American Cinematographer - April 2013 - 18

Top: Scenes with
Bryce’s mother,
Luana (Florence
Klein), were
shot in a
Victorian home,
predominantly
with available
light. Bottom:
Green takes the
F55 handheld to
follow Klein
through the
location.

by moonlight, “a 500-watt China ball about
20 feet up on a Mombo Combo.”
The production carried a set of
Arri/Zeiss Master Primes and two Fujinon 1885mm T2 Premiere PL Series zooms. “That is
one beautiful zoom,” enthuses Green, who
tended to use all of his lenses wide open. “I
used [the zooms] as variable primes except
for when we went handheld; then, I used
the Master Primes.”
Green and B-camera operator Brandon Musselman kept their cameras moving
on 4' sliders while shooting at the campfire.
Reddy notes, “The movement was in large
part because so much was happening
offscreen. We wanted the cameras to be
like the Rock People, watching [Bryce and
Swanson].”
Once the fire burns out, Bryce and
Swanson sneak into the nearby rocks. Turning back to see how many Rock People they
have to contend with, Bryce employs a
18

April 2013

night-vision scope that the filmmakers
emulated for a POV shot. “We used a night
scope designed by Clairmont Camera,”
Green explains. “It has a PL mount behind a
real night scope, and on the front you can
mount manual-focus Nikkor AI still lenses.”
The day before principal photography commenced, a hiccup with the F55’s 4K
recording mode left the filmmakers feeling
more confident about using that camera at
2K. “The codec was a bit hairy just because
it was a prototype,” says Green. “That’s
what comes with R&D.” The F65 footage
was recorded in 4K and down-rezzed in post
to match the F55. Both cameras recorded to
internal Sony SxS cards. “Just because you
shoot in 4K doesn’t necessarily mean you
should deliver in 4K,” Green observes. “4K
enables you to have what I call a really thick
neg for coloring and any post work. For
7x6x2, we actually delivered in HD.”
On set, Green worked with digitalAmerican Cinematographer

imaging technician Will Chung, who monitored the footage in Rec 709. Green rated
both cameras at 1,000 ASA, but he notes
that for the night scenes in the desert, “we
bumped up the dB to make it 2,000, which
was about the maximum before we started
to see noise.”
The filmmakers chose to frame for
2.40:1 exhibition because, Green says, “the
desert landscape was designed for 2.40:1.”
The widescreen crop was overlaid by editorial-services company Final Cut, whose New
York and Los Angeles offices both worked
on the project. “Sony was always with us on
the phone, guiding us through [the F55
workflow],” says Reddy. Simultaneously,
visual-effects house Platige Image set to
work on a handful of creature-effects shots.
Lastly, colorist Alex Bickel performed the
final digital grade at Color Collective in New
York.
Reflecting on his first turn in the
director’s chair, Pope muses, “It struck me
after we had the preview screening at Sony
that comics is one person alone in a room,
and film is 300 people alone in a room. Each
is a separate storytelling vehicle. The thing
that’s really interesting and that I appreciate
about film is that it’s so collaborative.”
“Cinema is very much the gentle art
of losing control,” Reddy adds. “It’s about
choosing the right people, trusting them
and letting them do their work. When you
do that, you can be really ambitious.” ●



American Cinematographer - April 2013

Table of Contents for the Digital Edition of American Cinematographer - April 2013

