects a myriad of new looks for the Chicago-set YA thriller Divergent<\/i><\/strong><\/p>\n

<\/p>\n

Divergent<\/i>, based on the first of Veronica Roth\u2019s popular juvenile novels, is a futuristic tale of society segregated into separate factions based on the aptitudes of each individual. Enter Tris (Shailene Woodley), a \u201cdivergent\u201d who fits into not just one of the castes, but three. After choosing the Dauntless faction, she undergoes various rites of passage before discovering a plot that will cause war throughout her pocket civilization, set in the scarcely inhabited region of Chicago.<\/p>\n

\u201cCreating a whole new world is a great challenge<\/b> for any filmmaker,\u201d states director Neil Burger (Limitless<\/i>, The Illusionist<\/i>). \u201cBut I didn\u2019t want all-digital skylines with miles of CG buildings, because for me I still see the synthetic origins. I wanted the effects of real sunlight and wind, with all the irregular shadow and light interaction from real buildings.\u201d Striving to give the film its own unique look and energy, Burger chose to shoot on the streets of Chicago. \u201cWhile we did futurize it to some degree, most modifications were subtractive processes, removing aspects that screamed \u2018present day.\u2019\u201d<\/p>\n

Describing a sequence that evokes memories of Paul Atreides\u2019 riding a huge sandworm in Dune<\/i>, the director found the film\u2019s train scenes emblematic of helping to set the realistic tone. \u201cThe characters climb up to the El, jump on, then later disembark by leaping from the still-speeding train,\u201d says Burger. \u201cI didn\u2019t want to rely heavily on CG or green screen or do it all on stage; I wanted my actors running alongside some physical representation [of a train] moving along tracks. That established my approach to dealing with this world, getting as much in camera and on location as possible, using CG as embellishment to that reality. We strove for getting 80 percent of what was in frame to be real, which gave us action that had some real and messy energy.\u201d<\/p>\n

Among Burger\u2019s key collaborators was Alwin K\u00fcchler, BSC, who recalls how Burger had liked the quality of light the cinematographer had captured in Hanna<\/i>. \u201cI\u2019m attracted to directors who like to create their effects on set,\u201d K\u00fcchler shares, \u201cbecause it benefits the actors as well as the visuals. Sunshine<\/i> with Danny Boyle was like that. To represent a giant spaceship viewing screen, I created a massive curtain of reflective, CD-sized gold and silver discs. The actor sitting there had so much to respond to with this immense light. You can see his iris responding, and there\u2019s beauty in the truth of that response to a genuine environment. Neil, like Danny, shares that philosophy, rather than hoping for something to emerge in post.\u201d<\/p>\n

\"\"<\/p>\n

\u201cNeil wanted to convey up front that this city is a successful model world,\u201d K\u00fcchler adds, \u201cbut then as things go along, we see darker aspects to it. He said it shouldn\u2019t look<\/i> like dystopia, that the point was to make it seem like utopia. In many ways, it would have been easier to create a straightforward dystopia, relying on our many tools for lighting, plus set dressing.\u201d<\/p>\n

Production designer Andy Nicholson<\/b> and VFX supervisor Jim Berney [Exposure, page 32] scouted Chicago to figure out the division between practical and VFX builds. Nicholson notes that the novel didn\u2019t provide reasons for Chicago\u2019s isolation. \u201cWe had to address the relevant story issues visually, but without the cues you\u2019d take from a William Gibson or Robert Heinlein book. Looking back in time from present day to see what the buildings were like in the past gave us a good idea about how some things remain while others get replaced.<\/p>\n

\u201cChicago gave us many great gifts,\u201d Nicholson continues. \u201cBut the most important was its industrial 1930s look. Hancock Tower is 50 years old and well maintained, and it\u2019ll still be there a century from now. Along with glass and steel, granite is used throughout the city to protect against atmospherics, aiding preservation. We could keep aspects of the real Chicago, but alter them, showing how the inhabitants use skyscrapers to anchor wind turbines that power the city.\u201d<\/p>\n

Monitor displays were of particular concern, with the screen surface designed to resemble a flexible printed material more than a conventional screen with lights.<\/p>\n

\u201cSo much of the design graphics from the last five years look like they came from the same mind and toolset,\u201d adds Nicholson, \u201cwhich really annoys me as I find it dangerously self-referential. That\u2019s opposed to Blade Runner<\/i> and 2001<\/i>, which pulled from literature and genuinely good innovative design, both architectural and scientific. Instead of a fancy extrapolation from the designer Mac look, I went for utilitarian.\u201d<\/p>\n

Nicholson drew on his Gravity<\/i> experience, referencing the Soyuz capsule\u2019s screens. \u201cEven though they were in Russian, those user interfaces were simple enough to figure out in three minutes,\u201d he says. \u201cComputer-graphic designer Derek Frederickson did some great work for us in this vein, using AfterEffects.\u201d To guarantee that actors would be providing credible interaction with the to-be-inserted screen graphics, green screen pads with numbered spots cued their movements.<\/p>\n

