The document provides details about the production of the films Mission Impossible: Fallout (2018) and Pan (2015). It discusses the directors, budgets, box office performances, filming locations and timelines, camera equipment used including lenses and film stocks, and approaches to camerawork and lighting. Mission Impossible: Fallout had a budget of $178 million and grossed $789.9 million, while Pan had a budget of $150 million but only grossed $128.4 million and was not financially successful. Both films utilized various camera systems and filmed in multiple international locations.

1. PRODUCTION
RESEARCH
By Nabihah Nasir

2. Mission Impossible Fallout (2018)
◦ Directed by: Christopher McQuarrie
◦ Produced by: J. J. Abrams, Tom Cruise, Christopher McQuarrie, Jake Myers
◦ Written by: Christopher McQuarrie
◦ Cinematography: Rob Hardy
◦ Budget: $178 million
◦ Box office: $789.9 million
◦ As the Box Office sales show that the movie was a huge success.

3. Filming Details
1.Filming was slated to start in Paris on April 10, 2017.
2. Other locations include the United Kingdom, New Zealand and Norway.
3. Filming officially began on April 8.
4. Some of the filming also took place in New Zealand in July 2017.
5. The municipality of Forsand in Norway allowed the closing of Preikestolen for a time in autumn for
the film's shoot; only crew members and cast were allowed to approach the mountain for nine
consecutive days.
6. They also were allowed up to 50 helicopter landings per day.
7. In August 2017, Cruise injured his right leg on the London set during filming. Following the accident,
the studio announced it would halt production for at least nine weeks in order for Cruise's broken
ankle and other injuries to heal.

4. 8.On January 25, 2018, the title was revealed to be Mission: Impossible – Fallout.
9. Filming concluded in the United Arab Emirates on March 25, 2018.
10. Production in the UAE included filming of a High Altitude Low Opening (HALO) jump scene with
Cruise. The scene required Cruise and the crew to train on a ground-based vertical wind tunnel, and
then use a C-17 military aircraft to make over one hundred jumps from around 25,000 feet (7,600 m).

5. Camerawork
◦ Cinematography: Rob Hardy
Both Chris and Tom’s emphasis was on creating something quite different to previous films,
something altogether darker and more sinister looking. Chris also wanted it to feel as if it had
been directed by a completely different person to the previous movie. There was a desire to shoot
everything as practically as possible, and to not spend too much time on green screens with an
abundance of visual effects. Even though it had tremendous scale, there was something very
practical about their approach – a back-to-basics, raw and energetic, French Connection style of
filmmaking.

6. ◦ Camera Used: 35mm
◦ The lens used was Panavision Millennium XL.
◦ It’s a beautiful, lightweight and quiet 35mm studio camera that can convert easily into handheld or
Steadicam modes.
◦ It also has versatile short and telescopic viewfinder options. For a more classic, softer look.
◦ Panavision’s C-series and E-series Anamorphics are much gentler, and film really accentuated their
subtleties and aberrations.
◦ E-series, and the odd spherical lens, were used as back-ups.

7. ◦ Which focal length lenses were preferred?
◦ The wider end of the range, in order to get the camera really close to the action, and to make the
image more immersive and dramatic. The sense of closeness was an important tool narratively.
◦ Workhorse lenses were the 35mm, 40mm and 50mm, for their sense of proximity, although the
75mm and 100mm would sometimes come into play depending on the location and the set-up.

8. ◦ Which filmstocks were chosen, and why?
◦ For the majority of the exteriors, Kodak Vision 3 50D (5203) were used, as it handles the dynamics
light and shade extremely well, with a rich palette of colors.
◦ There were long scenes, when the action moves from bright, sunlit streets into shadowy alleyways,
with the angle of the sun constantly changing. The 50D gave the latitude needed for these shots,
delivered a level detail in the highlights and shadows.
◦ Kodak Vision 3 200T (5213) were also used, which balanced for daylight at 125ASA.
◦ Shot all of the interiors and nighttime scenes using Kodak Vision 3 500T (5219), which balanced for
daylight at 320ASA. The 500T is a really versatile film stock.
◦ The way the film captured the style in which it tends to light, soft yet directional, with a lean
Tungsten, was simply sublime.

9. Camerawork
◦ The camera positions and movements were designed, as much as possible, around shooting
action sequences as long takes.
◦ Also, the movie has some long dialogue scenes, with multiple characters. So, on these occasions,
There were several cameras that allowed cinematographers to cross shoot, and keep things up-
to-speed on the schedule.
◦ As the cinematographer wanted a particular framing style, he typically operated A-camera,
assisted by his longtime collaborator Jennie Paddon, on focus. B-camera/Steadicam was
operated by the brilliant Marcus Pohlus, assisted by Adam Coles, with C-camera operated by
Julian Morson, supported by Olly Driscol.
◦ He wanted the rooftop chase scene, during which Tom jumps from one building to another, to
feel like one shot. They rigged up a wirecam, with a mini Libra head, which could do a 360-
degree turn, and followed him over the precipice. He operated the wheels, and rehearsed it with
the stunt team many times over.

10. Lighting
◦ Overall, the goal was to keep the look of the movie dark and sinister, but natural.
◦ All of the lighting was Tungsten, which he sometimes balanced for daylight. On both location and
stage work, he wanted to be able to adjust the lighting to create the sense of scale and depth in the
image.
◦ He tended to light the whole space, but have the ability to take out chunks of light to create shape. It
was a combination of walls of light and integral lighting.
◦ Rarely was there ever a lamp on-set that wasn’t some sort of fixture or featured on-camera in some
way.
◦ One of the visual themes in the film is how Tom’s character is constantly forced down a road that he
does not want to take, as if he were heading down a tunnel. So they always tried to frame him
around objects and structures that disappear into infinity, and the lighting plays an important part in
that aesthetic.

12. Pan (2015) U.K Film
◦ Directed by: Joe Wright
◦ Produced by: Greg Berlanti, Sarah Schechter, Paul Webster
◦ Written by: Jason Fuchs
◦ Cinematography: Seamus McGarvey, John Mathieson
◦ Budget: $150 million
◦ Box office: $128.4 million
◦ Pan wasn’t a big success instead it failed to break-even.

13. Filming details
◦ On April 28, 2014, the film's principal photography began.
◦ Many natural scenes in the film were from Son Doong Cave, Phong Nha-Kẻ Bàng National Park
and Ninh Bình Province in Vietnam.
◦ The captured scenes were then graphically edited into the film.

14. Camerawork
◦ The widescreen aspect ratio of Anamorphic suited the sets and shooting on and around the various
ships, and indeed these were designed with Anamorphic in mind.
◦ Camera used: Alexa XT
◦ Pan was a heavy VFX movie
◦ RED Epic cameras on the aerial/drone shots over Vietnam to set the scene for Neverland, and on the
Wirecam shots through the Fairy forest
◦ Pan is full of fun and flights of fancy, and Joe wanted a kinetic energy to the camera movement.

15. ◦ So along with dolly and Steadicam, there was a bit of Wirecam to create a swooping camera, as well
as the motion control for some energetic VFX shots.