American Cinematographer - May 2018 - 29

Left: Lee shares
a glance with
Evelyn before
he sets off for a
day trip with
Marcus. Below:
Christensen
trains the
camera on Jupe
and Simmonds
while covering
the scene.

ture work. He advised me how to move
the camera when you can't see what the
creature is going to do, and how, if I
moved the camera a little bit here or
there, then visual effects could use that
movement to create the creature within
that space."
She chose three Kodak Vision3
stocks: 500T 5219 for night work, 50D
5203 for day exteriors, and 250D 5207
for day interiors and overcast day exteriors. The film was shot in late summer on
a challenging 30-day schedule. The film
was processed at FotoKem. The dailies
were completed at Technicolor New
York by "the amazing John Vladic,"
Christensen enthuses. The final color
grade was performed at Company 3 in
New York by senior colorist and ASC
associate Stefan Sonnenfeld, who used
Blackmagic Design's DaVinci Resolve
14. It was Christensen's first experience
at Company 3, and she reports being
exceedingly happy with the results.
Panavision Woodland Hills
supplied the camera gear: three
Panavision Millennium XL2s - one
body remained on the Steadicam - an
Arriflex 235 and an old Arriflex IIC, the
latter of which Christensen kept in the

trunk of her car and pulled out whenever
she ran across pretty sunrises, sunsets or
nature shots on her way to and from
work. The varied lens package included
Panavision's C, G and T Series anamorphic primes; a range of spherical primes
comprised mostly of Super Speeds and a
few wider-angle vintage lenses;
Angenieux Optimo spherical zooms
(15-40mm [T2.6], 28-76mm [T2.6],
28-340mm [T3.2] and 24-290mm
[T2.8]); Panavision anamorphic zooms
(40-80mm [T2.8] wide-angle AWZ2,
www.ascmag.com

70-200mm [T3.5] telephoto ATZ, 270840mm [T4.5] converted from an
ALZ3, and 42-425mm [T4.5] ALZ10);
anamorphic and spherical macro lenses;
diopters; and several specialized lenses
custom made by ASC associate Dan
Sasaki, Panavision's vice president of
optical engineering. (See sidebar, page
30).
Regarding the macro lenses,
Sasaki explains, "The anamorphic
macros were comprised of custom closefocus C Series, and 150mm and 200mm
May 2018

29



http://www.ascmag.com

Table of Contents for the Digital Edition of American Cinematographer - May 2018

Contents
American Cinematographer - May 2018 - Cover1
American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
American Cinematographer - May 2018 - 2
American Cinematographer - May 2018 - Contents
American Cinematographer - May 2018 - 4
American Cinematographer - May 2018 - 5
American Cinematographer - May 2018 - 6
American Cinematographer - May 2018 - 7
American Cinematographer - May 2018 - 8
American Cinematographer - May 2018 - 9
American Cinematographer - May 2018 - 10
American Cinematographer - May 2018 - 11
American Cinematographer - May 2018 - 12
American Cinematographer - May 2018 - 13
American Cinematographer - May 2018 - 14
American Cinematographer - May 2018 - 15
American Cinematographer - May 2018 - 16
American Cinematographer - May 2018 - 17
American Cinematographer - May 2018 - 18
American Cinematographer - May 2018 - 19
American Cinematographer - May 2018 - 20
American Cinematographer - May 2018 - 21
American Cinematographer - May 2018 - 22
American Cinematographer - May 2018 - 23
American Cinematographer - May 2018 - 24
American Cinematographer - May 2018 - 25
American Cinematographer - May 2018 - 26
American Cinematographer - May 2018 - 27
American Cinematographer - May 2018 - 28
American Cinematographer - May 2018 - 29
American Cinematographer - May 2018 - 30
American Cinematographer - May 2018 - 31
American Cinematographer - May 2018 - 32
American Cinematographer - May 2018 - 33
American Cinematographer - May 2018 - 34
American Cinematographer - May 2018 - 35
American Cinematographer - May 2018 - 36
American Cinematographer - May 2018 - 37
American Cinematographer - May 2018 - 38
American Cinematographer - May 2018 - 39
American Cinematographer - May 2018 - 40
American Cinematographer - May 2018 - 41
American Cinematographer - May 2018 - 42
American Cinematographer - May 2018 - 43
American Cinematographer - May 2018 - 44
American Cinematographer - May 2018 - 45
American Cinematographer - May 2018 - 46
American Cinematographer - May 2018 - 47
American Cinematographer - May 2018 - 48
American Cinematographer - May 2018 - 49
American Cinematographer - May 2018 - 50
American Cinematographer - May 2018 - 51
American Cinematographer - May 2018 - 52
American Cinematographer - May 2018 - 53
American Cinematographer - May 2018 - 54
American Cinematographer - May 2018 - 55
American Cinematographer - May 2018 - 56
American Cinematographer - May 2018 - 57
American Cinematographer - May 2018 - 58
American Cinematographer - May 2018 - 59
American Cinematographer - May 2018 - 60
American Cinematographer - May 2018 - 61
American Cinematographer - May 2018 - 62
American Cinematographer - May 2018 - 63
American Cinematographer - May 2018 - 64
American Cinematographer - May 2018 - 65
American Cinematographer - May 2018 - 66
American Cinematographer - May 2018 - 67
American Cinematographer - May 2018 - 68
American Cinematographer - May 2018 - 69
American Cinematographer - May 2018 - 70
American Cinematographer - May 2018 - 71
American Cinematographer - May 2018 - 72
American Cinematographer - May 2018 - 73
American Cinematographer - May 2018 - 74
American Cinematographer - May 2018 - 75
American Cinematographer - May 2018 - 76
American Cinematographer - May 2018 - 77
American Cinematographer - May 2018 - 78
American Cinematographer - May 2018 - 79
American Cinematographer - May 2018 - 80
American Cinematographer - May 2018 - 81
American Cinematographer - May 2018 - 82
American Cinematographer - May 2018 - 83
American Cinematographer - May 2018 - 84
American Cinematographer - May 2018 - 85
American Cinematographer - May 2018 - 86
American Cinematographer - May 2018 - 87
American Cinematographer - May 2018 - 88
American Cinematographer - May 2018 - Cover3
American Cinematographer - May 2018 - Cover4
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