Even after the decision was made to capture<\/b> via ALEXA, K\u00fcchler strove to attain a film-like quality. \u201cIn the photochemical era, our visual expression came from both lens and filmstock choices,\u201d he offers. \u201cBut now, lenses are the prime tools with which cinematographers make their aesthetic calls. Those range from image cleanliness, choosing to bake flares into the image and including lines that go softer toward the edges of the frame. With this in mind, I chose PVintage lenses that Panavision has rehoused. The glass is older with more imperfections and a wonderfully irregular falloff that fought the cold, soulless look of digital. These lenses provided a softer look to the skin, too; I strongly believe your look has to come through the glass, and if you use filters on the camera to soften, it won\u2019t be anywhere near as effective.\u201d<\/p>\n

\"\"<\/p>\n

K\u00fcchler does allow that \u201cthe toe of the shadows on digital is interesting, and that gave us some nice visuals. Since the film is really Tris\u2019 journey, we tried to keep things subjective to a degree, staying close to our lead actress to see how the environment registers on her face, even well into the shadow area, and how it all affects the character\u2019s psychology.\u201d<\/p>\n

Burger drew the storyboards for a sequence in which Tris enters a dream-like state and sees herself reflected in myriad ways.<\/p>\n

\u201cThis is a controlled nightmare designed to challenge and test her,\u201d the director explains. \u201cThere\u2019s a psychotropic element to a landscape in which she faces her fears while being monitored, which is a thing apart from most dystopic movies. It begins with a single mirror running the length of one wall. She looks to one side and sees another wall with a mirror, and suddenly it is all a four-walled mirror in a dream. I wanted to see her step into that world of infinite reflections in all directions, right through the reflections geographically, even as they react optically.\u201d<\/p>\n

Another artist elaborated on Burger\u2019s boards, allowing the sequence to be refined with stand-ins before a full previsualization was built. To differentiate these dreams from the rest of the film, Panavision\u2019s E anamorphics were employed, along with a +1 diopter.<\/p>\n

One aspect that subtly futurized Chicago<\/b> was the use of cutting-edge lighting instruments contrasting with the more ancient post-industrial aesthetic. \u201cWhen they presented me with the spaces for some sets, I worried how many units I\u2019d need and how much it would cost to light these areas,\u201d K\u00fcchler recalls. \u201cGaffer Len Levine helped me create looks that met the challenge using LED units: Ohms, TruColor HS & Fotons from PRG, plus miles of LED ribbon from Litegear, integrated into custom plexiglass forms.\u00a0 Plasma lights, which actually originated with Tesla and offer a slight fluctuation, came from Hive Lighting.\u201d<\/p>\n

Referencing the light in the Flemish oil painting of Brueghel\u2019s farmer at a table in candlelight, K\u00fcchler replaced the candle with the small, intensely bright plasma lamp.\u00a0 Second unit DP Jake Polonsky reports that \u201cLen and Alwin embraced the idea of new lighting units to get that different look. The Studio Force units were unbelievably powerful, doing the work of a physically much larger Fresnel lamp.\u201d<\/p>\n

\"\"<\/p>\n

Much of the film is set in the domain of Dauntless, built locally as a 220- \u00d7 120-foot pit. Tunnels winding their way out of the pit provided a variety of shooting perspectives looking both into and away from the cavernous base. \u201cThe tunnels and sleeping quarters are very low-light,\u201d notes K\u00fcchler. \u201cSurelight, a company in England, makes lighting strips with a turquoise glow that are three to four inches wide. The kind of lurking-in-the-shadows feel becomes more prevalent as the film goes on, with Dauntless initially seeming very appealing before turning frightening.\u201d<\/p>\n

Iconic Chicago locations included the Ferris wheel at Navy Pier (a rare crane day), and Cinespace Film Studios. Shooting was predominantly handheld and Steadicam, even while on dollies, with two cameras wide and tight, transmitting wirelessly via Paradox.<\/p>\n

\u201cA-camera operator Martin Schaer and B-camera\/Steadicam operator David J. Thompson are just fantastic at their jobs,\u201d enthuses K\u00fcchler. \u201cThey can deliver whatever you need but also contribute intelligent suggestions that make you look good. I have a huge trust in key grip Jim Shelton as well, who volunteers many creative solutions.\u201d In fact, the whole crew happily pushed to accommodate Burger\u2019s vision, as A-camera 1st assistant Trevor Loomis laughingly recalls: \u201cEvery <\/i>day of this shoot was hairy in some way. Even day exteriors weren\u2019t much above F4.\u201d<\/p>\n

Arriraw was recorded in 4:4:4 to Convergent Design\u2019s Gemini and to cards as backup, with media passing from the ACs to an online representative of Efilm. DIT Nate Kalushner and 2nd unit\/splinter unit DIT Robert Cauble colored the live image and created LUTs, while also pulling wireless iris as needed.<\/p>\n

\u201cAlwin had worked with Efilm to develop a lookup table specific to the film,\u201d recounts Cauble. \u201cAdditionally, we produced scene-specific grades, which were handed off to the dailies colorist as CDLs. This allowed Alwin to communicate his creative intentions with color and contrast on set while maintaining a technically dynamic Raw image.\u201d<\/p>\n

