{"id":7310,"date":"2017-10-03T14:20:16","date_gmt":"2017-10-03T21:20:16","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=7310"},"modified":"2021-05-30T19:53:18","modified_gmt":"2021-05-31T02:53:18","slug":"humanity-2-0","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/humanity-2-0\/","title":{"rendered":"Humanity 2.0"},"content":{"rendered":"

Roger Deakins, ASC, BSC, reveals what lies beyond \u2018Ridleyville\u2019 in Denis Villeneuve\u2019s new Blade Runner 2049<\/em>.<\/span><\/p>\n

Ridley Scott\u2019s 1982 masterpiece, Blade Runner<\/em>, derived from Philip K. Dick\u2019s cult novel Do Androids Dream of Electric Sheep?<\/em>, hit theaters during one of the most fertile summers ever for science-fiction\/fantasy content. The director\u2019s follow-up to Alien<\/em> debuted after The Road Warrior<\/em>, Star Trek II<\/em>, Poltergeist<\/em> and E.T.<\/em> had cleaned up at the box office, and was, amazingly (in hindsight), a box-office dud.<\/p>\n

Fortunately, it soon underwent a critical reassessment, with viewers discovering the groundbreaking movie (which went on to spawn book and computer-game sequels) on home video. Blade Runner\u2019s<\/em> gorgeous cinematography (by Jordan Cronenweth, ASC, with additional photography by Steven Poster, ASC) and cutting-edge analog visual effects (supervised by Douglas Trumbull and David Dryer) became a well-mined source of inspiration for innumerable productions; it also fueled interest in the nascent print movement of \u201ccyberpunk.\u201d<\/p>\n

But Scott has long resisted a return to what his crew dubbed \u201cRidleyville,\u201d until now. With Blade Runner 2049<\/em>, he becomes an executive producer, handing over the directing reins to Denis Villeneuve (Arrival<\/em>). The sequel\u2019s story (details of which have been kept tightly under wrap) appears to blend the old and new: a cop named K (Ryan Gosling) is caught up in a mystery that carries the potential for global disaster. So he tracks down long-missing detective Rick Deckard (Harrison Ford), who decades earlier had vacated the same job currently filled by the younger man \u2013 that of a \u201cblade runner,\u201d responsible for \u201cretiring\u201d renegade humanoid replicants.<\/p>\n

\"\"<\/p>\n

Blade Runner 2049<\/em> reunites Villeneuve with his cinematographer from Prisoners<\/em> and Sicario<\/em>, Roger Deakins, ASC, BSC. And as the 13-time Oscar nominee recalls: \u201cI was naturally very interested by the idea, and Denis\u2019 ideas for it. The film has elements of continuity, like with the Deckard character, but there wasn\u2019t any attempt to emulate the original\u2019s unique style. I\u2019m simply not Jordan Cronenweth, so I wouldn\u2019t choose to light this film in that way.\u201d<\/p>\n

A perpetual acid-rain landscape was an iconic aspect of Scott\u2019s urban vision for 2019. And as Deakins adds, \u201cthat worked because it was a kind of film noir set in Los Angeles. This time there\u2019s more visual variety as we venture outside the city, which now feels like what Denis described to me as \u2018Beijing in smog.\u2019 It\u2019s a much sparser look than the original film, but there were a lot of specific design influences. During the boarding, we studied everything from Japanese wooden architecture to a Brutalist look that Denis liked, partly inspired by some buildings in London where we had initially scouted and\u00a0considered shooting.\u201d<\/p>\n

\"BladeRunner2049-2\"<\/p>\n

While the original Blade Runner<\/em> was shot almost entirely on Warner\u2019s backlot and stages, 2049<\/em><\/strong> was based in and around Budapest. \u201cRidley had done The Martian<\/em> there [at Korda Studios],\u201d reports production designer Dennis Gassner, \u201cso when London fell out, we abided with some structures found in Hungary, along with what we could build on stage. One thing that Roger, Denis and I all share is the desire to control every element. That\u2019s what this film is about \u2013 the first one too, though they had different tools from our CG and digital matte paintings \u2013 creating a very precise impression, along with scale.\u201d<\/p>\n

When Gassner began working with Villeneuve in Montreal, he asked for a single word that described the director\u2019s concept. \u201cHe paused, then said, \u2018Brutality,\u2019\u201d Gassner reveals. \u201cThat word also sums up winter in Montreal \u2013 pictures don\u2019t do it justice,\u201d he smiles.<\/p>\n

