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“It took at least an hour, in various vehicles, to get there each morning,” says Fong. Not just on the glacier either – but on its highest peak. That meant shooting in Iceland, which in the story stands in for Russia, on Europe’s largest glacier, Vatnajökull. Fotokem took care of us very well in that regard.”īecause McKay wanted The Tomorrow War to feel real rather than hyper-stylised, he chose to shoot on location and limit the amount of green screen used. “That’s an important part of the workflow. Howie also made sure the dailies matched that vision each day. From there Fong and DIT Robert Howie modified it to discover each sequence’s preliminary look. He used a base LUT supplied by Steve Yedlin, ASC. I didn’t have any reason to shoot higher.” “The studio, post-production and VFX were all good with that.
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GoPros captured some surveillance camera-type of shots. GoPros captured some surveillance camera-type of shots.Īdditional ultra slow-motion shots were made with a Phantom, and Alexa Minis were deployed for helicopter aerials and several drone shots. It was an easy choice to go with Arri Alexas, which have amazing colour science inherent in their design.”Īdditional testing with the lenses and the Alexas helped Fong’s team tune them for the desired flare characteristics – “always an important thing for me”, he says. I used Panavision T-Series lenses that were modified a bit to my specs by Dan Sasaki. “We decided on shooting anamorphic early on to achieve the epic scope and grandeur – not only for the 2.39 aspect ratio, but for the texture that anamorphic glass brings. “Chris wanted the movie to have a classic vintage look with as much in-camera as possible,” Fong says. McKay, who made his feature-film debut with The Lego Batman Movie, was able to use his extensive background in animation to direct a live-action movie where the aliens are, for the most part, created in CG. “We tried to apply some restraint for half of the film and then cut loose for the rest,” Larry Fong, ASC The process is to narrow down and distill things into the best ideas and then figure a way to translate them into a tangible approach on set.” I prefer to visualise, dream, meditate, whatever you want to call it, as I go through the script or walk the sets and the locations, and bounce these ideas off of the director, production designer, gaffer, key grip, camera operators, DIT… anyone who will listen. “I’m always excited to try and come up with new visual approaches rather than be influenced too much by other movies. Peter Wenham, production designer, delivered “fantastic, original concept art” but Fong prefers to apply his own ideas whenever possible. Having shot a number of blockbuster science-fiction and fantasy films in the past, such as 300, Watchmen, Batman v Superman: Dawn of Justice and Kong: Skull Island, Fong was no stranger to shooting movies about aliens and post-apocalyptic battlefields. Director Chris McKay’s feature-film debut was The Lego Batman Movie