{"id":3122,"date":"2014-04-17T20:55:54","date_gmt":"2014-04-17T20:55:54","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=3122"},"modified":"2014-06-03T18:29:34","modified_gmt":"2014-06-03T18:29:34","slug":"brain-storm","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/brain-storm\/","title":{"rendered":"Brain Storm"},"content":{"rendered":"

\"TRANSCENDENCE\"<\/a><\/p>\n

Wally Pfister is tight-lipped when it comes to revealing the narrative beats of his directing debut, Transcendence<\/i>
\n<\/strong><\/p>\n

\u201cJust to give you a little nugget,\u201d he offers, \u201cthe film asks questions about technology, showing the ambiguities in how it is perceived, varying from malevolence to benevolence. It\u2019s like what you go through every day with your iPhone. You think, \u2018How cool, I can see somebody\u2019s face on this,\u2019 and then it crashes! The technology itself isn\u2019t what makes a thing good or bad \u2212 that aspect comes from the humans using the technology, which is what movie-going audiences can best relate to.\u201d<\/strong><\/p>\n

In Transcendence<\/i>, Johnny Depp plays Will Caster, an artificial intelligence <\/b>pioneer targeted by anti-technology terrorists. Suffering from a terminal wound, Caster has his consciousness transferred into a computer, where his cyber-self rapidly develops a ravenous need for more and more power.<\/p>\n

Having shot a half-dozen films for Christopher Nolan (who acted as executive producer on Transcendence<\/i>) helped prepare Pfister for his directing debut. But the step-up also meant relinquishing the cinematographer\u2019s role. Jess Hall, BSC, had met Pfister at British Society of Cinematographers\u00a0events, and both had shot spots for commercial director Rupert Sanders. \u201cWally was already deep into pre-visualization when I came on,\u201d Hall recalls. \u201cHe had this concept of contrasting the organic with the synthetic that made for dynamic contrasts and a diverse palette. There would be a very tactile feel to the human element or love triangle within the story; the nanotech, brain mapping and technology represented a different tone. We wanted to play with contrasts that took us from intimate dramatic environments to colder, more-clinical technological spaces.\u201d<\/p>\n

The look of the film\u2019s high-tech labs was rooted in reality, with scientists acting as consultants. \u201cBrain-mapping is something developing right now, so we fused real-world research into the design, using scientists as consultants,\u201d Hall adds. \u201cWe\u2019ve been bombarded with films showing far-out visions of the future, but we wanted Transcendence <\/i>to have one\u00a0foot in the real world. Blade Runner <\/i>is a film of the future that also recalls the past, a vision that establishes its own imaginary palette while also echoing reality. In this case, that fusion seemed appropriate. In preproduction, Wally organized a 70-millimeter screening of 2001: A Space Odyssey <\/i>for the cast and crew. This was a great inspiration because the film is seminal in so many respects, from production design to visual effects and cinematography.\u201d<\/p>\n

Hall worked closely with production designer Chris Seagers to integrate his lighting into the various sets. \u201cI didn\u2019t want to impose my concept for lighting on [Seagers\u2019] design completely, because it\u2019s a collaboration,\u201d Hall explains. \u201cMy philosophy is that every shot is critical, the light being just right on the actor\u2019s face for each moment in the story, and that is as important as solving the design problems of a big set. Knowing what kinds of shots would be done in each environment also helped with choosing how we would integrate my lighting into the set. The bigger, more-complex sets always reflected this approach.\u201d<\/p>\n

Per Pfister\u2019s acknowledged love for celluloid, capture was 35-mm anamorphic with Kodak 5219 500T for interiors and 5207 250D for exteriors. \u201cWith all the diversity inherent in the script, I didn\u2019t want too many variables,\u201d Hall continues,\u00a0\u201cand these stocks intercut well while letting us cover every environment, from the desert to a completely black interior apartment.\u201d Shooting on Panavision Panaflex Millennium XLs allowed for easy switches from studio work to Steadicam and handheld. Panavision Woodland Hills provided C- and E-series anamorphics plus high-speed specialty lenses.<\/p>\n

Hall says Dan Sasaki fine-tuned all lenses, which included some used for macro shots of technical components. \u201cDan made us a special 25-millimeter anamorphic that was so fresh out of the box some of the markings were inscribed on tape,\u201d Hall says. \u201cIt was amazingly free of distortion considering its focal length\u00a0and great for desert vistas\u00a0or POVs from the machine. Our first AC [Bob Hall] did excellent work putting\u00a0it all together.\u201d<\/p>\n

\"TRANSCENDENCE\"<\/a><\/p>\n

In fact, 1st<\/sup> AC Hall has worked with Pfister since the 90s, and says shooting \u201cwide-open anamorphic [compared to wide-open IMAX on films like The Dark Knight Rises<\/i>] is practically a walk in the park. [1st<\/sup> AC] B-camera\u2019s Phil Shanahan did exceptional pulling focus. And it helps when you have good operators looking out for you,\u201d he reflects. \u201cThe scale of the project is old hat for us, so Jess didn\u2019t ever have to worry about the camera department not meeting directorial expectations.\u201d<\/p>\n

