American Cinematographer - January 2015 - 81

Key grip Bruce Henderson's team
placed a 12'x20' Ultrabounce above the
greenscreen and the sidewalk where
extras walked. Arri M18s were placed at
both ends and aimed at the bounce to
provide a soft overhead light and illuminate the greenscreen. A 4' 2-bank Kino
Flo, fitted with daylight tubes, was
rigged outside over the window to
provide deeper lighting into the restaurant and backlight for the actresses.
Another 4' 2-bank southeast of the
table provided a rear three-quarter key
on Hoffmann, while a Kino Celeb 200
through a 4'x4' frame of Opal diffusion
did the same for Witherspoon on
medium shots and close-ups.
While they used artificial light in
the city, the filmmakers worked almost
entirely with natural light in the wild -
except at night - without even the
controlling tools of blacks and bounces.
"Jean-Marc wanted the camera very
close to Reese," Bélanger recalls. "She
has wonderful pale blue eyes, and if I
put a bounce there, I would see a white
square in her eyes. Instead I wanted to
see the landscape."
Many of the PCT locations were
difficult to access by vehicle, and the
crew often hiked in with horses and
donkeys carrying the equipment. Lights
had to be mobile and easy to set up, and
small Honda generators provided power
for work lights and a charging station.
"Jean-Marc wanted the option to shoot
any angle at a moment's notice, so
equipment had to be hidden behind
bushes, and support vehicles were miles
away," Walters recalls.
A scene at a campsite where
Cheryl befriends a trio of friendly male
hikers necessitated the largest-scale bit
of exterior lighting. She wakes in the
night, sick from alcohol, and walks in
the rain (provided by a rain machine) to
a stable, where the sight of a horse
precipitates a traumatic flashback. The
tent area was lit by a 6K space light
gelled with Half Blue on an 85' lift,
which also supported a 2K Mighty
Mole with Half Blue that served as a
backlight for the rain and to cover her
walk to the stable. Diagonally opposite,

Top: Strayed befriends some fellow hikers. Bottom: A flashlight is used as a
light source inside Strayed's tent.

another 2K through 4'x4' Opal provided
edgelight on Strayed. Her tent was
given a glow from a Litepanels
MicroPro LED with Full Orange
pointing skyward. Several Baby 1Ks
rigged up on Mombo Combo stands
hidden behind trees were tilted down
with offset arms to create pools of light
as she walked.
Strayed completes her journey at
the Bridge of the Gods, which connects
Oregon and Washington. The filmmakers reserved this climactic scene for
their only Steadicam shot, which was
executed by Los Angeles-based operator Stephen Campanelli. Strayed walks
on the bridge and looks in the distance
www.theasc.com

as we hear her epiphanic narration. "All
of the film [up to that point] is handheld, shaky, dirty and raw," Vallée notes.
"And then it's floating, and it's the only
time we see Reese in slow motion on
the trail, so [we] get this feeling of
'cinema.'"
Bélanger, who did not work with
a digital-imaging technician, monitored
the Alexa image in Rec 709 throughout
the shoot. Vallée had his own monitor
to evaluate images, and when he wanted
to be beside his cameraman, he would
reference the 5" onboard monitor. 1st
AC Paul Santoni handled focus pulling
remotely, working from another monitor.
➣
January 2015

