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Unit photography by Daniel C. McFadden & Wallace Michael Chrouch. All images courtesy of Warner Bros. Pictures.
He’s back, he’s angry, and he’s got company.
In Godzilla: King of the Monsters, human actions trigger the reappearance of the titular “Titan,” who was last seen returning to the sea after saving San Francisco. But other legendary monsters also have been roused — the insect-like Mothra, the pteranodon Rodan, và the three-headed rồng King Ghidorah — each of whom is devastatingly powerful. As these behemoths vie for supremacy, the human world becomes collateral damage.
The Monarch organization, which has long tracked the beasts, hopes to lớn contain the threat. Dr. Emma Russell (Vera Farmiga) has developed công nghệ to communicate with — và potentially control — the Titans. While she seeks a peaceful resolution, her ex-husband, Dr. Mark Russell (Kyle Chandler), has personal reasons for a more hawkish approach. First, though, he must rescue Emma và their teenage daughter Madison (Millie Bobby Brown) from a shady group with its own agenda.
Director Michael Dougherty describes himself as a lifelong tín đồ of the franchise, and he relished the opportunity to make what he calls his “dream Godzilla movie.” Though King of the Monsters continues the story from 2014’s Godzilla — directed by Gareth Edwards and shot by Seamus McGarvey, ASC, BSC (AC June ’14) — Dougherty strove khổng lồ give audiences something different. “We had lớn up our game,” says Dougherty, who co-wrote the script with Zach Shields. “One of the rules of sequels is to lớn go a bit bigger & bolder with each chapter. Thankfully we have four giant monsters, so it was easy to lớn go bigger.”
King of the Monsters marks the first collaboration between Dougherty & cinematographer Lawrence Sher, ASC. Sher came lớn the project following his directorial debut, the feature comedy Father Figures. “That was an incredible experience that I enjoyed immensely,” Sher says. “Directing made me feel inspired again khổng lồ shoot — & to shoot something challenging & different then I had done before.”
Specifically, Sher was looking to dive into blockbuster kích hoạt after having built a cinematography résumé that was dominated by comedies such as The Hangover and its two sequels. He knew that making the transition might take some convincing, but working in his favor was the additional photography he did on the năm trước Godzilla. “That was a good experience, và it dipped my feet into that world,” Sher reflects. “Perhaps it also allowed
Sher quickly won over Dougherty. “He came in with a look book of frames from films — some sci-fi, some not — that he felt captured what this movie could look like,” the director recalls. “I had already collected some of the same ones. It was one of those eerie moments of synchronicity, when you feel a connection right away. We spoke the same visual language, & I knew we would see eye khổng lồ eye.”
Blade Runner (AC June ’82) was a prominent reference. “That’s a gorgeous science-fiction film, never surpassed in terms of aesthetics,” the director says. Alien (AC Aug. ’79) was also an influence, as were its sequels Aliens và Alien3 (AC Dec. ’92). “There is a moody and grounded quality in those films that we wanted lớn bring back,” Dougherty continues. “Those filmmakers weren’t afraid of shadows and grain. I miss the atmospherics and texture of those films. As we start lớn embrace digital, I worry the image is getting too clean và perfect all the time, which takes away from the tension you can build with darkness and shadow and splashes of light.”
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The filmmakers also carried forward visual elements from the previousGodzilla. “We liked how
Despite Dougherty’s concerns regarding overly crisp images, the filmmakers opted khổng lồ shoot digitally. They consideredArri’s Alexa XTStudio camera, but Sher believed the greater resolution of the large-format Alexa 65 system would better serve the big-scale, effects-heavy movie, which was destined for IMAX screens. The producers agreed.
In keeping with the lastGodzilla— as well asKong: Skull Island, which exists in the same onscreen universe và shot by Larry Fong, ASC — the production elected to work primarily with anamorphic lenses, though the filmmakers recognized that certain visual-effects shots would benefit from being shot with spherical lenses. “Mike & I love the anamorphic look inAlienandClose Encounters of the Third Kind<AC Jan.’78>, and we wanted the feel of
The lens package includedPanavisionC Series, E Series, G Series & T Series anamorphic primes, as well as a 150mm anamorphic Macro auto Panatar. For certain long-lens shots the crew also carriedNikon Nikkor300mm và 400mm spherical primes with rear anamorphic adapters; once or twice, Sher estimates, the 300mm was also paired with a 1.4x extender. “We stuck mostly with primes for 90 to lớn 95 percent of the movie,” Sher notes. “Philosophically, we were trying to be close to lớn the actors lớn keep an intimate và ‘immediate’ relationship. The C 60mm became a much-used lens for us because it had a close-focus of 19 inches, which made it useful for extreme close-ups và handheld
The crew always ran two cameras — A camera was operated by Christopher TJ McGuire, and B was operated by Thomas Lappin — with a third camera added approximately a quarter of the time; Panavision ATZ 70-200mm (T3.5) & ALZ10 42-425mm (T4.5) anamorphic zooms came into play on C camera for select day exteriors. For spherical shooting, the crew used a phối of Panavision Primo 70s ranging from 14mm to lớn 80mm. In all cases, the filmmakers framed for a 2.39:1 aspect ratio.
Sher would often shoot at T2.8, and to arrive at that in big night exteriors, he would sometimes raise the camera’s exposure index lớn 1,600 or 2,000, as in a sequence in which monsters clash at Boston’s Fenway Park. The production built a replica of part of the stadium’s famous “Green Monster” left-field wall & surrounded it with bluescreen, then re-created the rest of the environment with plates and CGI phối extensions.
“When we knew we needed more depth of field for the creatures, we would bump up to lớn T4 or T5.6,” Sher adds. “We didn’t want a lot of mushiness in the background — in the large format, that can make it feel strained. What might otherwise look out of focus và beautiful at T1.4 or T2 might make the creatures look less real because of their form size and proximity khổng lồ the lens.”
For Steadicam moves in close quarters — such as those in an Osprey military-aircraft interior set và a submarine interior mix — the filmmakers would sometimes switch toArri’s Alexa Mini camera. “We also had various security-camera & body-camera shots, for which we usedSony a7 camerasand actual police body cameras,” adds DIT Nicholas Kay. “They all shoot 30 fps, so we had to lớn convert the footage.”
Principal photography spanned June lớn late September 2017 và took place in và around Atlanta, Ga., with sets constructed atBlackhall Studiosand at an OFS Optics warehouse facility that has been retrofitted for production.
Most scenes required a tremendous amount of interactive light to lớn suggest the atomic bioluminescence of the Titans, each of which emits its own distinguishing palette: xanh for Godzilla, red for Rodan, yellow for King Ghidorah, và a mix of pastel yellow and blue for Mothra. The colors were CG-animated as part of the creatures, but also needed to lớn play on the live-action human characters & the physical environments.
