American Cinematographer - March 2017 - 45

to be made in the name of the production's schedule. For example, in scenes
where there hadn't been time to set an
eye light, he used windows to direct
attention to the characters' faces. "Our
editor Jon cuts on the emotional association, and I have to illuminate the
moment so the audience will recognize
it," Dod Mantle explains. "It's a combination of fast editing and an extremely
difficult language to understand, with
the Scottish accent, and Danny is keen
for people to understand what's
happening on screen."
Dod Mantle applied his finishing
touches in the refining phase, adding
vignettes and digital camera moves,
increasing sharpness, and reframing.
"Anthony likes to push things, sometimes beyond reason, but it's always
good to experiment because you get
nice surprises," says Soret. "Sometimes
we backtrack because it's too much, but
at least we're making decisions based on
what we like or don't like. Anthony is

willing to try anything if he thinks it
will bring something to the film."
Still, Soret cautions against the
misconception that post and color grading can perform miracles: "There's only
so much you can do. You can help, but
you can't replicate what you don't have."
Both Trainspotting and its sequel,
T2, are about the relationships among a
group of mates. Parallels inevitably are
drawn to the bonds formed during a
motion-picture production - particularly one with as whirlwind a schedule
as T2. "Sometimes you follow an
instinct, a second nature, an element of
adventure or experimentation," the
cinematographer muses, "but ultimately
you're a part of the creative equation
made up from the script and the environment and the people you work
with."
At the end of the day, he adds,
"It's important to be loyal to the story.
And it's important to be loyal to yourself."
●

TECHNICAL SPECS
1.85:1
Digital Capture
Arri Alexa XT, Mini;
Canon Cinema EOS C300 Mark II,
ME20F-SH;
IO Industries Flare 4KSDI,
2KSDI; DJI Zenmuse X5R
Leica Summicron-C,
Arri/Zeiss Ultra Prime,
Angenieux Optimo,
Schneider, Kowa

45



http://www.k5600.com/onelight

Table of Contents for the Digital Edition of American Cinematographer - March 2017

Contents
American Cinematographer - March 2017 - Cover1
American Cinematographer - March 2017 - Cover2
American Cinematographer - March 2017 - 1
American Cinematographer - March 2017 - 2
American Cinematographer - March 2017 - Contents
American Cinematographer - March 2017 - 4
American Cinematographer - March 2017 - 5
American Cinematographer - March 2017 - 6
American Cinematographer - March 2017 - 7
American Cinematographer - March 2017 - 8
American Cinematographer - March 2017 - 9
American Cinematographer - March 2017 - 10
American Cinematographer - March 2017 - 11
American Cinematographer - March 2017 - 12
American Cinematographer - March 2017 - 13
American Cinematographer - March 2017 - 14
American Cinematographer - March 2017 - 15
American Cinematographer - March 2017 - 16
American Cinematographer - March 2017 - 17
American Cinematographer - March 2017 - 18
American Cinematographer - March 2017 - 19
American Cinematographer - March 2017 - 20
American Cinematographer - March 2017 - 21
American Cinematographer - March 2017 - 22
American Cinematographer - March 2017 - 23
American Cinematographer - March 2017 - 24
American Cinematographer - March 2017 - 25
American Cinematographer - March 2017 - A
American Cinematographer - March 2017 - B
American Cinematographer - March 2017 - 26
American Cinematographer - March 2017 - 27
American Cinematographer - March 2017 - 28
American Cinematographer - March 2017 - 29
American Cinematographer - March 2017 - 30
American Cinematographer - March 2017 - 31
American Cinematographer - March 2017 - I1
American Cinematographer - March 2017 - I2
American Cinematographer - March 2017 - 32
American Cinematographer - March 2017 - 33
American Cinematographer - March 2017 - 34
American Cinematographer - March 2017 - 35
American Cinematographer - March 2017 - 36
American Cinematographer - March 2017 - 37
American Cinematographer - March 2017 - 38
American Cinematographer - March 2017 - 39
American Cinematographer - March 2017 - 40
American Cinematographer - March 2017 - 41
American Cinematographer - March 2017 - 42
American Cinematographer - March 2017 - 43
American Cinematographer - March 2017 - 44
American Cinematographer - March 2017 - 45
American Cinematographer - March 2017 - 46
American Cinematographer - March 2017 - 47
American Cinematographer - March 2017 - 48
American Cinematographer - March 2017 - 49
American Cinematographer - March 2017 - 50
American Cinematographer - March 2017 - 51
American Cinematographer - March 2017 - 52
American Cinematographer - March 2017 - 53
American Cinematographer - March 2017 - 54
American Cinematographer - March 2017 - 55
American Cinematographer - March 2017 - 56
American Cinematographer - March 2017 - 57
American Cinematographer - March 2017 - 58
American Cinematographer - March 2017 - 59
American Cinematographer - March 2017 - 60
American Cinematographer - March 2017 - 61
American Cinematographer - March 2017 - 62
American Cinematographer - March 2017 - 63
American Cinematographer - March 2017 - 64
American Cinematographer - March 2017 - 65
American Cinematographer - March 2017 - 66
American Cinematographer - March 2017 - 67
American Cinematographer - March 2017 - 68
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American Cinematographer - March 2017 - 70
American Cinematographer - March 2017 - 71
American Cinematographer - March 2017 - 72
American Cinematographer - March 2017 - 73
American Cinematographer - March 2017 - 74
American Cinematographer - March 2017 - 75
American Cinematographer - March 2017 - 76
American Cinematographer - March 2017 - 77
American Cinematographer - March 2017 - 78
American Cinematographer - March 2017 - 79
American Cinematographer - March 2017 - 80
American Cinematographer - March 2017 - 81
American Cinematographer - March 2017 - 82
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American Cinematographer - March 2017 - 84
American Cinematographer - March 2017 - 85
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American Cinematographer - March 2017 - 87
American Cinematographer - March 2017 - 88
American Cinematographer - March 2017 - Cover3
American Cinematographer - March 2017 - Cover4
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