![]() ![]() “You work a couple of hours longer at the end of the day to shoot your own inserts.”īecause of an accelerated production schedule, two colorists worked on “Resurgence.” Florian “Utsi” Martin, who had earlier collaborated with both Emmerich and Förderer, helped fashion the film’s look during the first few weeks of the digital intermediate process. “If you light for it, it’s way faster to shoot all the elements yourself,” he explains. In addition to Dragons, they used some newer Red Weapon cameras - which are more compact and lightweight, making them easier to handle in small spaces such as cockpits - and shot almost the entire film with Hawk anamorphic lenses.įörderer worked with a camera team of 13 people the entire grip and electric department numbered about 50. He and Emmerich went with Red cameras, partly for their relatively small size and flexibility, and also because “if you know how to expose properly, it gives great results at the high 6K resolutions that are great for visual effects,” Förderer says.Īnywhere from one to four cameras were used at a time, depending on the scene. Of course, “Resurgence” made far greater use of visual effects than any other film Förderer had lensed. You make choices about which cameras and lenses to use, about whether to shoot close-ups, medium or wide, and about how to light it.” ![]() “At the end of the day,” he says, “you do the same things. Förderer wasn’t intimidated by the scope of the project. ![]() “Resurgence” was the first tentpole-sized movie for the 32-year-old Förderer, who says he “grew up with digital technology.” He has worked on smaller films in his native Germany, and with Emmerich on 2015’s “Stonewall.”Įmmerich liked the young cinematographer’s work and offered him the DP role on the sequel to his epic space-invader drama. “Usually directors say to their DPs, ‘Make it brighter so I can see the actors’ faces.’ But Roland would always say, ‘Make it darker.’ ” “Roland likes dark and moody scenes,” Förderer acknowledges. “My function was to warn Förderer if he was about to go into the danger zone of underexposure,” Hendriks says. Hendriks monitored the images as they were captured by digital Red Dragon cameras.
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