DEFINITION April 2018

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FEATURE TOMB RAIDER

made sure he got what he wanted.” In fact George’s skill in operating a camera came in handy on set as he was plugged in via a live comms link to the operators. He could then talk to them during the shot telling them what to look for and trying to be helpful without being incredibly annoying. “Quite quickly they started to understand the sensibilities of what we wanted to do,” he says. GEAR George used the ALEXA camera for the project but not the Master Primes. “I wasn’t a fan of the Master primes for this particular project.

This one we shot on Panavision G series anamorphic, I’m quite a fan of that anamorphic look at the moment especially for this film. One of the things that occurs in the third act of the movie is the entry into the tomb, and the way the cameras flared was very important to us to keep things alive in this darkness. I was actually looking for the blue stripe flare as I felt it would help the technical look of the tomb descent. I’ve never really wanted to look for that flare before; I’ve shot anamorphic on the last six movies I’ve worked on and didn’t want that but for this one it was appropriate.”

to take in the imagery on the wide shots without distracting with the handheld. You then can jump into the urgency of the characters.” For someone like George who has a long history of camera operating – just check his IMDb entry – it must be a little frustrating to hand over operating to others, which he did for this movie. “We were running two cameras all the time and there are too many moving parts for me to operate as well. The sets are enormous so by not operating I can have a better control over the images. I also haven’t worked with this director before so decided to leave it to others while I

YOU TAKE IN THE IMAGERY ON THE WIDE SHOTS

DEFINITION APRIL 2018

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