Jess Hall mainly shot single-camera, on 50- or 75-mm lenses; A-camera and Steadicam operator Scott Sakamoto says that approach mirrors Pfister\u2019s history as a DP. \u201cWally only rarely shoots with multiple cameras, as he figures there is one angle that best tells the story, and there\u2019s not much point to throwing other cameras in just to grab extra coverage, even while always remaining open to finding a better shot,\u201d Sakamoto relates. \u00a0\u201cRather than make shots lists or storyboards, Wally rehearses a scene until we get an idea of how it plays, then we put our ideas together that\u00a0motivate\u00a0the\u00a0visuals.\u201d<\/p>\n

 <\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 One of the most challenging sets was the residence of Caster\u2019s wife<\/b> [Rebecca Hall], featuring a shiny black epoxy resin floor and low black ceiling.\u00a0All manner of projections fill the set\u2019s walls, with\u00a0eight Barco projectors\u00a0[26K ANSI lumens]\u00a0feeding\u00a0a mix of live and pre-recorded imagery to the wall screens\u00a0made of Stewart FilmScreen 150 RP. Another six\u00a0Barco [20K ANSI lumens] projectors\u00a0supplied panel imagery\u00a0back-projected onto glass panels covered with Clearview, a thin semi-transparent material.<\/p>\n

\u201cWhen Johnny\u2019s character becomes a virtual presence, we only see him via projection,\u00a0and we attempted to achieve this effect almost entirely in-camera,\u201d Hall notes. \u201cHaving the imagery on set 95 percent of the time rather than done as a visual effect benefited the actors\u00a0immensely as it enabled them to perform the scenes together in real time. It also provided\u00a0us flexibility and spontaneity in the shooting process.\u201d<\/p>\n

Depp\u2019s image was transmitted directly onto the set in projection form via a live feed from a booth located in an adjacent studio. Significant time was spent testing projections onto various materials, with Hall citing the influence of video installation artist Bill Viola\u2019s experimentation with multi-layered projections onto different materials.<\/p>\n

The projections mostly dictated exposure, with even the strongest projectors that the sets could accommodate only allowing for T2.8-2.5 \u2013 a difficult stop shooting anamorphic. \u201cWith all the shiny panels and floors\u00a0in Evelyn\u2019s apartment, it was difficult to navigate, but we built in some down-lighting that became part of the ceiling design,\u201d Hall recalls. \u201cWith the\u00a0freedom of camera movement\u00a0that Wally favors, it was difficult to leave much\u00a0equipment\u00a0on the floor, especially since you\u2019d be seeing C-stands or any other component reflected in one facet or other. So I lit through 15-inch square apertures in the ceiling with par cans. I had multiple layers of diffusion I could flop in and out of the ceiling recesses. Whenever these apertures were out of frame, I could bring the heavier diffusion\u00a0lower down into the set\u00a0and spread the light more.\u201d<\/p>\n

Hall controlled the intensities of each projection via laptop, using Dataton\u2019s Watchout playback system, altering the imagery for brightness and color saturation depending on the camera angle\u00a0and the dramatic content of the scene. \u201cEach screen might have multiple projections\u00a0at any given moment,\u201d he states. \u201cSo being able to vary the layers provided even more control for capturing all this in-camera. Because we were doing a photochemical finish, we had to be very precise about the color temperature issues on all these projections. It was exciting to shoot within this narrow photochemical window because you had to absolutely nail it.\u201d<\/p>\n

\"TRANSCENDENCE\"<\/a><\/p>\n

Perhaps\u00a0the most striking of Transcendence<\/i>\u2019s <\/i>interiors was the Brightwood Data <\/b>Center [BDC], a sterile, futuristic set, roughly 160 feet long, lit almost entirely\u00a0by lines of light and extended back into infinity via CGI. \u201cIt was mostly glass and red screen, with a reflective white epoxy floor and a solid 10-foot ceiling,\u201d Jess Hall explains. \u201cThe set\u2019s proportions were designed so that the ceiling featured prominently as part of the composition.\u00a0But in terms of lighting, it was almost one big practical. Five huge strips of light ran down the set, delineating it architecturally. We had milk plexiglass built into the ceiling, and a layer of 129 diffusion, with lines of par cans behind it all the way down.<\/p>\n

\u201cCertain light sources would change color temperature depending on the heat buildup, which at times was quite intense,\u201d Hall continues. \u201cSo we ended up using tungsten on this set to avoid the color shift issue. Even the par cans sometimes read a little warm after going through the diffusion, and we used a half-blue just to get the light really white.\u201d<\/p>\n

