Jump to content
Reuel Gomez

The Hunger Games: Catching Fire

Recommended Posts


Love this photo Dave, tho I was a little surprised to find that velcro seems to be the main mounting option for IMAX!


IMAX cameras are so rare you don't often even see them in photographs.




That's huge!


I think the next big thing in terms of gear after the DLSR 'revolution' and digital cinematography with Red, Alexa etc. might be very large sensor digital capture. There are already medium format digital backs with sensor sizes similar to IMAX film, with more resolution (I think) and much cheaper with readily available lenses, silent operation etc. Someone just needs to add video capture to them, which is really just a data throughput efficiency thing, which gets radically better every few years.


The H5D even looks a bit like at iny IMAX camera.


Share this post

Link to post
Share on other sites

Amazing work! Catching Fire could very well be my second favorite movie of the year (Wolf of Wall Street might end up being the best of the decade, so behind that) and I loved the look of it.

The first half in the various districts is so beautiful, particularly the day stuff… loved the cold magic hour look. Did you shoot late day and time for 3200K? Very pretty footage, perfect mood. Couldn't tell how much was real and how much was set extension... the stylization set the right mood and made it all feel real. The interiors are beautiful, too. Did you use mostly practical/pancake lights/soft lights all tungsten with natural light/soft light coming through the windows at 5600K+? Really curious how you lit the day interiors in the first half of the movie, so beautiful. Really the whole movie looks great, though. Excellent compositions, lighting, and great work on the production design/vfx side, too... everything comes together. Middle portion reminded me of Bad Romance, made me wonder if the studio picked Francis Lawrence partially based on his work on that.

How did you handle the day-for-night and night exteriors in general during the last half? On stages? Close ups seemed more “lit” or had a bit more contrast… lots of power windows? The effect is good, but I can’t imagine how you shot so many night exteriors in IMAX. Seems daunting. Mix of stages and location and day for night and night for night or all location?

AMAZING work. Such artful choices throughout. Can’t wait for the next two. Surprised so much is handheld telephoto. Did not have the shaky cam distant feeling of the first one, much more naturalistic and intimate. Again, great stuff!

Edited by M Joel W

Share this post

Link to post
Share on other sites


Sometimes your snark is so clever it's incoherent.

Edited by M Joel W

Share this post

Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Gamma Ray Digital Inc

    Paralinx LLC

    Media Blackout - Custom Cables and AKS

    Metropolis Post

    Rig Wheels Passport

    Wooden Camera

    Abel Cine


    Visual Products

    The Original Slider

    Serious Gear

    Tai Audio

    Just Cinema Gear

    G-Force Grips


    New Pro Video - New and Used Equipment

    Ritter Battery

    FJS International

    Broadcast Solutions Inc

    Cinematography Books and Gear
  • Create New...