26 July 2010 American Cinematographer

Tight security is in place on Universal Studios’ Stage 12 asa film crew readies for a take on a surreal-looking set: alarge, high-ceilinged vault with black walls divided intoblocks by a grid-like pattern of thin, white lines. More

than 100 space lights are positioned overhead, above a layer ofFull Grid and another layer of muslin; the light they cast isneutral, sterile and shadowless. Actor Cillian Murphy kneelson the floor. At the call of “Action!” two cameras roll, onecapturing the scene in anamorphic 35mm, the other record-ing the action in 65mm. Suddenly, a crack appears in thefloor, and an irregular chunk of the set collapses and fallsaway, sending Murphy and some set pieces plummetingthrough a hole. Dust rises into the set as director Christopher

Nolan yells, “Cut!” A moment later, hydraulic pistons lift thecollapsed floor back into position for take 2.

It’s an attention-grabbing moment on the set ofInception, Nolan’s latest collaboration with director of photog-raphy Wally Pfister, ASC. The film, also written by Nolan,presents the experience of dreaming and takes it to dramaticextremes: a character can invade the dreams of others, multi-ple characters can be linked and experience the same dreamworld simultaneously, and dreams can be manufactured andaltered in order to manipulate the dreamer. The main charac-ter, Dom Cobb (Leonardo DiCaprio), infiltrates dreams forprofit, and his accomplishments in the field of corporate espi-onage have made him an international fugitive.

DreamThieves

Wally Pfister, ASCand Christopher

Nolan offer AC aninside view of the

sci-fi thrillerInception.

By David Heuring

•|•

www.theasc.com July 2010 27

As with so many of theirventures, the touchstone for Nolan andPfister was photographic realism. “Theunderlying idea is that dreams feel realwhile we’re in them, which is actually aline in the film,” says Nolan, speakingto AC after the production wrapped.“That was important to the photogra-phy and to every aspect of the film. Wedidn’t want to have dream sequenceswith any superfluous surrealism. Wedidn’t want them to have any less valid-ity than what is specified as being thereal world. So we took the approach oftrying to make them feel real.”

“There are times when the char-acters don’t know what they’re seeing isa dream, so the visual differencebetween reality and dreams had to beseamless, except in specific places wherewe wanted to communicate that differ-ence to the audience,” notes Pfister.“Often, the surrealism in the moviecomes from the environment ratherthan the camerawork or photography.By maintaining a realistic feel, we

believed we could introduce a bizarre orunsettling feel very subtly when wewanted to, without taking the viewerout of the story.”

Pleased with what they were ableto achieve by mixing anamorphic35mm cinematography with 15-perf65mm on The Dark Knight (AC July’08), Nolan and Pfister decided to testlarge formats for some sequences inInception. “We’ve always been inter-

ested in exploring the highest resolu-tions and highest-quality imagingformats,” says Nolan. “We decided touse 35mm anamorphic as our mainformat on this film because it’s the mostcontrollable, the cameras are reasonablylightweight and very efficient, andwe’ve got a lot of experience with it. Butwe also decided we could get somevalue out of mixing large-formatphotography into some of our biggestU

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Opposite: Expert thiefDom Cobb (LeonardoDiCaprio) steals valuableinformation by invadingand manipulating people’sdreams. This page, top: Inthis frame grab, whichshows a portion of the setAC visited, Eames (TomHardy) prepares to enter a“strong room” thatrepresents the deeply heldsecrets in another man’smind. Bottom:Cinematographer WallyPfister, ASC meters the staron location at UniversityCollege London.

28 July 2010 American Cinematographer

set pieces and some of the moreformally constructed scenes.”

Imax was ruled out because thefilmmakers decided that extensivehandheld camerawork would be acornerstone of their visual approach.“We wanted to do a lot of handheld inmany very confined locations to get adocumentary feel,” says Nolan. “And

there was a lot of physically challengingwork planned.”

Shooting film, however, wasalways a given. “Film has an enormousamount of exposure latitude anddynamic range, which gives us infinitecreative flexibility in creating images,”says Pfister. “I can underexpose it by 3stops and overexpose it by 5 stops

within the same frame and see theentire spectrum on the screen. That’ssimply not possible in any digitalformat I’ve seen. Every digital camera istrying hard to emulate 35mm film, andthere’s a reason for that.”

