{"id":6858,"date":"2017-02-09T22:05:02","date_gmt":"2017-02-09T22:05:02","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=6858"},"modified":"2021-05-30T20:09:32","modified_gmt":"2021-05-31T03:09:32","slug":"large-and-in-charge","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/large-and-in-charge\/","title":{"rendered":"Large and in Charge"},"content":{"rendered":"

Larry Fong, ASC, pulls some sleight-of-hand visual magic for the latest incarnation of Kong, the great ape.<\/span><\/p>\n

\"kong2\"<\/p>\n

It\u2019s hard to find a more enduring (and misunderstood) movie monster than the great gorilla, Kong, who made his debut in Merian C. Cooper\u2019s 1933 self-titled feature and has reappeared on the big screen twice since (by Dino De Laurentiis in 1975 and again by Peter Jackson in 2005). Visual effects have been key to Kong\u2019s legacy since Willis O\u2019Brien\u2019s stop-motion magic first brought the big ape to life; then Jackson\u2019s own WETA Digital VFX shop brought the monster to another level 12 years ago. Now, in 2017, director Jordan Vogt-Roberts, working with Larry Fong, ASC, and a host of ILM effects masters, has updated the timeless tale, having the 100-foot tall Kong doing battle on his home turf.<\/p>\n

Kong: Skull Island<\/em> takes place just after the end of the Vietnam War.<\/strong> The plot involves a pseudo-scientific organization (led by John Goodman) that sends a group of former military explorers to a remote island in search of strange and undiscovered creatures. Led by a former British SAS tracker (Tom Hiddleston) and an American colonel (Samuel L. Jackson), the misguided warriors trigger Kong\u2019s wrath when they drop explosives on the island from whirling choppers. In response, Kong destroys the colonel\u2019s helicopter fleet (and a good many of his men). The remaining team, including a photojournalist (Brie Larson), chance upon a long-stranded American (John C. Reilly) and try to make their way off the island.<\/p>\n

Among the first decisions production company Legendary Pictures made was to enlist Fong. Producer Alex Garcia says Vogt-Roberts wanted a \u201cfresh look\u201d unrelated to Jackson\u2019s version. \u201cWe wanted someone with the ability to make the many jungle locations really pop,\u201d Garcia recounts. \u201cWe were very fortunate to get Larry.\u201d<\/p>\n

In fact, Vogt-Roberts wanted to create an island environment that wasn\u2019t so much fantasy as a fantastic place. \u201cAlmost like a bastard child of nature,\u201d Garcia adds. \u201cTactile and beautiful, but also incredibly dangerous.\u201d Also Vogt-Roberts wanted to conjure a different feel from previous franchises or series. \u201cJurassic Park<\/em> has owned the aesthetic of Hawaii,\u201d he notes, \u201cand I wanted a different kind of landscape.\u201d
\nIn fact, it took three countries to create Skull Island<\/em>. Shooting began in Hawaii where veteran A-camera operator P. Scott Sakamoto, SOC, says they were able to move efficiently through familiar territory. Along with beaches and jungles, several key scenes were filmed on Kualoa Ranch, including the film\u2019s Boneyard Valley and Fire Lake sequences, with a military base in Oahu used for parts of the big helicopter sequence. A large amount of 2nd Unit work, led by director Spiro Razatos and DP Jacques Haitkin, also took place in Hawaii.<\/p>\n

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Joining Fong and Sakamoto was 1st AC Bill Coe and B-camera operator Steve Adcock (who, like Fong, had also worked in Hawaii on Lost<\/em>) and gaffer Walter Bithell. The company then moved to Australia\u2019s Gold Coast, with stage work at Village Roadshow Studios, including the interiors of a freighter and that of the long-ago shipwrecked Wanderer, which the locals use as a shrine to their oversized ape god. Fong lit that impressive set with striking shafts of light piercing through its rusted-out hull using beam projectors, PAR cans and moving lights. (Fong\u2019s seasoned Aussie team included B-Camera Operator Calum McFarlane, C-Camera Operator Damian Wyvill, ACS, and Key Grip Toby Copping.)
\nWhen Kong: Skull Island<\/em> moved to Vietnam, the film\u2019s look was fully solidified. Fong and Vogt-Roberts were able to introduce numerous unique South Asian elements.<\/p>\n

