American Cinematographer - January 2015 - K4

In Jane Got a Gun, a woman must turn to her former fi ancé
for help in defending her new family. The fi lm, which stars
Natalie Portman and Ewan MacGregor, gave Mandy Walker,
ASC, ACS an opportunity to work in the Western genre,
something many cinematographers dream of doing.
"There's something unique and iconic about cowboys
riding horses across the landscape, or tracking low angle on
people confronting each other in a cowboy hat with a couple
of guns," she says. "I think all DPs would love to tackle the
genre at some stage."
Walker's recent credits include John Curran's Tracks,
Catherine Hardwicke's Red Riding Hood and Baz Luhrmann's
epic Australia. The latter brought Walker numerous awards
nominations along with a Satellite Award from the International
Press Academy. In 2008, she was honored as Cinematographer
of the Year at the Hollywood Film Festival, and received the
KODAK VISION Film Award from Women In Film.
While creating the look for Jane Got a Gun, Walker and
director Gavin O'Connor referenced John Ford fi lms, Once
Upon a Time in the West, and more modern Westerns, like
Unforgiven. They quickly decided that 35mm anamorphic
fi lm, and the widescreen 2.40:1 aspect ratio it delivers, was
the right format for the project. The cameras and lenses were
PANAVISION, with G Series glass. Walker says those lenses
were the right choice for all the anamorphic artifacts and
bokeh which the fi lmmakers loved, while the composition and
camera movement were more "traditional Western."
Jane Got a Gun was Walker's 16th consecutive feature
project shot on film. "What I said to Gavin straightaway
was that we should go with film because it will give us the
best resolution and
the best range of contrast out in the
harsh conditions," she says. "I'm so familiar with shooting
film that I felt very confident in giving the project the look
that we wanted."
Walker used a full array of KODAK Film stocks, depending
on the conditions, including KODAK 500T Color Negative
Film 5230, KODAK VISION3 500T Color Negative Film
5219, KODAK VISION3 250D Color Negative Film 5207, and
KODAK VISION3 50D Color Negative Film 5203.
"I chose the 50D stock because I had used it extensively
on Tracks, a fi lm we shot in the desert in Australia," she
says. "We had harsh weather conditions the entire time,
with really bright skies. We were shooting in the sun and the
sunset, and that stock held up really well - it was beautiful."
(Tracks earned Walker a Gold prize at the 2014 Australian
Cinematographer Society Awards.)
On Jane Got a Gun, Walker overexposed the entire fi lm by
two-thirds of a stop. "I gave myself latitude in the negative,
and then I made sure that the exteriors were fi lled and the
shadows didn't get too contrasty," she says. "We never fi lled
with lights. We just had big bounces that were the color of

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
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