American Cinematographer - March 2017 - 69

Photo courtesy of Rob McLachlan, ASC, CSC.

Cinematographer Rob McLachlan, ASC, CSC (left) and director David Nutter scout a Morocco
location for the series Game of Thrones.

says Walker. "On our first location scout
to the top, he suddenly said, 'Weather is
coming in. We need to get into the
choppers and leave now.'"
Walker is shooting exteriors on
Arri's Alexa 65, and interiors using the
Alexa SXT and Mini with Panavision C
Series anamorphic lenses. She wanted to
get the most out of the landscapes and,
after testing several cameras, felt the
Alexa 65 gave her the most information
and detail. She paired the Alexa 65 with
Panavision's Sphero 65 series lenses.
"They are old 70mm lenses that have
been rehoused and adapted for the new
65mm cameras," she says. "[ASC associate] Dan Sasaki, Panavision's VP of
optical engineering, applied special
lubricants so the lenses won't freeze in
the frigid temperatures." The mountaintop scenes are being shot on Steadicam,
a purpose-built sled-cam dolly with a
Libra stabilized head, and a 23' fixed
crane; a 50' Technocrane is being used at
lower elevations.
To combat the extreme cold, the
crew is outfitted in Arctic gear and layers
of merino wool. The actors' costumes
have been specially built with batteryoperated heating systems in them.
Altitude sickness has not been a major
problem, even at the highest elevation,

although Walker admits with a laugh,
"At first I was fine when I was just standing there; walking uphill, though, you
felt you weren't getting enough oxygen.
Although after a few weeks we are all
much more acclimatized."
Walker's major concern is
whether the wintry conditions will
permit them to shoot in the mountain
locations eight times during their month
in Invermere. "Our first AD, Paul Barry,
has to make up four call sheets every
day: three for the top of the mountain,
depending on the weather conditions,
and the other if we stay down below."
Schedule Dohaeris
Firmly seated on the Iron Throne
as the granddaddy of all location-based
television series is HBO's Game of
Thrones (AC May '12), which has so far
aired six of its planned eight seasons.
Rob McLachlan, ASC, CSC has been
with the show since its third season,
during which time he has shot eight full
episodes and parts of several others. He
marvels at how such a complicated
production operates so smoothly.
"Game of Thrones has a completely
unique system, in my experience, in that
all 10 episodes of a given season are
essentially being shot at the same time,"
69



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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
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