In their quest to find the mostsuitable large format for Inception, thefilmmakers met with industry legendDouglas Trumbull and took a look atShowscan’s latest iteration. They alsoexamined Super Dimension 70, asystem devised by Robert Weisgerberthat allows shooting and projecting at48 fps. “Strangely, Super Dimension 70images have an almost hyper-HD qual-ity, despite the phenomenal resolution,”says Pfister. “We just couldn’t getaround that.” They also screened apresentation created by ASC membersBill Bennett and Kees van Oostrumthat mixed wide shots captured on65mm with closer shots made on35mm. “We saw that the 35mm and65mm footage cut together well,” says

! Dream Thieves

Above: Cobb andhis cohorts travel

to Mombasa,Kenya, to visit a

secret facilitywhere sleep

control is pushedto its limits. Right:

DirectorChristopher Nolan

(far left) andPfister block out a

handheld scenewith DiCaprio.

www.theasc.com July 2010 29

Pfister. “They got great detail and reso-lution on the wide shots, where objectsin the frame appear smaller. Seeing thatencouraged us to use that model.” Thefilmmakers eventually decided to addboth 65mm and VistaVision 8-perf35mm to the mix for Inception.(VistaVision was used for aerial cine-matography, shot by Hans Bjerno.)

In a bit of a departure from theirprevious work, they also decided to doextensive high-speed photography,which Pfister accomplished mainlywith the Photo-Sonics 4ER, whichworks with Panavision lenses andallows frame rates of up to 360 fps, andthe Photo-Sonics 4E Rotary Prism,which goes as high as 1,500 fps. (APanArri 435ESA and a VisionResearch Phantom HD camera werealso used for some high-speed work.)“There are very few high-speed shots inanything I’ve done because I feel it isinherently unreal,” says Nolan, “but it’san essential component of Inceptionbecause there is a very specific temporalrelationship between the dream worldand the waking world. We wanted touse high-speed photography and speedramps for narrative effect as opposed toaesthetic effect.”

Knowing that he would becontending with an array of cameras,formats and the stop loss associatedwith high-speed cinematography,Pfister decided to limit his film stocksto two: Kodak Vision3 500T 5219 and250D 5207. “I don’t change stocks tocreate different looks,” he notes. “Iknow that works for some cinematog-raphers, but I prefer to change thelighting or exposure, for example. I likethe simplicity of using the same stocks.In day-exterior situations, we’d start outwith an ND.6 or .9 and pull the filtersout as the light waned.”

The production filmed in sixcountries, beginning in Japan, andPfister depended on his regular crewthroughout the 92-day shoot: cameraassistants Bob Hall and DanMcFadden, gaffer Cory Geryak, andkey grip Ray Garcia. (In the UnitedKingdom, key grip Ryan Monro was animportant collaborator.) Imagica inTokyo, LTC in Paris, and Technicolorfacilities in London and NorthHollywood were tapped for processingthe 35mm footage; throughout theshoot, Technicolor’s North Hollywoodlab processed the 65mm. (Iwerks inBurbank created 35mm anamorphic

reduction prints from the 65mm nega-tive for dailies.)

After two days in Japan, wherethe schedule included aerials and somebullet-train exteriors, the filmmakersmoved into the airship hangar inCardington, England, where they hadshot major portions of The Dark Knightand Batman Begins (AC June ’05). Thisbecame home base for prepping the restof the shoot. The hangar housed somespectacular sets, including a hotel barthat could be tilted 30 degrees and amassive elevator shaft laid out horizon-tally. Special-effects supervisor ChrisCorbould oversaw their construction.“Chris has been working with us sinceBatman Begins, and he’s an absolutelybrilliant engineer and artist,” notesPfister. “It’s hard to imagine doing afilm of this scale without him.”

Another Cardington set, a hotelhallway, comes into play during a scenethat features some zero-gravity action.The hallway was built twice, with iden-tical interiors seen by the camera. Inone case, the entire hallway verticallyrotates 360 degrees, like a rotisserie,with the camera looking into one endand moving either independently (via aTechnocrane) or mounted to the set on

Above: Saito (Ken Watanabe) grabs Nash (Lukas Haas). Right: Cobb gains the upper hand.