\u201cThe landscape there, with those huge limestone plinths,\u201d McFarlane says, referring to the unusual rising Karst towers in Ha Long Bay, to the north, \u201care hard to describe. They\u2019re 100 feet tall, almost like teeth, and perfect for a character who\u2019s that big. They let [Kong] appear and disappear, and it looks not quite of this world.\u201d<\/p>\n

Vogt-Roberts\u2019 naturalistic vision drew on 1970s-era films. Or, as he describes it, \u201csort of a funhouse-mirror version of Apocalypse Now<\/em> \u2013 capturing the beauty, but also something that\u2019s digestible and fun.\u201d McFarlane calls the look Fong captured \u201coverripe. There\u2019re elements of naturalism, but it veers into its own world, so you\u2019re more prepared to accept fantastical creatures,\u201d he observes.<\/p>\n

As Fong notes:\u00a0\u201cIt was our intent to emulate and embrace the style of 1970s films.\u00a0 But in the end, though, you can\u2019t completely do that without becoming a parody.\u00a0So we didn\u2019t hesitate to use more modern film techniques, such as Technocrane and Steadicam, that help tell the story as well.\u201d<\/p>\n

The director sent the B-camera unit to capture additional nature for use as inserts. He added DP Ross Riege to shoot nature footage once ensconced in Vietnam. Riege, who has worked extensively with Vogt-Roberts in TV and indie features, said the director wanted \u201can autonomous mobile unit he could send out to nab things he had seen during the day\u2019s shoot or on a scout. We had an Alexa and would just bring with us whatever lens Larry or Bill Coe could spare for the day, or even for an hour.\u201d<\/p>\n

Fong and Vogt-Roberts credit Fotokem colorist Dave Cole with helping pin down the look, along with DIT Robert Howie, whom Fong calls \u201cmy secret weapon.\u201d\u00a0 \u201cHe went out and developed LUTs for certain scenes,\u201d most of which were based on a Show LUT from Steve Yedlin, ASC. \u201cWe called it the S-LUT,\u201d Fong chuckles.<\/p>\n

Fong shot on ARRI ALEXA XT Plus, supplied and supported by Panavision LA, with occasional use of a Phantom for high-speed shots. Fong also turned to Panavision for some custom anamorphic lenses. \u201cI always knew I wanted to shoot anamorphic \u2013 which everyone thought was crazy, because Kong is so tall,\u201d Vogt-Roberts reveals. \u201cBut I knew if we could find a way to fit him in the frame, or use that frame to actually make him feel bigger, because he\u2019s being cut off, that would achieve what I wanted.\u201d Fong adds that although \u201csome didn\u2019t agree with the choice, we stuck to our guns, and I think the images prove us correct.\u201d<\/p>\n

On a visit with Dan Sasaki at Panavision, Vogt-Roberts saw elements from various older lenses to create something unique, \u201cone which allowed us to have a clean, modern look, but with some idiosyncrasies that also feel vintage at the same time,\u201d he recalls. Fong adds that he and Vogt-Roberts \u201cwanted a specific vintage look that no lens we knew had.\u201d As Coe explains: \u201cWe assembled the lenses with Cooke primes as the base lenses of the whole series. We used a single-layer coating to give them the older-looking amber flare that Jordan loved. And then Dan put the whole thing together in some old B-series anamorphic cylinders, making what we called a \u2018B hybrid set.\u2019\u201d<\/p>\n

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\u201cThey performed well \u2013 sharp, but not overly crisp or contrasty,\u201d describes Sakamoto. Adds McFarlane, \u201cPutting this older glass in front of digital sensors gives a real Seventies big-screen look, something like Close Encounters.\u201d Copping suggested an interesting camera-head system \u2013 CineMoves\u2019 Oculus 4-Axis Gimbal, used in conjunction with the company\u2019s CineFlip head, mounted on their Extreme Gator vehicle or a 45-foot Scorpio crane.<\/p>\n

