American Cinematographer - May 2017 - 29B

Panavision's Frazier Lens System was
something that Mangold "got quite excited
about," Mathieson recalls. "We used it to
'study' Hugh when he's popping bullets out
of himself. It increases the depth so you can
see the background. It [has to do with]
getting the lens away from the camera body
- they do have a weird optical quality." (For
more about the Frazier Lens System, see AC
Feb. '99.)
In Logan's opening night-exterior, a
large LED billboard - supplemented with
modular 2'-square LED units - drove the
lighting for the scene, emitting images with
5,600K daylight color temperature in
addition to magenta, blue and violet. "We
supplemented and bent that source with
high-power lights including 20Ks and
Jumbos," Mathieson explains. "It is a tribute.
Prince died during the shoot. I lit the
sequence with a purple color - I used to use
that on him. Purple with Chrome Orange
coming through. When a light has a color on
it and it's up in the air, you think it must be
some sort of industrial vapor light. By coloring
it, you can hide a few sins."
The production built key sets at New
Orleans' Big Easy Studios, which is located at
NASA's Michoud Assembly Facility. "They had
these huge stages where the side opened up
like gigantic garage doors," Mathieson says.
"Our collapsed-water-tank [interior] set was
this huge circular construction. With the
studio door open, you'd go past it and see
this big circular thing being built and think,
'They're making a spaceship out of plywood?
They'll never get to Mars!' The set must have
been 35 or 40 feet across. [The water tank
is] fallen over and it's ruptured, so there's a
big crack of light. I wanted to give the thing
some shape. There were two or three 20K
Molebeams at any one time, with a bit of
smoke - not to make it smoky but to make
the beam stronger. [The set] was 'perforated,'
so we had to wrap it in silks."
Shots depicting Keen's character as
the group drives into a city would have
proven prohibitive on location, so instead
Mathieson and co. devised a solution
wherein on-set LED video panels would
simulate passing lights. "The car was in the
studio with blacks around it," the
cinematographer describes. "We put the
screens up around Logan's Chrysler E8 limo
- one behind her, one in front of her, one

Top: Director James
Mangold works
through the
feature's opening
sequence alongside
Jackman. Middle:
Cinematographer
John Mathieson,
BSC frames up an
Arri Alexa XT
camera. Bottom:
Logan squares off
against the villain
Pierce (Boyd
Holbrook).

www.theasc.com

May 2017

Digital Exclusive



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

Contents
American Cinematographer - May 2017 - Cover1
American Cinematographer - May 2017 - Cover2
American Cinematographer - May 2017 - 1
American Cinematographer - May 2017 - 2
American Cinematographer - May 2017 - Contents
American Cinematographer - May 2017 - 4
American Cinematographer - May 2017 - 5
American Cinematographer - May 2017 - 6
American Cinematographer - May 2017 - 7
American Cinematographer - May 2017 - 8
American Cinematographer - May 2017 - 9
American Cinematographer - May 2017 - 10
American Cinematographer - May 2017 - 11
American Cinematographer - May 2017 - 12
American Cinematographer - May 2017 - 13
American Cinematographer - May 2017 - 14
American Cinematographer - May 2017 - 15
American Cinematographer - May 2017 - 16
American Cinematographer - May 2017 - 17
American Cinematographer - May 2017 - 18
American Cinematographer - May 2017 - 19
American Cinematographer - May 2017 - 20
American Cinematographer - May 2017 - 21
American Cinematographer - May 2017 - 22
American Cinematographer - May 2017 - 23
American Cinematographer - May 2017 - 24
American Cinematographer - May 2017 - 25
American Cinematographer - May 2017 - 26
American Cinematographer - May 2017 - 27
American Cinematographer - May 2017 - 28
American Cinematographer - May 2017 - 29
American Cinematographer - May 2017 - 29A
American Cinematographer - May 2017 - 29B
American Cinematographer - May 2017 - 29C
American Cinematographer - May 2017 - 29D
American Cinematographer - May 2017 - 30
American Cinematographer - May 2017 - 31
American Cinematographer - May 2017 - 32
American Cinematographer - May 2017 - 33
American Cinematographer - May 2017 - 34
American Cinematographer - May 2017 - 35
American Cinematographer - May 2017 - 36
American Cinematographer - May 2017 - 37
American Cinematographer - May 2017 - 38
American Cinematographer - May 2017 - 39
American Cinematographer - May 2017 - 40
American Cinematographer - May 2017 - 41
American Cinematographer - May 2017 - 42
American Cinematographer - May 2017 - 43
American Cinematographer - May 2017 - 44
American Cinematographer - May 2017 - 45
American Cinematographer - May 2017 - 46
American Cinematographer - May 2017 - 47
American Cinematographer - May 2017 - 48
American Cinematographer - May 2017 - 49
American Cinematographer - May 2017 - 50
American Cinematographer - May 2017 - 51
American Cinematographer - May 2017 - 52
American Cinematographer - May 2017 - 53
American Cinematographer - May 2017 - 54
American Cinematographer - May 2017 - 55
American Cinematographer - May 2017 - 56
American Cinematographer - May 2017 - 57
American Cinematographer - May 2017 - 58
American Cinematographer - May 2017 - 59
American Cinematographer - May 2017 - 60
American Cinematographer - May 2017 - 61
American Cinematographer - May 2017 - 62
American Cinematographer - May 2017 - 63
American Cinematographer - May 2017 - 64
American Cinematographer - May 2017 - 65
American Cinematographer - May 2017 - 66
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American Cinematographer - May 2017 - 70
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American Cinematographer - May 2017 - 85
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American Cinematographer - May 2017 - 87
American Cinematographer - May 2017 - 88
American Cinematographer - May 2017 - Cover3
American Cinematographer - May 2017 - Cover4
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