Gassner says weather elements affected his approach to architecture as well. \u201cThe original\u2019s Tyrell building showed Ridley\u2019s monolithic approach to the world, so we tripled that, expanding to a harsher architectural style evolved in response to the battering elements,\u201d the designer continues. \u201cWhile this is a speculative future \u2013 our thought was hybrid tech, a pseudo-Anbaric [transmission] power source \u2013 it doesn\u2019t mean technology has made things easier. The situation is such that things still seem very challenged.\u201d<\/p>\n

\"\"<\/p>\n

Blade Runner\u2019s<\/em> famed visual futurist, Syd Mead, who developed the spinners \u2013 along with the so-called \u201cretrofit\u201d style of future L.A. \u2013 also contributed design work for 2049\u2019s Las Vegas sequence. With significant credits on Tron, 2010, Aliens<\/em> and the first Star Trek<\/em> feature, Gassner describes Mead as \u201cpractically a metaphor for himself. You know the quality of what you\u2019re going to get, along with his signature, which was the look for Ridley\u2019s original film.<\/p>\n

\u201cWith franchises,\u201d Gassner adds, \u201cyou have to honor the established elements while meeting audience expectations. I\u2019m about to do my fourth James Bond film, and acknowledging the efforts of Ken Adam and others is a big part. But we still need to make it new for ourselves, and on 2049<\/em>, that meant expanding the poetry that Denis brought.\u201d<\/p>\n

Deakins and Villeneuve concurred on shooting with ALEXAs (XT Studio, augmented by the Plus and Mini cameras) and capturing in 3.4K to Codex in MXF\/Arrriraw. \u201cWe decided to shoot this open-gate, like Sicario<\/em>,\u201d Deakins shares. \u201cI did shoot tests with the ALEXA 65, which produces fantastic images, but for this project it just didn\u2019t feel right.<\/p>\n

\u201cPeople bandy about all these numbers in regard to resolution but there\u2019s a lot more to consider rather than the amount of data,\u201d Deakins notes about differing opinions on image quality.\u00a0\u201cImportant are such things as\u00a0latitude, noise level, chromatic\u00a0aberration\u00a0and, most importantly, halation that can be created by the sensor. I like lenses that are clean and sharp, so I went with the Zeiss Master Primes, which are fast and also don\u2019t flare the highlights. I don\u2019t like image artifacts [like flaring] that\u00a0can, though not always,\u00a0distract from the narrative.\u201d<\/p>\n

\"BladeRunner2049-4\"<\/p>\n

One strong visual element in 2049\u2019s<\/em> narrative emerges in scenes featuring Niander Wallace (Jared Leto), the new maestro of replicant manufacturing.<\/strong> \u201cHe has the ability to create any mood in his facilities, and that shaped the tone and texture of the lighting,\u201d Gassner describes. \u201cWhen Roger saw our designs, he seized on water as being a useful tool for infusing the lighting with a unique look that developed out of the story itself. Everything in lighting is about character for Roger. When we first worked together on Barton Fink<\/em>, that meant integrating practical and motivating lights to create a synergy, of which Roger is a master. This film justified his history and knowledge of storytelling with light.\u201d<\/p>\n

Deakins felt the environment inhabited by Leto\u2019s character was all about a feeling of \u2018sunlight,\u2019 even in closed-off interiors, with illumination always seeming to be alive and in motion. \u201cWe\u2019re often lighting very flat surfaces, panning lights or using chasers to create this effect,\u201d he notes. \u201cI also had a number of sets utilizing lights projected through\u00a0water or bouncing off the surface of water to create caustic patterns of\u00a0\u2018sunlight\u2019\u00a0on the walls.\u201d<\/p>\n

Other scenes (not specified to avoid spoilers) exploited virtually the whole range of lighting tools. \u201cOne whole set was lit by just eight two-foot LED fixtures,\u201d Deakins adds, \u201cwhile another used 120 10Ks on three 25-feet-in-circumference circular tracks. All were on chasers for the particular moving-light effect. Elsewhere we\u00a0lit a set using\u00a050 Skypanels, another using 280 Betweenies and, for another, 250\u00a0Space-lights, so the volume and approach varied throughout.\u201d<\/p>\n

