It was bigger than any other project I had shot before, but I felt excited to be part of a project lead by Steven Spielberg and directed by my film schoolmate. When they reach the island by plane, it looks majestic. They try to escape through the diorama. The fact that the movie was going to be projected at IMAX theatres was an important consideration, so we finally chose the Alexa All those pictures were like a visual timeline of the movie, and that was very helpful to unify the different criteria during the preparation and the shoot. We worked mainly with one camera.
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The peculiarity this time was that, at a certain moment, the script had a twist towards a different genre. We did a lot of negative lighting during the stampede at the volcano valley scene, placing huge black frames over the actors to enhance the effect of the ashes and smoke coming from the volcano.
This time the island was under the menace of tallen destructive volcanic explosion and the park was abandoned and in ruins. Fallen Kingdom marks another action-packed falpen to the blockbuster dinosaur franchise. Who were your crew? The abandoned bunker ceiling had some cracks that we used to create light shafts. The fact that the movie was going to be projected at IMAX theatres was an important consideration, so we finally chose the Alexa When they reach the island by plane, it looks majestic.
It was an amazing scene to shoot from a photographic point-of-view. In Hawaii, we shot mainly day exteriors and the challenge was to control the sunlight and keep it constant. The lights of the dioramas are still lit but the space is pretty dark. Is there a scene in the movie that you are especially proud of?
Oscar Faura / Jurassic World: Fallen Kingdom – British Cinematographer
We got four complete sets of Panavision Sphero 65 lenses. In England, we fallwn mainly on-stage and mostly at Pinewood. The Diorama room was designed with a glass dome on top of it so the lighting design followed that idea.
It was bigger than any other project I had shot before, but Murassic felt excited to be part of a project lead by Steven Spielberg and directed by my film schoolmate. The second half of the story had some hints of mystery and even horror. The challenge was to make it suitable for all kkingdom, but still keeping the strength of a gothic story look. We worked mainly with one camera. We used big arrays of SkyPanels in some of the biggest sets, like the Diorama Room, the interior of the Arcadia jurassc, and the glass dome rooftop of the mansion.
So I tried to visually describe how the volcanic activity was affecting the kiingdom. Obviously, we also had the previous movies of the franchise as starting references.
Bayona is a director who puts a lot of attention and dedication to the camera work. The dolly was our main camera support and we just used handheld or Steadicam occasionally. On stage, two dollies and a Technocrane composed our basic kit. We managed to do an invisible light crossfade that kept the ambience. The grip equipment was very diverse.
He uses the camera to tell the story, not just as a witness but also as an additional character. In Hawaii, when shooting the exteriors, we added tracking vehicles to the basic kit, to be able kinvdom shoot in the rough terrain of jungle or the volcano valley — including an Edge Arm, and the Polaris RZamong other camera supports.
Bring Home Jurrasic World: Fallen Kingdom This September
And what was your approach to the lighting? Bayona, and falpen produced by Steven Spielberg, Jurassic World: We had different ways of designing the scenes.
I would define the camera style of the movie as classic and composed. Owen decides to switch-off the lights so they are not exposed to the Indoraptor hidden in the blackness.
Principal photography was in England and Hawaii.