American Cinematographer - June 2017 - 22

Right:
Cinematographer
Roman Vasyanov,
RGC frames a
shot of Cena.
Below: Multiple
cameras roll from
mobile platforms
in order to track
the desert action.

kinds of different genres and movies. But I
loved this story. It's one guy by a wall, hearing the voice of the other guy, and the
whole movie he's just trying to survive. It's a
great script [by Dwain Worrell]; it has an
amazing pace and it never gets boring.
When you have a script like that and the
director is Doug Liman, you don't really have
to think too long before you say yes."
Principal photography occurred over
a lightning-fast 14 days, all in Lancaster and
entirely in chronological order. During his
initial phone conversations with Liman,
22

June 2017

Vasyanov suggested shooting Super 16mm
film, and the director immediately agreed.
"I'm a big believer that film is the right tool
for a project like this," the cinematographer
opines. "I love the grain. We were going for
a very realistic, documentary feel - like a
war film shot in Iraq by BBC or CNN journalists. I had been thinking of shooting a Super
16 film for a long time. I was really missing
the economy of that format - long runtimes in the magazines, less overall equipment, simpler. That was one of the main
reasons I chose film. I have my light meter,
American Cinematographer

camera, lens, and that's it. The 416s worked
brilliantly in very hard weather conditions.
"Initially I was thinking that we
couldn't go with a widescreen aspect ratio
because the negative area of Super 16 is so
small that you can't really crop it," Vasyanov
continues. "But then I learned about the
Vantage 1.3x anamorphic lenses, which
work perfectly with Super 16. I knew that
was the way to go. I wasn't worried about
how much we'd be packing into that small
negative space, because I didn't need for
this film to be super-sharp and Lawrence of
Arabia-like. I wanted the opposite of that. I
wanted this to feel like combat footage
from the Seventies. I wanted to take the
imperfections of the format and make them
part of the visual language of the movie.
That's why I love that we still have access to
Super 16 - so that we can use the tools to
tell the best story."
Keslow Camera in Culver City
provided the production with a pair of Arriflex 416s and a complement of Vantage
Hawk V-Lite and V-Lite16 1.3x anamorphic
lenses. "Keslow Camera was amazing at
getting us everything we needed," says
Vasyanov. "They were also great at keeping
us rolling. The sand out in Lancaster was
relentless, and many times we had to send
in a lens for quick repair because it got sand
in it - everything got sand in it. The guys at



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

Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
American Cinematographer - June 2017 - 9
American Cinematographer - June 2017 - 10
American Cinematographer - June 2017 - 11
American Cinematographer - June 2017 - 12
American Cinematographer - June 2017 - 13
American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
American Cinematographer - June 2017 - 16
American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
American Cinematographer - June 2017 - 19
American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
American Cinematographer - June 2017 - 22
American Cinematographer - June 2017 - 23
American Cinematographer - June 2017 - 24
American Cinematographer - June 2017 - 25
American Cinematographer - June 2017 - 26
American Cinematographer - June 2017 - 27
American Cinematographer - June 2017 - 28
American Cinematographer - June 2017 - 29
American Cinematographer - June 2017 - 30
American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
American Cinematographer - June 2017 - 34
American Cinematographer - June 2017 - 35
American Cinematographer - June 2017 - 36
American Cinematographer - June 2017 - 37
American Cinematographer - June 2017 - 38
American Cinematographer - June 2017 - 39
American Cinematographer - June 2017 - 40
American Cinematographer - June 2017 - 41
American Cinematographer - June 2017 - 42
American Cinematographer - June 2017 - 43
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American Cinematographer - June 2017 - 45
American Cinematographer - June 2017 - 46
American Cinematographer - June 2017 - 47
American Cinematographer - June 2017 - 48
American Cinematographer - June 2017 - 49
American Cinematographer - June 2017 - 50
American Cinematographer - June 2017 - 51
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American Cinematographer - June 2017 - 53
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American Cinematographer - June 2017 - 55
American Cinematographer - June 2017 - 56
American Cinematographer - June 2017 - 57
American Cinematographer - June 2017 - 58
American Cinematographer - June 2017 - 59
American Cinematographer - June 2017 - 60
American Cinematographer - June 2017 - 61
American Cinematographer - June 2017 - 62
American Cinematographer - June 2017 - 63
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American Cinematographer - June 2017 - 65
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American Cinematographer - June 2017 - 67
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American Cinematographer - June 2017 - 70
American Cinematographer - June 2017 - 71
American Cinematographer - June 2017 - 72
American Cinematographer - June 2017 - 73
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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