{"id":6329,"date":"2016-06-15T19:58:58","date_gmt":"2016-06-15T19:58:58","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=6329"},"modified":"2016-06-17T21:51:58","modified_gmt":"2016-06-17T21:51:58","slug":"spy-guys","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/spy-guys\/","title":{"rendered":"Spy Guys"},"content":{"rendered":"

Dwayne Johnson and Kevin Hart spell comedic double trouble for Guild DP Barry Peterson in the new Warner Bros. buddy flick, <\/span><\/span><\/span><\/span>Central Intelligence<\/i><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"CENTRAL<\/p>\n

The classic buddy cop movie typically involves two guys (updated in recent years with female leads) of opposite types that have joined forces to solve a crime, often with comedic results. Although the genre reached its pinnacle in the 1980s with blockbusters like <\/span><\/span><\/span><\/span>48 Hours<\/span><\/span><\/span><\/span><\/em>, <\/span><\/span><\/span><\/span>Beverly Hills Cop<\/em>,<\/span><\/span><\/span><\/span> and <\/span><\/span><\/span><\/span>Lethal Weapon<\/span><\/span><\/span><\/span><\/em>, it still remains popular with movie audiences. Directed by Rawson Marshall Thurber, <\/span><\/span><\/span><\/span>Central Intelligence<\/span><\/span><\/span><\/span><\/em><\/strong> is a classic throwback to the buddy cop movie. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

The Warner Bros. film stars Dwayne Johnson as Bob Stone \u2013 once an obese and bullied nerd, now a herculean CIA agent. Working a big case while attending his high school reunion, Stone recruits the services of former classmate and big man on campus Calvin (Kevin Hart), an accountant bored with white-collar life. Like most classic action-comedy thrillers, the dynamic duo enters a world of shoot-outs, car chases, double-crosses, and action-packed mayhem.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Central Intelligence was directed by Rawson Marshall Thurber<\/b><\/span><\/span><\/span><\/span><\/span> (<\/span><\/span><\/span><\/span>We\u2019re the Millers<\/i><\/span><\/span><\/span><\/span><\/span>, <\/span><\/span><\/span><\/span>Dodgeball: A True Underdog Story<\/i><\/span><\/span><\/span><\/span><\/span>) and shot by cinematographer Barry Peterson (<\/span><\/span><\/span><\/span>Vacation<\/i><\/span><\/span><\/span><\/span><\/span>, <\/span><\/span><\/span><\/span>22 Jump Street<\/i><\/span><\/span><\/span><\/span><\/span>). Growing up in Canada, Peterson was an avid filmmaker in his teen years, building his own sets, editing, and screening his movies at film festivals. His early filmmaking experience led him to visual effects, where he worked as a VFX cinematographer for seven years in Los Angeles before returning to work at an effects house in his native Toronto. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"CENTRAL
DP Barry Peterson<\/figcaption><\/figure>\n

\u201cEventually I was able to see the writing on the wall, that the effects I was doing \u2013 motion control and miniatures \u2013 were headed to the CGI world,\u201d Peterson reflects. \u201cI knew I had to start doing something different and began shooting music videos, commercials, short films, and low-budget Canadian films. That eventually got me back to the States, where I started shooting more commercials and movies.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Peterson teamed with Thurber on <\/span><\/span><\/span><\/span>We\u2019re the Millers<\/i><\/span><\/span><\/span><\/span><\/span> (2013) and Thurber thought the DP would be a great collaborator for <\/span><\/span><\/span><\/span>Central Intelligence<\/i><\/span><\/span><\/span><\/span><\/span>. The first thing they agreed on was that they didn\u2019t want the film to look like a comedy, which typically uses wide-angle lenses to allow actors to perform in a two shot and have the freedom to improvise. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cWe were both adamant about not having the typical wide-angle silly comedy look,\u201d Peterson states. \u201cA lens can distort something, but I don\u2019t know if it makes the material funny. I think when I place a heavy hand on something with a lens or specific lighting style it can sometimes take away from the comedy. I try to make people believe they\u2019re watching a real action movie, and it\u2019s even better if there happens to be something funny.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Thurber and Peterson screened many classic action comedies from the 1970s, \u201980s, and \u201990s during prep, as they felt that the film\u2019s realism perfectly fit the genre. Walter Hill\u2019s 1982 film <\/span><\/span><\/span><\/span>48 Hours<\/i><\/span><\/span><\/span><\/span><\/span> (shot by Ric Waite) was a major influence for its combination of comedic and tense tones. \u201cThere are moments where you\u2019re wondering what is going to happen, and there are moments where you\u2019re just laughing,\u201d Peterson describes of <\/span><\/span><\/span><\/span>Central Intelligence<\/i><\/span><\/span><\/span><\/span><\/span>. \u201cFor us it\u2019s a lot of fun to be able to blend those two worlds.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

