American Cinematographer - June 2016 - 88

◗

Against the Clock

Top: Alice's
mother, Helen
(Lindsay Duncan,
holding
Wasikowska's
hand), worries
about her
daughter's sanity.
Bottom, left and
right: Alice travels
through the
looking glass,
returning to
Underland.

we had to match on stage."
In addition to his collaboration
with Bobin, Dryburgh worked closely
with production designer Dan
Hennah and visual-effects supervisor
Ken Ralston, the latter of whom had
worked on Burton's Alice in
Wonderland. As Dryburgh notes, the
world of "Underland" - which, as
explained in the first movie, is
Wonderland's actual name - is
instantly recognizable as the place that
88

June 2016

appeared in the prior project, though
different aspects of the environment
are presented. Indeed, to maintain a
look for Underland that was consistent
with that of the first feature, Dryburgh
and the effects team continually
referred to the world that Burton and
Ralston had previously designed.
Shooting camera tests was a top
priority during prep. "We wanted to
determine what would be the best
camera to shoot the movie," Dryburgh
American Cinematographer

says. "James and I were thinking in
terms of the live action and what
camera was going to give us the best
results, but also fulfill the needs of the
visual-effects department."
Shooting interiors, exteriors and
night shots around the Disney lot, they
tested an Arri Alexa XT against a
Sony F65 and F55. Ralston and his
co-visual-effects supervisor, Jay Redd,
were firm that they needed 4K for
visual-effects shots, especially those



Table of Contents for the Digital Edition of American Cinematographer - June 2016

Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
American Cinematographer - June 2016 - 10
American Cinematographer - June 2016 - 11
American Cinematographer - June 2016 - 12
American Cinematographer - June 2016 - 13
American Cinematographer - June 2016 - 14
American Cinematographer - June 2016 - 15
American Cinematographer - June 2016 - 16
American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
American Cinematographer - June 2016 - 19
American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
American Cinematographer - June 2016 - 22
American Cinematographer - June 2016 - 23
American Cinematographer - June 2016 - 24
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American Cinematographer - June 2016 - 26
American Cinematographer - June 2016 - 27
American Cinematographer - June 2016 - 28
American Cinematographer - June 2016 - 29
American Cinematographer - June 2016 - 30
American Cinematographer - June 2016 - 31
American Cinematographer - June 2016 - 32
American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
American Cinematographer - June 2016 - 35
American Cinematographer - June 2016 - 36
American Cinematographer - June 2016 - 37
American Cinematographer - June 2016 - 38
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American Cinematographer - June 2016 - 119
American Cinematographer - June 2016 - 120
American Cinematographer - June 2016 - Cover3
American Cinematographer - June 2016 - Cover4
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