American Cinematographer - April 2015 - I5

"There are tools to add grain these days,
but even as sophisticated as digital post has
become, I feel like doing it on the original
negative is so powerful and results in such a
different feeling."
At times, Taylor used zoom lenses for sunlit day exteriors,
especially with action. "Outside, I usually shot at a (T)2.8,"
he says. "I wanted to keep that shallow depth of fi eld. I also
wanted some of the sun fl ares, and the zooms helped us stay
fl exible in terms of composition."
Taylor chose emulsions to match in terms of grain,
factoring in the 2.35 extraction from the negative.
"We had plenty of light and the 50 daylight was beautiful,"
he notes. "During testing, I found that higher-speed stocks
rendered too much grain in the blue layer to match the
interiors. With the 50D, the grain in the blue skies matches
the grain from the 500-speed stock interiors. Also, the night
interiors are very dark. There's always a beautiful patina of
grain that is just right. Outside, the 50D has just the same
amount of grain in the sky. So it balances perfectly."
In the digital intermediate, in addition to timing out the
added blue, the fi lmmakers found an interesting treatment
for some fl ashback scenes.
"I was going for a vintage, old Polaroid look," says Taylor.
"We added what almost looks like a purple grad fi lter at
the top of the frame, and you can see it on foreheads and
skin tones. It's the idea that sometimes old Polaroids have
interesting imperfections."
Both director and cinematographer are pleased with the
way the fi lm turned out.
"I love the grittiness and the claustrophobia, and I really
attribute that to the Super 16," adds Taylor. "There are tools
to add grain these days, but even as sophisticated as digital
post has become, I feel like doing it on the original negative
is so powerful and results in such a different feeling. I think
that organic feel you get from the grain in the negative is
something we haven't really replicated yet. I just love the
craft and artistry of exposing the fi lm."
Photos: Left and center: Joe Anderson portrays Garrett Tully.
Top right: Alex Henderson as Jamar and Dawn Olivieri as Doreen
(Photos by Rodney Taylor, ASC.)

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
American Cinematographer - April 2015 - 44
American Cinematographer - April 2015 - 45
American Cinematographer - April 2015 - 46
American Cinematographer - April 2015 - 47
American Cinematographer - April 2015 - 48
American Cinematographer - April 2015 - 49
American Cinematographer - April 2015 - 50
American Cinematographer - April 2015 - 51
American Cinematographer - April 2015 - 52
American Cinematographer - April 2015 - 53
American Cinematographer - April 2015 - 54
American Cinematographer - April 2015 - 55
American Cinematographer - April 2015 - 56
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
American Cinematographer - April 2015 - 74
American Cinematographer - April 2015 - 75
American Cinematographer - April 2015 - 76
American Cinematographer - April 2015 - 77
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
American Cinematographer - April 2015 - 83
American Cinematographer - April 2015 - 84
American Cinematographer - April 2015 - 85
American Cinematographer - April 2015 - 86
American Cinematographer - April 2015 - 87
American Cinematographer - April 2015 - 88
American Cinematographer - April 2015 - 89
American Cinematographer - April 2015 - 90
American Cinematographer - April 2015 - 91
American Cinematographer - April 2015 - 92
American Cinematographer - April 2015 - 93
American Cinematographer - April 2015 - 94
American Cinematographer - April 2015 - 95
American Cinematographer - April 2015 - 96
American Cinematographer - April 2015 - 97
American Cinematographer - April 2015 - 98
American Cinematographer - April 2015 - 99
American Cinematographer - April 2015 - 100
American Cinematographer - April 2015 - 101
American Cinematographer - April 2015 - 102
American Cinematographer - April 2015 - 103
American Cinematographer - April 2015 - 104
American Cinematographer - April 2015 - 105
American Cinematographer - April 2015 - 106
American Cinematographer - April 2015 - 107
American Cinematographer - April 2015 - 108
American Cinematographer - April 2015 - 109
American Cinematographer - April 2015 - 110
American Cinematographer - April 2015 - 111
American Cinematographer - April 2015 - 112
American Cinematographer - April 2015 - 113
American Cinematographer - April 2015 - 114
American Cinematographer - April 2015 - 115
American Cinematographer - April 2015 - 116
American Cinematographer - April 2015 - 117
American Cinematographer - April 2015 - 118
American Cinematographer - April 2015 - 119
American Cinematographer - April 2015 - 120
American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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