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Day of the Falcon
We filmed Day of the Falcon in 35mm in order to fully profit from the desert and the sun. All outdoor shots were filmed in the southern part of Tunisia in October, November, and December (the sun does not rise above 30° at its zenith), and in Qatar in February and March.
We filmed in studio in Hammamet with many constraints. Pierre Queffelean, the set designer, was able to build all of the sets in a very small space, and to transform a pre-existing set of a Roman town into an Arab citadel.
Yann Rubens was in charge of the 2d camera, Xavier Castano and Susana Gomez of the 3rd camera and B camera (second unit).
Denis Garnier, Hassène Amri, Arthur Chassaing, and Ramzi Daly were at the camera, Claude Atanassian, Jean Atanassian, and Lotfi Siala were in charge of the lights, Bruno Dubet, Robert Donna, and Slim Dhaoui were on grips.
Fabrice Blin colour timed the dailies, Fabien Pascal performed final color timing on the Lustre, and Thierry Delobel was in charge of special effects.
Panalight Rome supplied the Arri cameras (2 Arricam Lite and 2 435s) with Angénieux zooms (15-40, 28-76, and 24-290 mm), a full Cooke S4 series of lenses, lighting, and equipment.
I used Canon D5 and D7s, equipped with gamma curves, supplied by Blue 3DS, which I hid inside the action scenes (airplanes, armoured cars, explosions, body doubles, camels, etc.).
Yann Rubens was in charge of the 2d camera, Xavier Castano and Susana Gomez of the 3rd camera and B camera (second unit).
Denis Garnier, Hassène Amri, Arthur Chassaing, and Ramzi Daly were at the camera, Claude Atanassian, Jean Atanassian, and Lotfi Siala were in charge of the lights, Bruno Dubet, Robert Donna, and Slim Dhaoui were on grips.
Fabrice Blin colour timed the dailies, Fabien Pascal performed final color timing on the Lustre, and Thierry Delobel was in charge of special effects.
Panalight Rome supplied the Arri cameras (2 Arricam Lite and 2 435s) with Angénieux zooms (15-40, 28-76, and 24-290 mm), a full Cooke S4 series of lenses, lighting, and equipment.
I used Canon D5 and D7s, equipped with gamma curves, supplied by Blue 3DS, which I hid inside the action scenes (airplanes, armoured cars, explosions, body doubles, camels, etc.).
Équipe
2d Camera : Yann Rubens2d Unit and 3rd Camera : Xavier Castano and Susana Gomez
Camera assistants : Denis Garnier, Hassène Amri, Arthur Chassaing, and Ramzi Daly
Electricians : Claude Atanassian, Jean Atanassian, and Lofi Siala
Grips : Bruno Dubet, Robert Donna, and Slim Dhaoui
Technique
Film : Kodak 5213 and 5219Camera, lighting, grips : Panalight Rome (2 Arriflex Arricam Lite and 2 435s), Angénieux zoom lenses 15-40, 28-76, 24-290 mm and a Cook S4 series.
Photographic cameras : Canon D5 and D7
Labs : Duboi and LTC
Daily colour timing : Fabrice Blin
Final colour timing : Fabien Pascal (on Lustre)
Special Effects : Thierry Delobel