Visualizing the exterior landscape often required waiting on Mother Nature. \u201cWe wanted a very gray atmosphere for the city, often with rain or snow, and flatly refused to shoot anything in the sun,\u201d Deakins laughs. \u201cSome of that was done on stage, where we had Gerd Nefzer, our German effects guru, create heavy misting effects.\u00a0We also built rather large sets on the backlot and then waited for the right weather.\u201d<\/p>\n

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When K finally meets up with Deckard, it\u2019s in a dusty, ochre-colored Las Vegas (shot in Budapest.) \u201cThat orange environment was done in three different ways,\u201d Deakins remarks. \u201cThe opening part was on stage and, for this, I had Tiffen make some specific red filters for\u00a0in front of the lens. While most of my lighting was tungsten-based Spacelights, there were some 20 Maxi-Brutes gelled green to give a feeling of yellow light against the predominantly red filtration.<\/p>\n

\u201cThe second section\u00a0was an interior shot on location in Budapest,\u201d he continues. \u201cFor this we had\u00a0HMI sources from outside the windows, which were in turn\u00a0diffused and gelled with the same\u00a0color\u00a0gels that we had used for lens filtration previously.\u00a0Then, for the third part of the sequence,\u00a0we had a very large set that used a couple hundred open-faced 2Ks and sixty 10Ks, with all those lamps bounced and gelled to\u00a0maintain our\u00a0color. All of the\u00a0color scheme was\u00a0controlled in camera and this gives it a reality I doubt it would\u00a0have had if left to post.\u201d<\/p>\n

Deakins continues to employ a single LUT, which he has favored for years. \u201cI made slight adjustments with [DIT] Joshua Gollish to skew it just a bit one way or the other, but I use basically one LUT and do as much in camera as possible,\u201d he adds.<\/p>\n

\"\"<\/p>\n

Gollish, who has worked on all of Deakins\u2019 digital features, reports that monitor calibration was as important as ever to the cinematographer, and to digital workflow consultant James Deakins.<\/p>\n

\u201cFrom their first digital film, In Time, we have been able to maintain the highest level of accuracy on displays for different departments, in various color spaces from ITU-Rec709 to DCI-P3,\u201d Gollish explains. \u201cWe brought our own equipment as well as Efilm\u2019s to achieve a monitoring solution from set to dailies. We vetted camera media to the most precise level possible, tracking SMART status and the number of LBA blocks written before any camera ever rolled on a test shoot, and ensuring integrity from Codex XR to CFast mags. We used DoD level of encryption and data security near set to back up the media, as well as data clearing after the shoot.\u201d<\/p>\n

Gollish says James specifically oversees the workflow to ensure that Deakins\u2019 work \u2013 from capture to editorial to VFX to final color \u2013 is represented as intended. \u201cWe implemented a common show look with various units shooting all over the world,\u201d he adds. \u201cWhere there were DIT\u2019s involved, we made certain that data-handling procedures and color pipeline were parallel to ours \u2013\u00a0identical in the case of second unit, down to hardware and monitoring.\u201d<\/p>\n

\"\"
\nOne globetrotting unit \u2013 ranging from the U.S.A. to Iceland and Spain \u2013 was headed up by aerial DP Dylan Goss<\/strong>, a\u00a0Sicario<\/em>\u00a0vet who found himself\u00a0operating under a directive that was a first for him after more than twenty years of flying.<\/p>\n

\u201cMuch of this film was unconventional for aerials in that we essentially chased storms and rain the whole time,\u201d Goss reflects. \u201cOur job was to find the\u00a0Blade Runner 2049<\/em>\u00a0look out in nature so it matched the studio look of the main unit. And the look mandated by Roger came with the caveat of capturing those shots without a post re-light in mind \u2013 so we absolutely avoided direct sun and flat light. Roger and Denis implied that some leeway was allowed regarding the previs, but getting the look in camera was non-negotiable.\u201d<\/p>\n

Work first got underway above Mexico City \u2013 chosen for its Brutalist architecture \u2013 to depict K\u2019s spinner flights through Los Angeles. Goss says, \u201cWe sent select takes on a secure system and received very specific feedback about what worked. We quickly became focused on the edges of storms. When that weather would break, we might have atmosphere and cover, but also hopefully some decent backlight or rim light.<\/p>\n