30 July 2010 American Cinematographer

To create a particularly hair-raisingaction sequence in snowy mountains

for Inception, director ChristopherNolan wanted to capture spectacularshots on the slopes and from the air inthe Canadian Rockies. Aerial cine-matographer Hans Bjerno worked witha Beaucam VistaVision camera for heli-copter shots, and action-sports cine-matographer Chris Patterson hit theslopes with a PanArri 235 to capture theclose coverage.

“Fundamentally, I wanted everyshot to be moving,” says Nolan. “Iwanted to base the photography in thesescenes on what we’d done with vehiclesin The Dark Knight. I wanted to alwayshave a point of view for the camera, to

always be moving with the action andputting the audience into the experi-ence. Chris was able to pull off somereally extraordinary shots. He was veryreceptive to putting more and moremovement into shots, even little story-telling shots. That footage all cuttogether with what I like to call a‘tumbling forward’ quality, where you’rebeing pulled along with the action.”

Patterson’s PanArri 235 wasequipped with 200' 2-C magazines.The lens was usually a 28mm, 35mm or75mm Panavision G-Series anamor-phic prime. Primo 48-550mm and 270-840mm zoom lenses were used tocapture some shots from a distance. “Iapproach it like bike racing — shaving

ounces keeps me shooting longer andhelps me maintain better control,” saysPatterson. “I have the camera supportedfor handheld with a lightweight rigmade by Red Rock Micro that includesa [Preston wireless] FIZ remote followfocus. My first AC, Scott DaHarb, isfamiliar with my high-energy shooting,and he skis along behind me, pullingfocus. I had a small Transvideo monitorto glance at as I skied.

“Our ski unit comprisedCanadian Local 669 members withstrong backgrounds in skiing andmountain travel,” he adds. “It’s key toapproach this kind of shooting with safe,capable people who are comfortable inthe mountains.”

Overall, Patterson continues, “Iworked to mate what Chris and Wally[Pfister, ASC] envisioned with what Ithought would really take the action tothe next level. They were totally open tomy ideas and really encouraged me tocontribute to the creative approach.Each morning, I’d meet with stunt coor-dinators Sy Hollands and TomStruthers to discuss the stunts and thebeats the scene required. At lunch, we’dreview the footage with Chris andWally.”

The main unit took to the slopeswith a snowmobile tracking vehicle puttogether by key grip Ray Garcia and hiscrew. A Scorpio gyrostabilized head wasmounted to the front of the vehicle, andPfister was able to operate the camerafrom the passenger seat. This rig wasused to capture some high-speed workand tracking shots in deep snow.

Nolan and Pfister agree, however,that Patterson’s handheld coverage is thestar of the sequence. “Chris’ skill atwielding a handheld camera on skisbecame absolutely essential, and I don’tthink there’s any other way we couldhave gotten the kinds of shots we havein the finished film,” says Nolan. AddsPfister, “We knew that by going withChris, we’d get the best out of Calgary.Everybody is talking about his footage.”

— David Heuring

•|• Skiing into the Action •|•

Above: Ski-unit director of photography Chris Patterson works with a PanArri 235. Below:Patterson and 1st AC Scott DaHarb capture a shot on location in Calgary at a fortress exterior.

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a specially designed rail system thatmoved the gyroscopically stabilizedcamera back-and-forth along a hiddengroove. (Think Fred Astaire dancing onthe ceiling, or some of the zero-gravityinteriors in 2001: A Space Odyssey.) Thesecond hallway stands vertically on itsend, with the camera on a telescopicTowercam rig, looking straight up.Actors were raised or lowered on wiresto perform in the space. A third methodof shooting in the hallway sequenceinvolved moving the actors on a trolleyrig that was later removed in post.