American Cinematographer - April 2013
Table of Contents
Editor's Note
President's Desk
Short Takes: 7x6x2
Production Slate: War Witch • The Darkest Day
Hello, Yellow Brick Road
Hell on Wheels
All In
6 Sundance Standouts
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Christopher Baffa
American Cinematographer - April 2013 - American Cinematographer - April 2013
American Cinematographer - April 2013 - Cover2
American Cinematographer - April 2013 - 1
American Cinematographer - April 2013 - 2
American Cinematographer - April 2013 - Table of Contents
American Cinematographer - April 2013 - 4
American Cinematographer - April 2013 - 5
American Cinematographer - April 2013 - 6
American Cinematographer - April 2013 - 7
American Cinematographer - April 2013 - 8
American Cinematographer - April 2013 - 9
American Cinematographer - April 2013 - Editor's Note
American Cinematographer - April 2013 - 11
American Cinematographer - April 2013 - President's Desk
American Cinematographer - April 2013 - 13
American Cinematographer - April 2013 - Short Takes: 7x6x2
American Cinematographer - April 2013 - 15
American Cinematographer - April 2013 - 16
American Cinematographer - April 2013 - 17
American Cinematographer - April 2013 - 18
American Cinematographer - April 2013 - 19
American Cinematographer - April 2013 - Production Slate: War Witch • The Darkest Day
American Cinematographer - April 2013 - 21
American Cinematographer - April 2013 - 22
American Cinematographer - April 2013 - 23
American Cinematographer - April 2013 - 24
American Cinematographer - April 2013 - 25
American Cinematographer - April 2013 - 26
American Cinematographer - April 2013 - 27
American Cinematographer - April 2013 - 28
American Cinematographer - April 2013 - 29
American Cinematographer - April 2013 - 30
American Cinematographer - April 2013 - 31
American Cinematographer - April 2013 - 32
American Cinematographer - April 2013 - 33
American Cinematographer - April 2013 - 34
American Cinematographer - April 2013 - 35
American Cinematographer - April 2013 - Hello, Yellow Brick Road
American Cinematographer - April 2013 - 37
American Cinematographer - April 2013 - 38
American Cinematographer - April 2013 - 39
American Cinematographer - April 2013 - 40
American Cinematographer - April 2013 - 41
American Cinematographer - April 2013 - 42
American Cinematographer - April 2013 - 43
American Cinematographer - April 2013 - 44
American Cinematographer - April 2013 - 45
American Cinematographer - April 2013 - 46
American Cinematographer - April 2013 - 47
American Cinematographer - April 2013 - 48
American Cinematographer - April 2013 - 49
American Cinematographer - April 2013 - 50
American Cinematographer - April 2013 - 51
American Cinematographer - April 2013 - Hell on Wheels
American Cinematographer - April 2013 - 53
American Cinematographer - April 2013 - 54
American Cinematographer - April 2013 - 55
American Cinematographer - April 2013 - 56
American Cinematographer - April 2013 - 57
American Cinematographer - April 2013 - 58
American Cinematographer - April 2013 - 59
American Cinematographer - April 2013 - 60
American Cinematographer - April 2013 - 61
American Cinematographer - April 2013 - 62
American Cinematographer - April 2013 - 63
American Cinematographer - April 2013 - All In
American Cinematographer - April 2013 - 65
American Cinematographer - April 2013 - 66
American Cinematographer - April 2013 - 67
American Cinematographer - April 2013 - 68
American Cinematographer - April 2013 - 69
American Cinematographer - April 2013 - 70
American Cinematographer - April 2013 - 71
American Cinematographer - April 2013 - 72
American Cinematographer - April 2013 - 73
American Cinematographer - April 2013 - 74
American Cinematographer - April 2013 - 75
American Cinematographer - April 2013 - 76
American Cinematographer - April 2013 - 77
American Cinematographer - April 2013 - 78
American Cinematographer - April 2013 - 79
American Cinematographer - April 2013 - 6 Sundance Standouts
American Cinematographer - April 2013 - K1
American Cinematographer - April 2013 - K2
American Cinematographer - April 2013 - K3
American Cinematographer - April 2013 - K4
American Cinematographer - April 2013 - K5
American Cinematographer - April 2013 - K6
American Cinematographer - April 2013 - K7
American Cinematographer - April 2013 - K8
American Cinematographer - April 2013 - K9
American Cinematographer - April 2013 - K10
American Cinematographer - April 2013 - K11
American Cinematographer - April 2013 - K12
American Cinematographer - April 2013 - 81
American Cinematographer - April 2013 - 82
American Cinematographer - April 2013 - 83
American Cinematographer - April 2013 - 84
American Cinematographer - April 2013 - 85
American Cinematographer - April 2013 - 86
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American Cinematographer - April 2013 - 88
American Cinematographer - April 2013 - 89
American Cinematographer - April 2013 - 90
American Cinematographer - April 2013 - 91
American Cinematographer - April 2013 - 92
American Cinematographer - April 2013 - 93
American Cinematographer - April 2013 - 94
American Cinematographer - April 2013 - 95
American Cinematographer - April 2013 - 96
American Cinematographer - April 2013 - 97
American Cinematographer - April 2013 - 98
American Cinematographer - April 2013 - 99
American Cinematographer - April 2013 - 100
American Cinematographer - April 2013 - 101
American Cinematographer - April 2013 - 102
American Cinematographer - April 2013 - 103
American Cinematographer - April 2013 - New Products & Services
American Cinematographer - April 2013 - 105
American Cinematographer - April 2013 - 106
American Cinematographer - April 2013 - 107
American Cinematographer - April 2013 - 108
American Cinematographer - April 2013 - 109
American Cinematographer - April 2013 - 110
American Cinematographer - April 2013 - 111
American Cinematographer - April 2013 - 112
American Cinematographer - April 2013 - 113
American Cinematographer - April 2013 - International Marketplace
American Cinematographer - April 2013 - Classified Ads
American Cinematographer - April 2013 - Ad Index
American Cinematographer - April 2013 - 117
American Cinematographer - April 2013 - Clubhouse News
American Cinematographer - April 2013 - 119
American Cinematographer - April 2013 - ASC Close-Up: Christopher Baffa
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