81


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - January 2015

Contents
American Cinematographer - January 2015 - Intro
American Cinematographer - January 2015 - Cover1
American Cinematographer - January 2015 - Cover2
American Cinematographer - January 2015 - 1
American Cinematographer - January 2015 - 2
American Cinematographer - January 2015 - Contents
American Cinematographer - January 2015 - 4
American Cinematographer - January 2015 - 5
American Cinematographer - January 2015 - 6
American Cinematographer - January 2015 - 7
American Cinematographer - January 2015 - 8
American Cinematographer - January 2015 - 9
American Cinematographer - January 2015 - 10
American Cinematographer - January 2015 - 11
American Cinematographer - January 2015 - 12
American Cinematographer - January 2015 - 13
American Cinematographer - January 2015 - 14
American Cinematographer - January 2015 - 15
American Cinematographer - January 2015 - 16
American Cinematographer - January 2015 - 17
American Cinematographer - January 2015 - 18
American Cinematographer - January 2015 - 19
American Cinematographer - January 2015 - 20
American Cinematographer - January 2015 - 21
American Cinematographer - January 2015 - 22
American Cinematographer - January 2015 - 23
American Cinematographer - January 2015 - 24
American Cinematographer - January 2015 - 25
American Cinematographer - January 2015 - 26
American Cinematographer - January 2015 - 27
American Cinematographer - January 2015 - 28
American Cinematographer - January 2015 - 29
American Cinematographer - January 2015 - 30
American Cinematographer - January 2015 - 31
American Cinematographer - January 2015 - 32
American Cinematographer - January 2015 - 33
American Cinematographer - January 2015 - 34
American Cinematographer - January 2015 - 35
American Cinematographer - January 2015 - 36
American Cinematographer - January 2015 - 37
American Cinematographer - January 2015 - 38
American Cinematographer - January 2015 - 39
American Cinematographer - January 2015 - 40
American Cinematographer - January 2015 - 41
American Cinematographer - January 2015 - 42
American Cinematographer - January 2015 - 43
American Cinematographer - January 2015 - 44
American Cinematographer - January 2015 - 45
American Cinematographer - January 2015 - 46
American Cinematographer - January 2015 - 47
American Cinematographer - January 2015 - 48
American Cinematographer - January 2015 - K1
American Cinematographer - January 2015 - K2
American Cinematographer - January 2015 - K3
American Cinematographer - January 2015 - K4
American Cinematographer - January 2015 - K5
American Cinematographer - January 2015 - K6
American Cinematographer - January 2015 - K7
American Cinematographer - January 2015 - K8
American Cinematographer - January 2015 - K9
American Cinematographer - January 2015 - K10
American Cinematographer - January 2015 - K11
American Cinematographer - January 2015 - K12
American Cinematographer - January 2015 - 49
American Cinematographer - January 2015 - 50
American Cinematographer - January 2015 - 51
American Cinematographer - January 2015 - 52
American Cinematographer - January 2015 - 53
American Cinematographer - January 2015 - 54
American Cinematographer - January 2015 - 55
American Cinematographer - January 2015 - 56
American Cinematographer - January 2015 - 57
American Cinematographer - January 2015 - 58
American Cinematographer - January 2015 - 59
American Cinematographer - January 2015 - 60
American Cinematographer - January 2015 - 61
American Cinematographer - January 2015 - 62
American Cinematographer - January 2015 - 63
American Cinematographer - January 2015 - 64
American Cinematographer - January 2015 - 65
American Cinematographer - January 2015 - 66
American Cinematographer - January 2015 - 67
American Cinematographer - January 2015 - 68
American Cinematographer - January 2015 - 69