That being said, Thurber and Peterson agreed the film should look like an action movie. \u201cWhen you\u2019re dealing with someone like Dwayne Johnson, he\u2019s already got you halfway there,\u201d says Peterson about shooting action comedy. \u201cThe surprising thing is that Kevin Hart steps in, and he\u2019s equally physical, which made it easier for us. We had two very physically fit and active people that could do almost anything.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"CENTRAL<\/p>\n

Central Intelligence was shot with<\/b><\/span><\/span><\/span><\/span><\/span> ARRI ALEXA XT cameras capturing 2.7K ARRIRAW to on-board Codex recorders. Peterson is a huge fan of the ALEXA system and feels it\u2019s the closest thing to film \u2013 in particular its latitude and ergonomics. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cFor me, I\u2019m much more interested in latitude than resolution,\u201d Peterson reveals. \u201cI think resolution is a bit of a trick word these days, and it\u2019s something that\u2019s baffled people. \u2018If it\u2019s 4K, it\u2019s got to be better than 2K, right?\u2019 I don\u2019t think most people understand the concept of visuals \u2013 the toe, as well as the curves, and how it just sees things. Regarding resolution, image scientists have said different things to me \u2013 from 8K to 3K. For me, I just like how the Alexa sees things \u2013 how the chip resolves images, whether they\u2019re 3.2K, 1.1K or 4K. To me, the specifics do not matter as much as the way the image holds up when viewed on a big screen.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Most comedies are framed in 1.85:1, but Peterson and Thurber chose 2:39:1 because more iconic action comedies have been shot in the anamorphic format. Peterson loves playing with wide screen and seeing characters staged both far left and close right.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

He mainly shot with Cooke S4 Primes but also used Ang\u00e9nieux Optimo 24-290 and 17-80 zooms. Peterson is a longtime fan of the Cookes because of the coatings and \u201cthe fact that I don\u2019t have to deal with flares that I don\u2019t want,\u201d he adds. \u201cThey\u2019re very crisp and don\u2019t breathe. They\u2019re just fantastic lenses.\u201d <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

In terms of focal lengths, unless they were shooting in a car, Peterson never went with anything wider than a 27 mm and would use a 65 or 75 mm for singles. There was talk about using anamorphic lenses, but because of visual effects and the added complexity of anamorphic lens breathing and short focus, Peterson didn\u2019t think it was the right move for them. Exposures were typically kept in the 4\u20135.6 range for consistency. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cIn a comedy like this, I try hard to show subtleties in people\u2019s faces and their reactions, which are very important to see,\u201d Peterson explains. \u201cIf I\u2019m at a f\/2, you can lose some of that. Especially for a two shot, where you have one guy who is back six inches and you\u2019re missing something on his face, or his reaction. Conversely, if the narrative situation shifts a little bit I might try and keep the depth of field so shallow that we don\u2019t know what\u2019s going on. We\u2019re basically telling people where to look with depth of field.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

The production always had three ALEXA XT camera bodies on set \u2013 one built for Steadicam, as well as an A and B camera for every shot. B-camera was typically capturing reactions or close-ups of the two main characters. On-set workflow was handled by Fotokem\u2019s NextLab. Peterson and DIT Justin Wells performed on-set color correction, creating a LUT that emulated 500-ASA film stock, and then nuancing the look shot-by-shot or scene-by-scene with CDL\u2019s, which they viewed later in dailies via the Pix system. Because of today\u2019s short scheduling of movies, Peterson tries his best to deliver footage that is as close to a finished film as possible. \u201cObviously there are subtleties that you\u2019re going to alter in post, like shifting color, but it was important that when I did dailies I knew that two weeks after we finished principal, they would be having their first screening at some theater in Burbank.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"CENTRAL<\/p>\n

One major challenge was dealing with two different skin tones<\/b><\/span><\/span><\/span><\/span><\/span> in Dwayne Johnson and Kevin Hart. \u201cFrom day to day, room to room and set to set, trying to balance [a large variance in skin tones] in lighting is always a challenge,\u201d Peterson shares.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

For B-camera operator Jason Ellson, SOC, shooting overs was a monumental task. \u201cYou\u2019ve got The Rock, who is enormous, and then you\u2019ve got Kevin Hart, who is the complete opposite in terms of size,\u201d Ellson explains. \u201cWe\u2019d try and put the A camera with a wider over, and then the B camera would try and get the tighter over. When trying to shoot over The Rock, the cameras were frequently off axis because he\u2019s just so big \u2013 we would always struggle with getting a good eye line to work with both cameras. This is the fifth movie I\u2019ve done with Dan Gold on the A camera along with Barry; we have a great dialogue and know how each person works.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

