American Cinematographer - April 2015 - 58

◗

A Wider World

Top: Tris, Four and
Caleb (Ansel
Elgort, right) go
on the run.
Bottom: The
crew readies a
camera vehicle.

everyone the [desired] frame lines and
aspect ratio. And during prep, we were
able to streamline the process by preselecting and saving our user settings for
each sensor size and camera speed, so
that all of those menu and sub-menu
items could be established each time
with just the push of a button. We preset
three settings for the anamorphic 2.40:1
aspect ratio: up to 75 fps in Open Gate
[using all 28.17mm by 18.13mm of the
sensor], up to 96 fps in full 4:3
58

April 2015

[23.765mm by 17.82mm], and up to
120 fps in 16:9 [23.76mm by
13.365mm]."
The filmmakers recorded in the
ArriRaw format to 512GB Codex XR
capture drives mounted in the cameras'
integrated recorder. Digital-imaging
technician Dave Satin applied a basic
look-up table created by Technicolor to
Ballhaus' specifications for on-set viewing on Sony OLED monitors. Capture
drives were backed up on set using the
American Cinematographer

Codex Vault system, and shuttle drives
were then ingested at the near-set
production office in Atlanta.
Technicolor processed dailies using its
Near-Set Dailies system, with location
colorist Jeff Mack essentially following
the template designed by Ballhaus and
applied on set under his supervision.
Dailies were then distributed via the
Dax online viewing system. Ballhaus
says the camera crew exchanged notes
while watching the dailies in a near-set
trailer equipped with an NEC iS8-2K
DLP projector and an 8' screen.
Typically, the first unit utilized
three Alexa XT cameras, with two in
studio mode and one reserved for
Steadicam, which was operated by P.
Scott Sakamoto. In a departure from
Ballhaus' previous collaborations with
Schwentke, the Steadicam was
employed frequently on Insurgent. "This
is my fifth movie with Robert, and in
the past he has been reluctant to use
Steadicam," Ballhaus relates. "He
dislikes how 'floaty' it can be. But we
had a lot of action on this movie - a lot
of running and movement. We had one
of the best Steadicam operators in the
business, so Robert really embraced the



American Cinematographer - April 2015

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

Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
American Cinematographer - April 2015 - 8
American Cinematographer - April 2015 - 9
American Cinematographer - April 2015 - 10
American Cinematographer - April 2015 - 11
American Cinematographer - April 2015 - 12
American Cinematographer - April 2015 - 13
American Cinematographer - April 2015 - 14
American Cinematographer - April 2015 - 15
American Cinematographer - April 2015 - 16
American Cinematographer - April 2015 - 17
American Cinematographer - April 2015 - 18
American Cinematographer - April 2015 - 19
American Cinematographer - April 2015 - 20
American Cinematographer - April 2015 - 21
American Cinematographer - April 2015 - 22
American Cinematographer - April 2015 - 23
American Cinematographer - April 2015 - 24
American Cinematographer - April 2015 - 25
American Cinematographer - April 2015 - 26
American Cinematographer - April 2015 - 27
American Cinematographer - April 2015 - 28
American Cinematographer - April 2015 - 29
American Cinematographer - April 2015 - 30
American Cinematographer - April 2015 - 31
American Cinematographer - April 2015 - 32
American Cinematographer - April 2015 - 33
American Cinematographer - April 2015 - 34
American Cinematographer - April 2015 - 35
American Cinematographer - April 2015 - 36
American Cinematographer - April 2015 - 37
American Cinematographer - April 2015 - 38
American Cinematographer - April 2015 - 39
American Cinematographer - April 2015 - 40
American Cinematographer - April 2015 - 41
American Cinematographer - April 2015 - 42
American Cinematographer - April 2015 - 43
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American Cinematographer - April 2015 - 46
American Cinematographer - April 2015 - 47
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American Cinematographer - April 2015 - 49
American Cinematographer - April 2015 - 50
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American Cinematographer - April 2015 - 57
American Cinematographer - April 2015 - 58
American Cinematographer - April 2015 - 59
American Cinematographer - April 2015 - 60
American Cinematographer - April 2015 - 61
American Cinematographer - April 2015 - 62
American Cinematographer - April 2015 - 63
American Cinematographer - April 2015 - 64
American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
American Cinematographer - April 2015 - I8
American Cinematographer - April 2015 - 65
American Cinematographer - April 2015 - 66
American Cinematographer - April 2015 - 67
American Cinematographer - April 2015 - 68
American Cinematographer - April 2015 - 69
American Cinematographer - April 2015 - 70
American Cinematographer - April 2015 - 71
American Cinematographer - April 2015 - 72
American Cinematographer - April 2015 - 73
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American Cinematographer - April 2015 - 75
American Cinematographer - April 2015 - 76
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American Cinematographer - April 2015 - 78
American Cinematographer - April 2015 - 79
American Cinematographer - April 2015 - 80
American Cinematographer - April 2015 - 81
American Cinematographer - April 2015 - 82
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American Cinematographer - April 2015 - 100
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American Cinematographer - April 2015 - 102
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American Cinematographer - April 2015 - 120
American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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