American Cinematographer - January 2015 - 70
American Cinematographer - January 2015 - 71
American Cinematographer - January 2015 - 72
American Cinematographer - January 2015 - 73
American Cinematographer - January 2015 - 74
American Cinematographer - January 2015 - 75
American Cinematographer - January 2015 - 76
American Cinematographer - January 2015 - 77
American Cinematographer - January 2015 - 78
American Cinematographer - January 2015 - 79
American Cinematographer - January 2015 - 80
American Cinematographer - January 2015 - 81
American Cinematographer - January 2015 - 82
American Cinematographer - January 2015 - 83
American Cinematographer - January 2015 - 84
American Cinematographer - January 2015 - 85
American Cinematographer - January 2015 - 86
American Cinematographer - January 2015 - 87
American Cinematographer - January 2015 - 88
American Cinematographer - January 2015 - 89
American Cinematographer - January 2015 - 90
American Cinematographer - January 2015 - 91
American Cinematographer - January 2015 - 92
American Cinematographer - January 2015 - 93
American Cinematographer - January 2015 - 94
American Cinematographer - January 2015 - 95
American Cinematographer - January 2015 - 96
American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
http://www.nxtbook.com/nxtbooks/ac/ac1119
http://www.nxtbook.com/nxtbooks/ac/ac1019
http://www.nxtbook.com/nxtbooks/ac/ac0919
http://www.nxtbook.com/nxtbooks/ac/ac0819
http://www.nxtbook.com/nxtbooks/ac/ac0719
http://www.nxtbook.com/nxtbooks/ac/ac0619
http://www.nxtbook.com/nxtbooks/ac/ac0519
http://www.nxtbook.com/nxtbooks/ac/ac0419
http://www.nxtbook.com/nxtbooks/ac/ac0319
http://www.nxtbook.com/nxtbooks/ac/ac0219_v2
http://www.nxtbook.com/nxtbooks/ac/ac0219
http://www.nxtbook.com/nxtbooks/ac/ac0119_v2
http://www.nxtbook.com/nxtbooks/ac/ac0119
http://www.nxtbook.com/nxtbooks/ac/ac1218
http://www.nxtbook.com/nxtbooks/ac/ac1118
http://www.nxtbook.com/nxtbooks/ac/ac1018
http://www.nxtbook.com/nxtbooks/ac/ac0918
http://www.nxtbook.com/nxtbooks/ac/ac0818
http://www.nxtbook.com/nxtbooks/ac/ac0718
http://www.nxtbook.com/nxtbooks/ac/ac0618
http://www.nxtbook.com/nxtbooks/ac/ac0518
http://www.nxtbook.com/nxtbooks/ac/ac0418
http://www.nxtbook.com/nxtbooks/ac/ac0318
http://www.nxtbook.com/nxtbooks/ac/ac0218
http://www.nxtbook.com/nxtbooks/ac/ac0118
http://www.nxtbook.com/nxtbooks/ac/ac1217
http://www.nxtbook.com/nxtbooks/ac/ac1117
http://www.nxtbook.com/nxtbooks/ac/ac1017
http://www.nxtbook.com/nxtbooks/ac/ac0917
http://www.nxtbook.com/nxtbooks/ac/ac0817
http://www.nxtbook.com/nxtbooks/ac/ac0717
http://www.nxtbook.com/nxtbooks/ac/ac0617
http://www.nxtbook.com/nxtbooks/ac/ac0517
http://www.nxtbook.com/nxtbooks/ac/ac0417
http://www.nxtbook.com/nxtbooks/ac/ac0317
http://www.nxtbook.com/nxtbooks/ac/ac0217
http://www.nxtbook.com/nxtbooks/ac/ac0117
http://www.nxtbook.com/nxtbooks/ac/ac1216
http://www.nxtbook.com/nxtbooks/ac/ac1116
http://www.nxtbook.com/nxtbooks/ac/ac1016
http://www.nxtbook.com/nxtbooks/ac/ac0916
http://www.nxtbook.com/nxtbooks/ac/ac0816
http://www.nxtbook.com/nxtbooks/ac/ac0716
http://www.nxtbook.com/nxtbooks/ac/ac0616
http://www.nxtbook.com/nxtbooks/ac/ac0516
http://www.nxtbook.com/nxtbooks/ac/ac0416
http://www.nxtbook.com/nxtbooks/ac/ac0316
http://www.nxtbook.com/nxtbooks/ac/ac0216
http://www.nxtbook.com/nxtbooks/ac/ac0116
http://www.nxtbook.com/nxtbooks/ac/ac1215
http://www.nxtbook.com/nxtbooks/ac/ac1115
http://www.nxtbook.com/nxtbooks/ac/ac1015
http://www.nxtbook.com/nxtbooks/ac/ac0915
http://www.nxtbook.com/nxtbooks/ac/ac0815
http://www.nxtbook.com/nxtbooks/ac/ac0715
http://www.nxtbook.com/nxtbooks/ac/ac0615
http://www.nxtbook.com/nxtbooks/ac/ac0515
http://www.nxtbook.com/nxtbooks/ac/ac0415
http://www.nxtbook.com/nxtbooks/ac/ac0315
http://www.nxtbook.com/nxtbooks/ac/ac0215
http://www.nxtbook.com/nxtbooks/ac/ac0115
http://www.nxtbookMEDIA.com