The BDC\u2019s many display screens featured projections utilizing Pro Display black, a dark, semi-transparent material mounted to \u00bc-inch plexiglass panels about which Hall reports being initially suspect. \u201cBut it worked really well in the white environment.\u201d<\/p>\n

The many projections and reflections in the data center set meant the Transcendence <\/i>camera team had to get the shots Pfister wanted without showing up as reflections themselves. \u201cThere wasn\u2019t a fraction of a stop to spare most of the time,\u201d Bob Hall recounts, \u201cso polarizing filters couldn\u2019t be used to dial the reflections out, and they would have hurt the look, as well.\u201d Consequently, crewmembers all dressed in black, which, Sakamoto says, allowed for \u201clots of great happy accidents, since every new angle gave a different group of reflections. We could move the actors and cameras around to see the reflections come and go, and that really jazzed up the image.\u201d<\/p>\n

The back of the data center set leads to an incubating room and then to the mainframe. \u201cThat featured a long corridor with glass shelves and an assortment of reflective materials Chris made,\u201d Jess Hall adds. \u201cI used lines of LED \u2212 just tons of light ribbon that took three or four days of rigging \u2212 going along the back of each shelf that made them glow when seen from the front: seamless white lines of light.\u201d<\/p>\n

\"TRANSCENDENCE\"<\/a><\/p>\n

Day exteriors were shot in New Mexico, in what Bob Hall<\/b> describes as a lonely stretch of desert. \u201cThe last time my crew was out there we got covered with four feet of snow, but this time at one point we got four feet of water. When construction went back to this box canyon, they found it underwater, so evacuating us ahead of time turned out to be a very good idea.\u201d<\/p>\n

Sakamoto says the location also experienced major dust storms. \u201cEven with rain covers, keeping the gear clean was a major concern,\u201d he shares, \u201cbecause the dust was so fine it would get everywhere that wasn\u2019t hermetically sealed. Since film cameras have physical movement, it\u2019s possible for dust to cause scratches, but we didn\u2019t have any incidents like that. It was a remarkable testament to the abuse these cameras can take.\u201d<\/p>\n

Throughout production, print dailies were screened nightly, which allowed for assessment of all image aspects, from framing and focus to costume, hair and makeup. \u201cDigital dailies done right can be pretty good, but the print dailies were very nice to see,\u201d Bob Hall continues. \u201cAnd having communal dailies was great \u2212 something I miss on a lot of shows, with everyone from department heads to focus pullers present in the same room watching at the same time. You get a feel from the director immediately, and the same from the DP. Not just issues like focus, but how the shots are working for the whole film. When you go out the next day, you\u2019re all feeling even more like part of the team.\u201d<\/p>\n

VFX Supervisor Nathan MacGuinness heartily agrees, noting that the easy communication between himself and the camera crew benefitted the post effort greatly. \u201cWhen Scott and Bob heard about the specific context for any given plate shot, I\u2019d wind up getting shots that were much better than envisioned, because they injected their own enthusiasm into building on the concept. I like to involve my guys [at VFX vendor Double Negative] the same way, giving them parameters and then letting them explore and develop the concept further.\u201d<\/p>\n

Some of the concepts for the depiction of nanotechnology run rampant were quite ambitious, and even with spectacularly well-executed conceptual art as a basis, there still was the matter of realizing the micro-machines impinging on our environment.<\/p>\n

\"TRANSCENDENCE\"<\/a><\/p>\n

\u201cWe wanted this stuff to support the film rather than take it over,\u201d MacGuinness explains, \u201cwhich is the sort of thing that happens with a lot of effects films. I conceived several separate elements that melded together to create a live feel to this tech, something more organic than, say, The Terminator<\/i>, but not quite to the point of translucency.\u201d The final look included black vein-like forms, silvery nano-strands and ice forming around the nanotech facets as they move up out of the ground, with the action achieved via dynamic fluid and particle simulations that exploited Double Negative\u2019s proprietary software as well as Houdini.<\/p>\n

Following Pfister\u2019s longtime preference for finishing on film [rather than DI], CGI was output via ARRI recorder onto negative and back into the film flow. \u201cColorist Mato Der Avanessian has been at FotoKem a long time and has a remarkable eye for color,\u201d Jess Hall remarks. \u201cWe made adjustments on the IP before creating our DCP, which ultimately was a process of matching the print as closely as possible.\u201d<\/p>\n

When asked if the finished film resembles his initial concept, Pfister cheerfully owns up to the many changes. \u201cFilms are always organic beasts, and that means they evolve,\u201d he declares. \u201cIs what I have up on screen exactly as envisioned in preproduction? No, but it never was on Chris Nolan\u2019s films either. Things change as you go along, often for the better, as it is all a process of discovery. When you hire your production designer, DP, camera operator and on-screen talent, they all contribute to the overall vision, so that alters yours in a way I welcome and love. I think the final results on this are significantly better than what I expected going in.”<\/p>\n

by Kevin H. Martin \/ photos by Peter Mountain<\/p>\n

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

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