\u201cIt\u2019s super stable,\u201d Copping relates. \u201cYou can use it without a leveling head. The CineFlip allows you to go from underslung to overslung in about 15 seconds.\u201d Adds Fong: \u201cThe Oculus is a game changer \u2013 quick, robust and reliable.\u201d<\/p>\n

The Oculus \u2013 in combination with the diminutive G-F-M GF-6 crane, as well as that company\u2019s sliders \u2013 came in particularly handy on the plentiful boat work in Vietnam. \u201cBecause of the environments there, we couldn\u2019t really use any large equipment, such as Technocranes,\u201d Copping continues. \u201cI was only allowed a minimal lighting and grip package,\u201d Fong adds. \u201cThe Oculus remote head and the crane arm lived on their own boat for the duration. Without them, our boat scenes would\u2019ve been fairly pedestrian.\u201d<\/p>\n

Boats were the prime way to travel inside Vietnam, both as camera and picture \u201cvehicles\u201d and as a \u201ctransportation department,\u201d sometimes helmed by the locals. The vessels moved the team from one base camp to another and to scenic locations in Ninh Binh, which included scenic caves and the waterways that pass through the mountains. Gear was stowed in little wooden boats, probably no longer than eight feet long, and paddled by women who typically ferry tourists, not filmmakers.<\/p>\n

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\u201cEvery remote location in Vietnam was reached using multiple boats,\u201d Fong explains.\u00a0\u201cLarger boats were brought in by our marine specialists for the crane and other heavy equipment.\u00a0For the ancillary support crew, we frequently used small, local skiffs and their friendly, helpful owners, who rowed around by hand, and also their feet.\u00a0I still can\u2019t figure out exactly how they were able to do that!\u201d he laughs.<\/p>\n

The locals also assisted on set \u2013 two bilingual Vietnamese ADs were especially helpful with extras \u2013 and they got to enjoy Fong\u2019s legendary other passion \u2013 magic. \u201cWhen given a chance,\u201d Sakamoto smiles, \u201cLarry\u2019s more than happy to entertain,\u201d with the local hosts being especially enthralled by his sleight-of-hand tricks. \u201cHe would finish, and you could hear them all asking, \u2018How did he do that?\u2019 in Vietnamese.\u201d
\nBig VFX elements in Kong were led by VFX Supervisor Stephen Rosenbaum, working closely with Sakamoto and main unit, while ILM VFX Supervisor Jeff White shadowed the 2nd Unit camera team, led by Haitkin and his operator, Onofrio (Nino) Pansini, along with other top operators as needed, including veteran Henry Tirl.<\/p>\n

Haitkin\u2019s unit, which worked only Hawaii, shot with the same ALEXA XT Plus that Fong did, and, as much as possible, with the same anamorphic lenses. (Haitkin did use spherical lenses for some VFX plates to take advantage of the XT Plus\u2019s large sensor.)<\/p>\n

\u201cWe made a pledge to shoot anamorphic as much as we could,\u201d Haitkin recalls. \u201cBut when there\u2019s a shot that will have multiple layers, [ILM] doesn\u2019t want to be dealing with an optical deficiency.\u201d [White notes that ILM went to great effort to pre-test the custom anamorphic lenses and map unique color and flaring qualities, to digitally reapply them in post to spherically captured images.]<\/p>\n

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Providing more image data was also the key to the many aerial sequences captured by David Nowell. \u201cWe shot with the Alexa open gate to account for any frame-line deficiencies,\u201d Haitkin informs. \u201cWe protect for 2.40, but if something bumps the full-frame spherical shot, at the top and bottom, there\u2019re huge amounts of space that you can dip into, optically, top and bottom, to catch the action, without having to cut. I also leave five percent on each side for any lateral jumps.\u201d<\/p>\n

Pansini employed a specially modified Talon two-axis repeatable (i.e. motion control) remote head that could whip-pan as high as 560 degrees in one second. \u201cIt\u2019s rigid and powerful,\u201d the operator explains. \u201cFor its size and weight, it can handle massive G force and not have motors stall or slip. It is precise and records all the moves,\u201d something Haitkin favored for complex crane moves.<\/p>\n