Nolan wanted the corridor set torotate freely without having to be reset.Geryak explains, “We found a companythat designed a slip-ring brush systemto supply power to the hotel hallway, wetold them what our power needs wouldbe, and they built a carousel-like systemthat enabled electricity to flow fromland power to the rig. Our dimmer packwas actually onboard, which was astreamlined way to do it. We had tobalance our cables and dimmers aroundthe entire rig so it wouldn’t make theload uneven.” Because of the high-speed work, a lot of light was required,

and the lighting was designed to beextra sturdy because the actors wouldhave to fall on it. Practical fixturesdesigned by the art department eachheld six 150-watt Photofloods. Therewere also sconces and a soffit builtaround the existing practicals and fittedwith nook lights with 1,000-wattglobes behind milk glass. The stop was

usually T2.81⁄2.The hallway sequence required

particular beats of action, and stuntcoordinator Tom Struthers workedclosely with the actors to determinewhat would be possible and also safe. “Acouple of key rigs we used to achieveeffects in camera were very specificallyinspired by 2001 [AC June ’68] and the

Left: A full-scalemodel of alocomotive wasbuilt onto thechassis of an 18-wheeler for amajor actionscene shot at theintersection of7th and Springstreets indowntown LosAngeles. Below:Cobb and Ariadne(Ellen Page)experience adream state at acorner café inParis.

www.theasc.com July 2010 31

32 July 2010 American Cinematographer

As that light dimmed, 60'-long soft-boxes filled with Maxi-Brutes andcovered with Grid Cloth were broughtup to create overcast light. “That’s onescene where the camerawork and light-ing become surreal, but it’s all part ofthe storyline,” says Pfister. “It’s still anaturalistic approach in that everysource is motivated. What’s veryunusual is the way it changes.Combined with the set tilting, it createsa very unsettling sensation.”

Laying out the setting’s elevatorshaft horizontally was Nolan’s idea, andPfister notes that doing so “allowed usto give the scene scope that could nothave been achieved any other way. Inyour average Hollywood movie, thatwould be a visual-effects-heavy scene,but in keeping with our policy of doingas much in-camera as possible, we got itfor real, and it was wonderfully success-ful.”

After wrapping up in England,the production spent a week in Parisand then two weeks in Morocco. Theshoot then brought the filmmakers toLos Angeles, where they spent threeweeks shooting an action sequencedowntown in the rain. The biggestchallenge there, according to Pfister,was blocking the sun with Condors and

huge flags. “Ray Garcia did a phenom-enal job blocking light in resourcefulways and helping to make the rain lookcredible,” says the cinematographer.“When I was fretting about harshsunlight that occasionally sneaked intoa shot, Chris, who is always happy tospeed things along, would remind me,‘Well, it is a dream.’”

One segment of the downtownshoot called for a full-sized train tohurtle down a city street without actualrails. To achieve this, productiondesigner Guy Dyas built a mock loco-motive onto the chassis of an 18-wheeler. “It was fantastically detailed,”says Pfister. “We shot that, along withmany of our downtown L.A. actionsequences, in 65mm using an UltimateArm.” As the train approached, Pfister,working handheld, tried a number ofthings to make the frame shake, and inthe end he simply shook the camera.“The simple solution is often the rightone,” he observes with a laugh.

For high-speed work, the film-makers were constantly reaching for thehighest possible frame rates. Manysuch scenes were filmed in daylight, butseveral were done in artificial light. Inone scene, shot on the third floor of ahotel in downtown L.A., Cobb’s dream

! Dream Thieves

way in which Stanley Kubrickportrayed the lack of gravity,” saysNolan. “I was interested in taking thoseideas, techniques and philosophies andapplying them to an action scenario. Ichallenged Tom Struthers, ChrisCorbould, and Wally and his team toput all the energy of an action sceneinto a setup that we could shoot withthese extraordinary rigs. I think theresult is an interesting hybrid; it’s surrealand quirky, but it’s got a poundingaction rhythm.”

“Safety was a huge concern, andit was very painful for the actors becausethey had to bounce off the walls,” saysPfister. “They had to learn to jump atjust the right moment. We had acrewmember with a hand poised overthe kill switch at all times.”

Another elaborate set is a hotelbar where gravity suddenly shifts andthe weather outside undergoes asudden, dramatic change. Corbouldand his crew built the entire set to tilt30 degrees. The set windows looked outon greenscreens that would be replacedwith vistas in post.To effect the lightingchange, Pfister’s crew wired all fixturesto a dimmer board. The scene’s initiallighting required a sunset feel, soMolebeams were gelled with 21⁄2 CTS.