\u201cWe would lift off with rain spinners going and race toward what we hoped was soon-to-break darkness,\u201d he continues. \u201cFor shots with movement in relation to a flying vehicle, we flew a second helicopter to serve as a tracking marker, giving the camera a proper target against which to make moves. That helicopter would be replaced in post, but our moves remained authentic.\u201d The team later ventured to Nevada\u2019s Valley of Fire, making sure to arrive ahead of the weather. \u201cIt is pretty rare to get rain there,\u201d Goss admits. \u201cHaving the lease to hold for certain conditions \u2013 and to end up capturing those red rocks with all the diffused rain and haze in-camera \u2013 was amazing.\u201d<\/p>\n

Goss worked with aerial specialists at Team5, using their Shotover system for single-camera setups. At the request of VFX supervisor John Nelson, he also developed a variation on the company\u2019s Hydra 6 camera array. It was primarily for use on scenes shot in Iceland, which represented a portion of K\u2019s journey down the California coastline of 2049<\/em>.<\/p>\n

\u201cWe had unparalleled support from ARRI, [which] wrote custom software to drive the hand-built, quickly-engineered array the way I needed,\u201d Goss reveals. \u201cMeeting the needs of John and Roger had us wiring multiplexed lens drives to control modified lenses and building a one-off enclosure to accommodate ALEXA Mini camera bodies.\u201d<\/p>\n

\"\"
\nThe spinner itself proved to be a major design effort.<\/strong> \u201cOur lead spends much of the film in it traversing this environment,\u201d notes Gassner. \u201cThe graphic strength of that car became what I call the pattern language of the film itself, helping define the differences between the original and the \u2018present day\u2019\u201d of 2049.
\nAt one point, a spinner crash-lands in water. \u201cWe had talked about going to Malta for the tank, but the expense ruled that out,\u201d Deakins reveals. \u201cProduction found another local studio and built an exterior tank. We pumped a lot of smoke around that and, since it was late in the year, by 8 p.m. the water would start to steam, which helped us with the look we were trying to achieve.<\/p>\n

Special effects built a track that allowed the craft to slowly descend, as if sinking, and there were wave machines involved, so it was quite a big production.\u201d<\/p>\n

Visually, the scene posed a particular challenge for Deakins. \u201cIt\u2019s supposed to be dark, so I didn\u2019t want to put lights outside the craft but we still needed to see where we were and to see the action involved.\u00a0We decided to go for it. We said let\u2019s just make it so\u00a0the lights coming from the vehicle itself are the light sources, creating pools of light surrounded by complete darkness. I think this effect makes the scene more scary but it was also quite scary for me.\u201d
\nThe scene was also one of the few times he utilized a Technocrane on the production. \u201cThis film really echoed Sicario in its fairly minimal camera movement and not a lot of elaborate action,\u201d Deakins relates, adding that Aero cranes and remote heads were more common, augmented by drones and some Steadicam.<\/p>\n

The spinner\u2019s flying scenes were achieved with the cars placed on gimbals. \u201cSometimes we shot those against backings, which usually got replaced by VFX,\u201d Deakins states. \u201cWe built a lot of interactive lighting gags into those shots, especially when the vehicle is under attack.\u201d<\/p>\n

Deakins says he looked back on some of his past films to employ a proven technique that involved putting large elastic bands on wires to propel practical light sources at speed across the vehicle, \u201cto give the impression that some form of weapons fire is passing right by them,\u201d he explains. \u201cI\u2019d used it to dramatize passing lights when someone is looking out a window from aboard a train, but here on this film \u2013 where we often had very elaborate and technical solutions involving programming lights and very complex dimmer work \u2013 it seemed funny that something so simple to set up worked so well.\u201d<\/p>\n

\"\"
\nGreen screen was occasionally mandated on 2049<\/em>,<\/strong> but Deakins resists using it as a default solution. \u201cGreen screen can kill the naturalistic look of lighting,\u201d he adds. \u201cOn Unbroken\u2019s<\/em> bomber set, VFX wanted green screen all around the set, but it would have interfered with the light entering the cockpit. So we surrounded the bomber with white silk and lit through that. [For 2049<\/em>] we\u2019d often surround a set with grey cyc, or put bounce material there to get our look. VFX does have to deal with rotoscoping, but that\u2019s much easier now than it used to be. For our backlot exteriors, I thought green screen was fine, because it doesn\u2019t affect the foreground, but I won\u2019t compromise the look when working in close quarters.\u201d<\/p>\n

Deakins remained closely involved during postproduction, overseeing the DI with Villeneuve at Deluxe\u2019s Efilm. Colorist Mitch Paulson notes that even with the mix of stage, locations and VFX, 2049<\/em> still had a very consistent look, relative to his efforts in the DI.<\/p>\n

