With "Dead Men Tell No Tales," Paul Cameron, ASC used imaginative techniques to lớn bring his own visual styleto a long-running franchise.

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The Pirates of the Caribbean franchise has long been one of Disney’s most profitable & critically acclaimed IPs. Spawned from one of the original rides at Disneyland, the franchise has grossed over $3.5 billion worldwide. The lackluster release of the series’ fourth entry put it on ice for a time, but reception to its newest film, Dead Men Tell No Tales, has been considerably better so far.

A key contributor to lớn this rebirth of the franchise is likely an almost entirely new creative team, led by directors Joachim Rønning & Espen Sandberg. Though longtime producer Jerry Bruckheimer remained at the helm, the extensive new additions included changes lớn nearly every department, including directly behind the camera, where Rønning and Sandberg hired ten-year ASC veteran, Paul Cameron.

Cameron has long had a penchant for shooting action-heavy flicks, cutting his teeth on middle khổng lồ upper-level Hollywood blockbusters such as Gone in 60 Seconds, Swordfish, & Man on Fire, but his big breakthrough came in 2004 when he worked alongside Dion Beebe on Michael Mann’s Collateral. The film garnered plenty of awards recognition for its cinematography, including a nomination from the ASC itself, thanks in large part to Cameron’s early-adapting and innovative use of HD cameras.Cameron"s technological prowess only continued khổng lồ grow from there, earning him a reputation as one of the most renowned cinematographers in the business. His status has continued lớn rise over the years as he elevates every project he"s involved in, including his most recent work lensing the phenomenal & gorgeous pilot for Westworld.

"I was able to lớn puttechnocranesonmegadecksand throw them around the ship very quickly và enable kind of fast, good camera movement in very challenging scenarios."

Cameron continues to nail working in his favored genre, và his talent remains evident as he utilizes novel technology & battles against a chất lượng set of challenges in the newest entry into the Pirates of the Caribbean franchise. The latest adventure sees Captain Jack Sparrow (Johnny Depp) on the hunt forthe trident of Poseidon andonce again on the run from an old nemesis, this time in the size of the undead Pirate-hunter, Captain Salazar (Javier Bardem).

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No Film School spoke with Cameron beforeDead Men Tell No Tales hit theaters, about shooting on massive blue-screens, filling the shoes ofDariusz Wolski, building a customized drone for Pirates, & more.


No Film School: Starting at the top, how did you get involved with Pirates of the Caribbean: Dead Men Tell No Tales?

Paul Cameron: I heard about the project through some contacts over at Jerry Bruckheimer, và I met Joachim Rønning and Espen Sandberg shortly after và they made an offer within a couple weeks, and we decided to go off & do it together.

At that time, we actually engaged in pre-production with the idea of shooting most of the film in Puerto Rico down in the water & then the film took a slight holiday. Basically, the film was on a vacation for a year afterThe Lone Ranger came out & the film got kind of re-thought about in terms of approach. I think during that time Joachim và Espen decided that they could work a lot better if we were in more of a green-screen/blue-screen scenario for a lot of the big stuff, so the film got revamped lớn shoot down in the Gold Coast at Warner Bros. Studios in South Brisbane in nước australia where it became predominantly a blue-screen film.

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Captain Jack Sparrow (Johnny Depp) Credit: Paul Cameron for "Pirates of the Caribbean: Dead Men Tell No Tales"

Cameron: The other way I think I brought a màn chơi to this one, in particular, was I had a drone manufactured with a company called XM2 for an ALEXA XT. With the restrictions in the United States & in other countries, you can’t fly the ship & camera over 44 pounds, & I found out in nước australia that actually you can fly up to lớn 65 pounds or something like that. So I contacted the company & fast-tracked the production on it và got them to lớn fly an ALEXA XT.

You’ll see a lot of shots in Pirates where the camera is kind of going around or hovering around the outside of the ship, & if you look at some of the shots more closely it’s a ship that’s 160-170ft long, and practically, the camera moves were a couple hundred feet within one shot. So technically, it would’ve been possible, but almost impossible to vị with a 100-foot techno or 50-foot techno on steel decks. So I think you look at some of these shots and they look lượt thích the camera is just kind of going around, but it’s actually a 200-300 foot drone move around the ship, which is something I brought lớn the tiệc ngọt that nobody else had in previous films.