‘Gladiator II’ Cinematographer Breaks Down Flooding the Colosseum for a Shark Battle

As a seasoned cinephile who’s witnessed the evolution of filmmaking technology from the reel era to the digital age, I must say that “Gladiator II” promises to be a visual spectacle like no other. The fusion of practical effects with advanced CGI is a testament to Ridley Scott’s unwavering vision and adaptability in the face of technological advancements.

16 years after the events of “Gladiator,” the sequel finds itself in a new era. When Ridley Scott initially envisioned the original film, his philosophy was to construct authentic sets, work with real tigers, and fire genuine arrows. This time, however, advancements have been made, and the Colosseum stands at its grandest. Yet, technological progress has also taken place, making processes quicker, simpler, and more efficient. Additionally, 3D printing technology, which did not exist back then, is now a crucial aspect of production.

On his second trip as “Gladiator,” Scott escalated the action with encounters involving rhinos, baboons, and sharks, all happening amidst a simulated sea battle.

Mathieson explains that Scott has a deep affection for Computer-Generated Imagery (CGI): “He’s smitten by it. He feels at ease. He excels in it. He created some breathtaking sequences with his supervisors. Notice ‘Napoleon.’ It made a significant impact on us.

One of the most thrilling scenes in the movie could be the shark fight sequence. Following Lucius’ (Paul Mescal) town being overrun by Roman soldiers, he is taken captive and turned into a prisoner. Later on, he’s sold as a gladiator and rises to become a leader. He engages in combat not only with baboons and rhinos but also emerges victorious in both encounters. Mathieson clarifies that Lucius has grown too formidable, prompting the emperors to contrive a naval battle within the Colosseum as a means to eliminate him.

The setting is vibrant, filled with an assortment of colorful boats, while senators in their togas observe from a royal balcony. Mathieson compares it to a flamboyant boxing match in Las Vegas during the 1970s, where men resembled strutting peacocks, and the women’s attire was less extravagant compared to the men. It’s an overwhelming display of excess.

The journey begins when Lucius steers one of the vessels towards another, causing a collision. This action triggers a fight involving gladiators and the Emperor’s guards, who are then pushed into waters teeming with sharks.

In my review, I’d say: “Let me share an interesting behind-the-scenes tidbit – this sequence was filmed not once, but twice! Here’s how it went down: we used self-propelled modular transporters (SPMTs), which are essentially giant skateboards with numerous wheels and steering mechanisms. Imagine placing your production on a rolling platform that a skilled operator guides along, using a joystick as his guide. That was the magic behind capturing this breathtaking scene.

According to Mathieson, during the filming of the dry scenes, stuntmen provided cushioning for the actors to land on when they fell. Afterwards, the production team filmed this sequence in Malta, specifically inside a massive water tank. Mathieson mentioned that this tank is one of the largest in Europe, with dimensions of 300×400 feet and capable of being up to two meters deep.

The water displayed an ominous, emerald-greenish blue hue, casting eerie shadows below it. As Mathieson explains, “The majority of the shooting was done quickly on dry ground. However, in terms of the story, only a few shots were taken in the water, yet they required approximately twice as much time due to the challenging nature of filming in water.

Mathieson preferred to maintain a distance from his camera setup, allowing him to capture a broader view of the scene. This way, he could keep a loose composition and create a feeling of immersion, as if the viewer were right in the middle of the action.

Mathieson was familiar with Scott’s plan, which involved capturing as many shots as possible simultaneously and filming from multiple angles. He explained, “You gather all the extras, place numerous cameras in strategic locations around the arena because the boats are constantly moving. Not every camera will be recording at once, but since the action moves, the boats will approach the cameras, bringing the action to you.

Mathieson points out that shooting all scenes simultaneously provides consistency, as he explains, “The boat is on fire, the walls are collapsing, and people are tumbling off. If we switch to another shot midway and the person has already fallen off in the wide shot, then we cut to a close-up where they’re still there and subsequently fall off, that footage can’t be used. Since everything is happening concurrently, when the individual falls off in the wide shot, they also fall off in the close-up, ensuring a logical sequence.

The preferred camera for him was the Alexa Mini LF equipped with a zoom lens. To put it simply, having a zoom lens means you can just zoom in and out without worrying about changing lenses. In our case, we don’t want to be fiddling with choosing the right lens, given that many crew members have been working since 2:30 AM. They aren’t interested in hearing about a 35mm or 40mm lens; they need to be ready, quick, and on their toes. When the energy picks up or something unexpected happens during a shot, we need to be able to react swiftly, which means having a versatile setup like a zoom lens is crucial.

One factor in making the film after nearly a quarter of a century was taking advantage of advancements in camera cranes. “Back then, we didn’t have such technology. [Now], they’re extendable and can reach over 75 feet, but we opted for the compact ones, ensuring greater mobility.

Watch the video above.

2024-11-27 01:47

‘Gladiator II’ Cinematographer Breaks Down Flooding the Colosseum for a Shark Battle

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