The Talon was important for the complex helicopter battle with Kong (which the crew affectionately called \u201cFlight of the Valkyries\u201d). Pansini would fly handheld, his feet duct-taped to the skids of one of the three Huey helicopters in the scene, to capture the actors inside. \u201cThat was an exhilarating experience,\u201d he adds, noting the obvious!<\/p>\n

Nowell, working with his longtime pilot, Fred North, shot both action and VFX plates in Hawaii and Vietnam. For single-camera 2nd-Unit work, he used the ALEXA XT Plus housed in a Shotover K1 6-axis stabilized gimbal system, shooting with 11:1 zoom lenses that Panavision modified for the occasion to a 26-300 mm. For other plates, including landscape backgrounds, Nowell used a system developed by his own rental company, Team 5, with Shotover, known as the Hydra. The system comprises two rows of three toed-in RED Dragons. \u201cIt provides an image that\u2019s 152 degrees wide and 64 degrees top to bottom,\u201d Nowell explains. \u201cEach Red is 6K resolution, so that\u2019s a 36K image.\u201d Just a few passes through a scenic Vietnamese canyon would provide an image with nearly 270 degrees of coverage. \u201cOur time was tight every day, so that was an incredible help,\u201d ILM\u2019s White adds.<\/p>\n

Some action sequences required a complex blend of Main and Second Units. For the Valkyries, Nowell and North found themselves capturing the three Huey helicopters as they encircled Kong (sometimes circling them in the opposite direction to ramp up the energy) or flying with them to capture their POV as a VFX plate. (Pansini was onboard one of the birds, capturing detail.)<\/p>\n

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Afterwards, Fong shot a Huey mockup inside an aircraft hangar with a 360-degree green screen. Sakamoto was strapped onto the outside of the shaking buck to capture the actors inside. \u201cThat thing shook so violently, it was all I could do to hold onto the camera,\u201d Sakamoto recalls. (Adcock supplemented with Technocrane work.)<\/p>\n

As for lighting the scene, Fong noticed during an aerial scout a rotor shadow on the chopper pilot. \u201cIt was kind of pulsing,\u201d he remembers, \u201cso we had Walter think of a way to get that subtle pulse.\u201d The gaffer devised a lighting scheme comprised of AAdynTech Punch Plus 5500K and Chroma Q Color Force LED units, with 18K Arrimax lights with HMI shutters, arranged to fire in a chase sequence to mimic the movement of light through chopper blades.<\/p>\n

Fong says the entire sequence takes place in morning light and took an \u201cincredible effort and collaboration\u201d between many teams to bring to the screen.\u00a0\u201cDave Cole with Fotokem was instrumental in maintaining a sense of continuity to this ten-minute scene,\u201d Fong reveals. \u201cIt was easily our biggest undertaking of the film.\u201d<\/p>\n

Besides previs, Rosenbaum and White would sometimes make use of a tool first introduced on Jurassic World called Cineview. Though ILM initially considered using a more complex mocap visualization system, White says, \u201cwe realized in remote areas like Vietnam we would need to stay pretty lightweight.\u201d Cineview allows loading into the iPad- and iPhone-bound app a simple, crude static image of a character, whose distance from the lens and choice of lens can be set within the app and applied to the device\u2019s camera image to show the operator proper framing on site.<\/p>\n

\u201cIt would also help with making positive corrections, when you have an actor who\u2019s reacting to something in the foreground or background,\u201d Adcock shares. In one suspenseful shot, Samuel Jackson\u2019s Colonel Packard is awaiting Kong as the latter passes through the woods. \u201c[Jackson] was clenching his fist,\u201d Adcock concludes. \u201cWhen the shot starts, Kong\u2019s at a certain point in the background. I went down to get [Jackson\u2019s] fist, and when I went back up, I knew to give it a little more headroom, because Kong was approaching.\u201d<\/p>\n