Second unit work expanded beyond original expectations, with three cameras shooting the Chicago El Train sequence behind the North Plant Stages. \u201cTwenty stuntmen jumped onto the passing train, which consisted of two cars on wheels pulled by a hitched truck,\u201d recalls 2nd unit\/splinter unit DP Paul Hughen. \u201cThen they leapt onto rooftops once they arrived at their destination.<\/p>\n

\u201cJim Berney and Greg Baxter from VFX were always on hand adjusting our massive proscenium of surrounding green screen,\u201d Hughen adds. \u201cWe carried two 30-ton construction cranes so we could quickly lift an additional two 40-by-40 green screens and place them where they needed to be for the best background coverage and the moving sun.\u201d<\/p>\n

\"\"<\/p>\n

Nicholson\u2019s crew had built the train sections atop a downtown parking structure, with a section of full-size track that could be moved to another section of town to vary the perspective. But as Hughen explains, \u201cthe difficulty was only having two train cars when the train could be up to 6 or 7 car lengths in the finished film. We were always backing the camera up \u2018into air\u2019 so that VFX could place a car or two in the foreground or several more in the deep background. [Second unit director] Garrett Warren knew exactly what Neil and Alwin wanted. Using the Artemis application, I forwarded stills taken with my iPhone to Alwin and Neil so Main Unit could see precisely what we were shooting.\u201d<\/p>\n

To address the issue of train interiors<\/b> with green screen windows, plates were shot \u2013 using a three-camera rig \u2013 after VFX supervisor Berney determined they could be later stitched together into a panoramic view. \u201cLighting console programmer Josh Thatcher put those on a media server to recreate the lighting on the interiors with Color Force LEDs,\u201d relays K\u00fcchler. \u201cLen Levine and Jim Shelton built fantastic rigs to sell the interactive trees going by.\u201d<\/p>\n

Additional second-unit work that followed the first-unit shoot included a nighttime zip-line sequence for a Dauntless initiation ceremony. \u201cFor that,\u201d Polonsky recalls, \u201cLen placed remote-control LED units all around the tops of the buildings.\u201d<\/p>\n

In post, Efilm colorist Tom Reiser was called upon to extend K\u00fcchler\u2019s concept. \u201cSometimes Alwin likes special LUTs to achieve a look,\u201d Reiser observes. \u201c[He] uses a lot of power windows, curves and keys. Baselight is robust when it comes to this functionality, updating a background render as you work; you always get playback. I can use video corrections [lift\/gamma\/gain] in addition to the usual film printer lights. The video controls are very useful when it comes to getting the most out of digitally captured footage.\u201d<\/p>\n

Reflecting on the making of Divergent<\/i>, Kuchler notes a change in the importance of at least one other department. \u201cOver the past five years, collaboration between the DP and VFX supervisor has become utterly crucial. It\u2019s not only the meeting of minds on technical matters, but a matter of aesthetic-mindedness as well, appreciating what the other brings.\u201d<\/p>\n

CREW LIST > Divergent<\/i><\/p>\n

Director of Photography:<\/b> Alwin Kuchler, BSC
\nOperators:<\/b> Martin Schaer, Dave Thompson, Joe \u201cJody\u201d Williams, Chris Rejano, Rob Carlson
\nAssistants:<\/b> Trevor Loomis, Chris Wittenborn, Don Duffield, Peter Kuttner, Patrick Sokley, Dave Wightman, Andy Borham, Rob Faison, Keith Hueffmeier, Mitch Koepp
\nSteadicam Operator:<\/b> Dave Thompson
\nDigital Loader:<\/b> Josh Ramos
\nDigital Imaging Tech:<\/b> Nate Kalushner
\nStill Photographer:<\/b> Jaap Buitendijk
\nPublicist:<\/b> Toni Atterbury<\/p>\n

2ND UNIT<\/p>\n

Dir. Of Photography:<\/b> Jake Polonsky, Paul Hughen
\nOperators:<\/b> Joe \u201cJody\u201d Williams, Chris Rejano
\nAssistants:<\/b> Steve Cueva, Jorge Sanchez, Zach Gannaway, Rob Faison, Hunter Whalen, Matt Rozek, Bing Liu, Jason Bonner, Eric Hingst
\nDigital Imaging Tech:<\/b> Robert Cauble, John Waterman
\nUtility:<\/b> Filip Dvorak
\nUnderwater Operator:<\/b> Peter Zuccarini
\nUnderwater Assistant:<\/b> Robert Settlemire<\/p>\n

By\u00a0Kevin H. Martin. Photos by\u00a0<\/i>Jaap Buitendijk\/Summit Entertainment<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Alwin K\u00fcchler, BSC, reflects a myriad of new looks for the Chicago-set YA thriller Divergent<\/p>\n","protected":false},"author":1,"featured_media":3057,"comment_status":"open","ping_status":"open","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":[56,29,33,37,40],"class_list":["post-2952","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-april-2014-movies","tag-cinematography","tag-divergent","tag-icg-magazine","tag-local-600"],"acf":[],"yoast_head":"\nSplit Level - 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\/split-level\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Split Level - 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