Above: Indulging the filmmakers’ preference for in-camera tricks, special-effects supervisor ChrisCourbould and his crew built a horizontal elevator shaft in an old airship hangar in Cardington, England,using the facility’s steel infrastructure to help sell the illusion. Right: Nolan and Pfister use an improvisedlocation to shoot a quick pickup of actor Cillian Murphy. Pfister’s longtime first assistant, Bob Hall, helps

at far left.

www.theasc.com July 2010 33

is interrupted when he falls backwardinto a bathtub full of water. To heightenthe effect, and to communicate Cobb’spassage from a dream state toconsciousness, Nolan asked for a speedramp. The goal was 1,000 fps, necessi-tating the faster Photo-Sonics cameraand a 7-stop light loss. “We knew weneeded a lot of punch to shoot at 1,000frames with that camera,” says Geryak.“The lenses it requires only go to a stopof 4.5. I believe I was getting the equiv-alent of f/90 on the edgelight, measur-ing the light at 24 fps. We achieved thatby setting two Condors outside thewindows that each held two Arrimax18K Pars with spot reflectors; they wereless than 15 feet from Leo. We also hadtwo 12K Pars banging into the ceilingfor ‘a bit of fill’ — the stand-in actuallystarted steaming!” Pfister notes, “Theshot looks great. You can see individualbeads of water, which gives the scene anotherworldly feeling.”

Another complicated shotinvolved rotating a van on its horizontalaxis 360 degrees. The target frame ratewas 1,000 fps, leading Geryak toconstruct what Nolan jokingly dubbedthe “tunnel of expense.” Geryakexplains, “We essentially built a tunnelout of truss. We had six rows of five

Clockwise fromfar left: AJapanese fortressshown at thebeginning of thefilm requiredseveral differentsets built invarious places,including anoceanfront site inCalifornia (shownhere), WarnerBros. soundstagesin Burbank, andLondon; Nolan,DiCaprio andMurphy discuss asequence set in ahotel bar, wherePfister used warmlight emulatingsunset toexaggerate alighting effect;Nolan andcrewmembers,including Pfister,gaffer CoryGeryak (in shorts)and visual-effectssupervisor PaulFranklin, have funtesting themassive bar set,which was builton hydraulics thatcould tilt it up to30 degrees;DiCaprio andPage step into asurreal world ona greenscreenstage atUniversal.

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An elaborate rig Nolan wryly dubbed “the tunnel of expense” was constructed from truss tocapture a shot of a van rotating 360 degrees on its horizontal axis.

18K Fresnels lined up around the van,aiming straight in. The van spun withinthat tunnel. The result was basically awraparound blanket of daylight. Wedidn’t have any lights on the ground, soas the van spins, the intermittent dark-ness communicates that they are spin-ning and flipping over.”

Onstage at Warner Bros., aportion of a Japanese fortress interiorwas built and destroyed for the produc-tion; this footage was melded with exte-riors shot at Abalone Cove in PalosVerdes, Calif. For another sequence, theinterior of a wintry mountain redoubtwas built onstage at Universal Studios.In the scene, pieces of the floor fall awayas the fortress crumbles. To achieve theeffect practically, the production builtthe main level of the set higher thannormal, so chunks of the floor couldcollapse and fall away on cue. The setwas surrounded by large greenscreens,which were later replaced by snowyRocky Mountain vistas.

“In order to have enough greenoutside and still give the feel of daylightcoming through the windows, thelights and the greenscreen needed to bepositioned a considerable distance back,which, of course, meant that the green-screens had to be bigger,” says Geryak.“We knew the actual location, near

Calgary, would have soft ambient light,and that the sun would be behind themountain, so we built about a dozen20-foot-long softboxes that we couldraise and lower. They could be config-ured to follow the path of the windows,which had an irregular triangularshape.” The crew hung space lights justoutside and above the windows tocreate the feel of natural skylight thatcould stream in more strongly when thefloor fell away.

The exteriors for this sequencewere filmed in Kaninaskis Country, inthe mountains west of Calgary inAlberta, Canada. Two versions of themountain fortress were built, one full-sized and the other a miniature thatwas eventually blown up. Extraordinaryski footage was shot by ski-unit directorof photography Chris Patterson, whosework “simply blew us away,” saysPfister. (See sidebar on page 30.)