Bringing Kong back to life was something Larry Fong had always wanted to do, expanding on his fascination with the magic of Willis O\u2019Brien\u2019s work. \u201cI\u2019ve been a big fan of King Kong since I was a kid. Hopefully some of that is channeled into this film.\u201d<\/p>\n

BY Matt Hurwitz<\/em>
\nFrame grabs courtesy of Warner Bros Pictures<\/em>
\nUnit Stills by Chuck Zlotnick<\/em>
\nOther images courtesy of Larry Fong, ASC<\/em><\/p>\n

\"kong7\"<\/p>\n

CREW LIST<\/strong><\/p>\n

Hawaii<\/em>
\nDirector of Photography
\nLarry Fong, ASC<\/p>\n

A-Camera Operator
\nP. Scott Sakamoto, SOC<\/p>\n

A-Camera 1st AC
\nBill Coe<\/p>\n

A-Camera 2nd AC
\nBobby McMahan<\/p>\n

B-Camera Operator
\nScott Adcock<\/p>\n

B-Camera 1st AC
\nTony Nagy<\/p>\n

B-Camera 2nd AC
\nRylan Akama<\/p>\n

DIT
\nRobert Howie<\/p>\n

DIT Utility
\nWill Wacha<\/p>\n

Unit Still Photographers
\nChuck Zlotnick
\nMario Perez<\/p>\n

Australia\/Vietnam<\/em>
\nA-Camera Team
\n(same as above)<\/p>\n

B-Camera Operator
\nCalum McFarlane<\/p>\n

B-Camera 1st AC
\nRicky Schamburg<\/p>\n

B-Camera 2nd AC
\nRobbie MacKinnon<\/p>\n

DIT
\nRobert Howie<\/p>\n

DIT Assistant
\nJulian Lawrence
\n2nd Unit<\/p>\n

Director of Photography
\nJacques Haitkin<\/p>\n

Camera Operator
\nOnofrio (Nino) Pansini<\/p>\n

Camera Operator\/Steadicam
\nColin Hudson, SOC<\/p>\n

Camera Operator\/Steadicam
\nHenry Tirl<\/p>\n

Key Camera 1st AC\/Technocrane
\nGreg Luntzel<\/p>\n

Talon Camera 1st AC
\nRob Sagaser<\/p>\n

Steadicam 1st AC
\nBrad Edmiston<\/p>\n

Crash Cam 1st AC
\nSteve Wong<\/p>\n

Long Lens 1st AC
\nMatt Berner<\/p>\n

Key Camera 2nd AC
\nMatt Fortlage<\/p>\n

Talon 2nd AC
\nAndrew Crankshaw<\/p>\n

Steadicam 2nd AC
\nNoah Hamilton<\/p>\n

Crash Cam 2nd AC
\nBrandon Ho<\/p>\n

Long Lens 2nd AC
\nNigel Nally<\/p>\n

DIT
\nBrook Willard<\/p>\n","protected":false},"excerpt":{"rendered":"

Larry Fong, ASC, pulls some sleight-of-hand visual magic for the latest incarnation of Kong, the great ape. It\u2019s hard to find a more enduring (and misunderstood) movie monster than the great gorilla, Kong, who made his debut in Merian C. Cooper\u2019s 1933 self-titled feature and has reappeared on the big screen twice since (by Dino De Laurentiis in 1975 and again by Peter Jackson in 2005). Visual effects have been key to Kong\u2019s legacy since Willis O\u2019Brien\u2019s stop-motion magic first […]<\/p>\n","protected":false},"author":1,"featured_media":6859,"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":[37,434,130,40],"class_list":["post-6858","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-kong-skull-island","tag-larry-fong","tag-local-600"],"acf":[],"yoast_head":"\nLarge and in Charge - 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\/large-and-in-charge\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Large and in Charge - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Larry Fong, ASC, pulls some sleight-of-hand visual magic for the latest incarnation of Kong, the great ape. It\u2019s hard to find a more enduring (and misunderstood) movie monster than the great gorilla, Kong, who made his debut in Merian C. Cooper\u2019s 1933 self-titled feature and has reappeared on the big screen twice since (by Dino De Laurentiis in 1975 and again by Peter Jackson in 2005). 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