American Cinematographer - June 2015 - 80d

In order to maximize spontaneous creativity in the ﬁlmmaking
moment, Steven Annis prefers to approach each assignment
with a minimum of planning.
"I'm a believer in organic ﬁlmmaking," he says. "I like to give
my interpretation in the moment. If you're surrounded by good
production design, and you have a good director, cast, grader
and editor, everything just
seems to happen. It's a perfect
balance between just enough
planning and the director letting
his/her actors go, and then
you being there to capture
organically."
Annis is an in-demand
cinematographer who
specializes in unique imagery
for music videos and
commercials. His recent credits
include clips for Florence
and the Machine, Kwabs, Bryan Ferry and Gary Clark Jr. and
commercials for Powerade, UNIQLO, Sony and Adidas.
Another recent high-end project Annis framed is "Every
Breaking Wave," a 13-minute visual essay set to U2's song of
the same name. Directed by Aoife McArdle, the ﬁlm is set in
Belfast during "The Troubles," the gray and desperate milieu in
which U2, now a worldwide phenomenon, got its start.
At the heart of the story is a young couple's desperate love
as it blooms amid the desperation and violence. To depict that
bleak time period and setting, the ﬁlmmakers shot 35mm ﬁlm
in the 2-perf format, which results in signiﬁcant cost savings
in stock and processing, and delivers a widescreen frame with
more pronounced ﬁlmic ﬂavor.
"The 2-perf format made its resurgence as a money-saving
device," says Annis. "But I think the format is a perfect balance.

You get all the beneﬁts of 35mm - the lenses, focal lengths,
great aspect ratio - and it's just beautiful. We had used the
format on the Bryan Ferry clip ("Loop De Li") and the director
fell in love with the richness, colors, and the look."
When it came to the U2 project, the creative team went with
exactly the same tools: a 2-perf PANAVISION PLATINUM
camera with a set of Ultra Speed MKIIs, backed up with an
ARRI 435 camera on STEADICAM. "I didn't look at any old
photographs of the '70s or '80s, I just went in there with an
image capturing device that's been around for over a century,"
the cinematographer explains. "Because of its nature, ﬁlm needs
very little manipulation and I felt conﬁdent the KODAK stock
and the old lenses would put me on the right tracks."
The video played out over the course of six days around
Belfast. There were explosions, car chases and ﬁre scenes.
Annis shot the entire promo on KODAK VISION3 200T Color
Negative Film 5213. He often underexposed to dig in and to
emphasize the grain. He gives credit to the grader, Simon
Bourne at Framestore, for perfecting the color and contrast.

American Cinematographer - June 2015

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

Contents
American Cinematographer - June 2015 - Cover1
American Cinematographer - June 2015 - Cover2
American Cinematographer - June 2015 - 1
American Cinematographer - June 2015 - 2
American Cinematographer - June 2015 - Contents
American Cinematographer - June 2015 - 4
American Cinematographer - June 2015 - 5
American Cinematographer - June 2015 - 6
American Cinematographer - June 2015 - 7
American Cinematographer - June 2015 - 8
American Cinematographer - June 2015 - 9
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American Cinematographer - June 2015 - 11
American Cinematographer - June 2015 - 12
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American Cinematographer - June 2015 - 20
American Cinematographer - June 2015 - 21
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American Cinematographer - June 2015 - 28
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American Cinematographer - June 2015 - 36
American Cinematographer - June 2015 - 37
American Cinematographer - June 2015 - 38
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American Cinematographer - June 2015 - 40
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American Cinematographer - June 2015 - 43
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American Cinematographer - June 2015 - 45
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American Cinematographer - June 2015 - 48
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American Cinematographer - June 2015 - 50
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American Cinematographer - June 2015 - 80
American Cinematographer - June 2015 - 80a
American Cinematographer - June 2015 - 80b
American Cinematographer - June 2015 - 80c
American Cinematographer - June 2015 - 80d
American Cinematographer - June 2015 - 80e
American Cinematographer - June 2015 - 80f
American Cinematographer - June 2015 - 80g
American Cinematographer - June 2015 - 80h
American Cinematographer - June 2015 - 81
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American Cinematographer - June 2015 - Cover3
American Cinematographer - June 2015 - Cover4
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