The most ambitious set to light was a high school gymnasium where a young, overweight Bob Stone is humiliated by the entire student body. It starts off as a daytime gymnasium during Stone\u2019s youth, and it later becomes the location where his reunion is held. Peterson and crew had to rig the entire gym for both day and night shooting. \u201cThat was quite the challenge, especially with four- or five-hundred extras and being able to flip back and forth relatively quickly,\u201d he says. \u201cWe put up fifty Spacelights all rigged up into our metalwork. We also had some T12s rigged above to emulate sunlight. When we switched to the night of the reunion, we set up a whole rock \u2019n\u2019 roll system that we had to integrate overnight.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Peterson\u2019s favorite lighting instrument on the film was his Barger Lite 6-Lite V2. \u201cThere\u2019s something about the quality of this light,\u201d he offers. \u201cIt\u2019s a 6K, and you can click on one bulb at a time \u2013 each one is 1K, dimmable, and offers soft diffusion. You put a baffle on it, a Chimera, put it through another big rag, and it\u2019s super-soft, beautiful-looking light and my go-to key.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Because of the amount of stunt and action work, the Local 600 team ran the gamut in terms of camera-movement gear \u2013 dollies, Steadicam by Ellson, and Technocrane with a 4-axis-gimbal Oculus camera head. Peterson describes an escape sequence (shot on Technocrane) during which Johnson\u2019s and Hart\u2019s characters escape by jumping out of a window. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cWe chased two characters jump out of a window as they went running toward a blue screen, and when they go through the window and the glass explodes, we tilt and scale down, seeing them falling toward what ends up being a big air balloon,\u201d Peterson recounts. \u201cIt was one of our only action sequences that had a blue screen because we physically jumped out of a building.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\"CI-12031.JPG\"<\/p>\n

The most interesting effects sequence features a young <\/b><\/span><\/span><\/span><\/span><\/span>Bob Stone dancing freely in the gymnasium showers. Peter Jackson\u2019s New Zealand-based VFX firm, Weta Digital, helped create the sequence, shooting 4K face shots with Sony F55s. They shot the overweight boy dancing, and then later captured Dwayne Johnson\u2019s face separately in order to map on to the boy\u2019s body. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cWe\u2019d lay the cameras on their sides and get as close as we could to get more resolution,\u201d explains Peterson. \u201cThere would be sequences in that gymnasium where we had our two or three principal cameras, and then we had six of Weta\u2019s, and they also had witness cameras all over the place. It was very complex.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cThey\u2019re synchronizing all of the data from different angles so they can see how Dwayne\u2019s nose would move in a particular way,\u201d Peterson continues. \u201cWe\u2019d put a 75-millimeter on one of the cameras on its side looking at Dwayne\u2019s left side, and then you would have one central, then you\u2019d have one slight right, and then one half right. No matter how Dwayne moved his head, it was captured with the cameras.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Peterson gives much praise to his Guild camera crew, which included A-camera operator Dan Gold, 1st AC Brad Peterman, B-camera operator Ellson, DIT Wells, and stills photographer Claire Folger. For several action sequences, Ellson also served as 2nd-unit DP. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u201cThe advantage of doing the main unit as well is that I\u2019m watching what Barry is doing and how gaffer Jimmy Cox is lighting different scenes,\u201d Ellson describes. \u201cSometimes I\u2019ll just take a few reference photos, thinking or knowing that might be something I\u2019m going to come back to. I\u2019ll also have a long conversation with Barry and just go from there. Barry really gives us the freedom to create.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Color grade (as of this writing) was scheduled to take place at FotoKem with colorist Kostas Theodosiou. Peterson, who has sat in test screenings with audiences who have reacted well to the action comedy, concludes that, \u201cvisually, when I look at the film, I\u2019m pretty proud. It looks fantastic, moves well, and the women look beautiful. I\u2019m really happy with the end result.\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

by <\/span><\/span><\/span><\/span><\/span><\/span>Neil Matsumoto<\/span><\/span><\/span><\/span><\/span><\/span> \/ photos by <\/span><\/span><\/span><\/span><\/span><\/span>Claire Folger<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Dwayne Johnson and Kevin Hart spell comedic double trouble for Guild DP Barry Peterson in the new Warner Bros. buddy flick, Central Intelligence The classic buddy cop movie typically involves two guys (updated in recent years with female leads) of opposite types that have joined forces to solve a crime, often with comedic results. Although the genre reached its pinnacle in the 1980s with blockbusters like 48 Hours, Beverly Hills Cop, and Lethal Weapon, it still remains popular with movie […]<\/p>\n","protected":false},"author":1,"featured_media":6330,"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-6329","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nSpy Guys - 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\/spy-guys\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Spy Guys - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Dwayne Johnson and Kevin Hart spell comedic double trouble for Guild DP Barry Peterson in the new Warner Bros. buddy flick, Central Intelligence The classic buddy cop movie typically involves two guys (updated in recent years with female leads) of opposite types that have joined forces to solve a crime, often with comedic results. 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