\u201cRoger lights and exposes within that [one LUT] framework, very much the way he would use a film stock,\u201d Paulson states. \u201cScenes cut together very well because of the planning that went into shooting. There were the inevitable small differences, and Roger, who was at every session, would have me massage the images to his satisfaction.\u201d
\nPaulson employed Autodesk Lustre for the different deliverables required for 2049, which included 3D and HDR. \u201cThere are technical differences when you work in Dolby Cinema or Dolby Vision for home entertainment versions,\u201d the colorist explains. \u201cHDR lets you have significantly deeper blacks and much brighter whites \u2013 but\u00a0it\u2019s ultimately up to cinematographers and directors how much they want to take advantage of that. Roger\u2019s approach was really all about preserving the look and feel of the P3 version.\u201d<\/p>\n

Deakins notes that the highlights in HDR can pop in distracting ways, so suppressing the highlights was a good way to make that version conform to the regular release. \u201cFor the IMAX version, I\u2019m adding a bit more color,\u201d he says. \u201cMost of those cinemas use a silver screen, so the edges fall off in density, and color gets washed out.\u201d
\nOutside of Skyfall<\/em>, Deakins has not been involved with spinoffs and sequel projects, but he stresses that Blade Runner 2049<\/em> offers a distinctly different treatment than the original. \u201cIt\u2019s really not a conventional sequel at all in my mind,\u201d he concludes. \u201cI don\u2019t know what people are expecting, but this isn\u2019t just another version of what they saw in 1982 \u2013 it is very much Denis\u2019 film.\u201d<\/p>\n

by Kevin H. Martin<\/em>
\nphotos by Stephen Vaughan, SMPSP Framegrabs courtesy of Warner Bros.<\/em><\/p>\n

 <\/p>\n

CREW LIST<\/p>\n

Director of Photography<\/strong>
\nRoger Deakins, ASC, BSC<\/p>\n

Steadicam<\/strong>
\nPete Cavaciuti<\/p>\n

A-Camera 1st AC<\/strong>
\nAndrew Harris<\/p>\n

DIT<\/strong>
\nJoshua Gollish<\/p>\n

Still Photographer<\/strong>
\nStephen Vaughan, SMPSP<\/p>\n

Publicist<\/strong>
\nLarry Garrison<\/p>\n

AERIAL UNIT<\/p>\n

Aerial Dir. Of Photography<\/strong>
\nDylan Goss<\/p>\n

Aerial Technician<\/strong>
\nJustin Webber<\/p>\n

DIT<\/strong>
\nPaul Maletich<\/p>\n","protected":false},"excerpt":{"rendered":"

Roger Deakins, ASC, BSC, reveals what lies beyond \u2018Ridleyville\u2019 in Denis Villeneuve\u2019s new Blade Runner 2049. Ridley Scott\u2019s 1982 masterpiece, Blade Runner, derived from Philip K. Dick\u2019s cult novel Do Androids Dream of Electric Sheep?, hit theaters during one of the most fertile summers ever for science-fiction\/fantasy content. The director\u2019s follow-up to Alien debuted after The Road Warrior, Star Trek II, Poltergeist and E.T. had cleaned up at the box office, and was, amazingly (in hindsight), a box-office dud. Fortunately, […]<\/p>\n","protected":false},"author":1,"featured_media":7311,"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":[465,468,467,466,37,211],"class_list":["post-7310","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-blade-runner-2049","tag-blade-runner-camera-crew","tag-blade-runner-vfx","tag-blader-runner-cinematography","tag-icg-magazine","tag-roger-deakins"],"acf":[],"yoast_head":"\nHumanity 2.0 - 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\/humanity-2-0\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Humanity 2.0 - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Roger Deakins, ASC, BSC, reveals what lies beyond \u2018Ridleyville\u2019 in Denis Villeneuve\u2019s new Blade Runner 2049. Ridley Scott\u2019s 1982 masterpiece, Blade Runner, derived from Philip K. Dick\u2019s cult novel Do Androids Dream of Electric Sheep?, hit theaters during one of the most fertile summers ever for science-fiction\/fantasy content. The director\u2019s follow-up to Alien debuted after The Road Warrior, Star Trek II, Poltergeist and E.T. had cleaned up at the box office, and was, amazingly (in hindsight), a box-office dud. 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