Because Nolan intended tointercut a lot of material in the edit, heasked Pfister to give each location anddream level a distinctive feel. “Wewanted to have the color palette changequite a bit when we go from one loca-tion to another,” says Pfister. “Calgaryhas a sterile, cool look; the hallwayshave warm hues; and the van scenes areneutral. You immediately know where

36 July 2010 American Cinematographer

you are, even if we cut to a tighter shotor to something that is slightly out ofcontext. It’s a choice that helps tell thestory.”

“This film relies heavily on cross-cutting,” notes Nolan. “Editorially, youare very liberated if the different loca-tions each have a distinct look, butWally and I were loath to do any artifi-cial processing to the image. Instead, wewanted to find the natural hues of eachlocation. In the script, I tried to placethe different strands of action in loca-tions that would naturally be differentin terms of their design and feel. Weasked everyone to observe that, includ-ing the design and sound departments,and Wally carried that very elegantlyinto the photography.”

“I consider myself a naturalist interms of lighting,” says Pfister. “I don’toften light in a stylized way. In certainsituations, due to creative choices or

! Dream Thieves

A spinning hallway set, capable of rotating 360 degrees, was employed to capture a zero-gravity action sequence. This set required a camera platform that could dolly along the floor as the set

moved (opposite page, right); the track was hidden in the pattern of the floor’s carpet. The othercamera is mounted on a Technocrane, which allowed it to move independently of the set.

Below: The lighting plot for the hallway.

www.theasc.com July 2010 37

natural beauty, things do end up look-ing stylized, but that happens naturally.It’s fun that Chris and I are able tomake big studio films using thisapproach.

“I’m always fighting to keepthings from becoming overly compli-cated,” continues the cinematographer.“I never want things to look overlit —or lit, for that matter. The trick is towork quickly and simply while gettingresults that don’t look as though theywere rushed. I think it goes back to mytraining as a news and documentarycameraman. In those situations, youlearn to find the beauty in natural light.You start with the simplest terms:which direction to look, the time of day,single or multiple sources. You take noteof what works in real life, and you forman opinion according to your taste. Itake that with me not only to practicallocations but also to the stage, even

though we have the advantage of beingable to design the stage situations.”

Pfister maintains that operatingthe camera is integral to his approach.“In good photography, I can’t distin-guish between good lighting and goodcomposition; they work in conjunction.When it comes to handheld work, Ialways want to operate myself because Ican change my mind and react at anygiven moment. Chris and I have a

general formula for covering action —from behind, from the front, and thenbridging things together with differentsizes. Operating allows me to adaptwithin this formula as the material, thedrama, the lighting and the environ-ment change.”

Inception’s post phase involvedmultiple facilities. According to postsupervisor David Hall, the twoPhantom HD shots that made it into

the final cut were sent to DoubleNegative in London and finished asvisual-effects shots. The 65mm nega-tive was scanned at 6K at DKP 70mmInc. under the watchful eye of companypresident David Keighley. Those 6Kfiles were then turned over toTechnicolor in Hollywood, where ateam extracted from the 6K data togenerate 4K 35mm filmouts that couldbe combined with the native 35mm

! Dream ThievesThis page: The

action peaksas an

explosionrocks a

mountainfortress.

Opposite: Thefilmmakersbundle up

whileshooting the

movie’s climaxon location in

Calgary.

footage. Pfister did all of the colortiming photochemically at Technicolor,working with longtime collaboratorDavid Orr. In addition to 35mm anddigital-cinema presentations, Inceptionwill be released on 70mm Imax in selectmarkets, and DKP 70mm Inc. scannedthe 35mm color-timed interpositives tocreate those prints.

“The photochemical process isquite simple and works well for us,”

notes Pfister. “I put a lot of care into thecolor balance and exposure duringfilming, and that limits the manipula-tion required in post. If we want a sceneto have more contrast, we accomplishthat with lighting, wardrobe and setdesign. We were able to time this entirefilm in just three check prints. That’sabout half the time of the average digi-tal intermediate.” !

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