American Cinematographer - July 2013 - 26
everything. We shot anamorphic with it on
Silent Light in very extreme conditions, and
we dealt with very extreme conditions on
this film as well.”
The entire crew numbered 13, with
four devoted to camera: Zabe, 1st AC
Jonathan Leys, grip assistant Eduardo
Urbina and 2nd AC/grip assistant Joakim
Chardonnens. “I interviewed a lot of
second ACs, but it was hard to find someone in the proper physical condition,” notes
Zabe. “It’s hard on the system at that altitude, which is about 2,500 meters [more
than 8,000']. Joakim, who flew in from
Switzerland, is a snowboarder and climber,
and Eduardo is a climber and also an inventor, so he assisted with roping and tying
down the bounces. If we needed a bounce,
we would build it together and tie it down,
and if we needed to build a dolly, we’d
build it together.”
Shooting was accomplished almost
entirely with available light, controlled with
bounces. The Kodak negatives — Vision2
50D 5201 for exteriors, Vision3 250D 5207
for daylight interiors, and Vision3 500T
5219 for night interiors — were sensitive
enough to make this possible. “It was tricky
for the 5207 to get enough level inside the
house,” says Zabe. “The windows were
small, and the bedroom scenes were challenging because that room featured very,
very dark wood. We had some 12-by-12
UltraBounces kind of far away, trying to get
something going into those windows.” A
Chinese lantern was occasionally used to
diffuse the light indoors.
For the two scenes involving the red
demon, Zabe “used ½ or ¼ CTB on the
windows to cool the light and create an
early-dawn feel,” he says. “We had our first
AD, Alex Ezpeleta, who is tall and lanky,
dress in a greenscreen suit and walk around
with a toolbox. The effect was completed
at [visual-effects facility] Twin Pines in Spain.
The only other digital effect created was a
shot of an auto-decapitation.”
For the bathhouse scene, Zabe
filtered some of the location’s fluorescent
lights. “We found red plastic tube covers in
a store in Mexico City, and used these to
filter about half the fluorescent lights, with
the other half left unfiltered, to create
contrast between the red and blue,” he
says. “As the scene progresses and the
Top: Against the
fading light of
dusk, the camera
follows Juan’s
daughter around
a field in the
film’s opening
sequence.
Middle: A demon
enters Juan’s
home in one of
the film’s few
shots with a
visual-effects
component.
Bottom:
Cinematographer
Alexis Zabe
frames a shot on
location.
26
July 2013
American Cinematographer
American Cinematographer - July 2013
Table of Contents for the Digital Edition of American Cinematographer - July 2013
American Cinematographer - July 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Dreamland
Production Slate: Laurence Anyways • Post Tenebras Lux
Prime Target
Wild Planet
An Indie Twist on Shakespeare
Tournament of Death
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - American Cinematographer - July 2013
American Cinematographer - July 2013 - Cover2
American Cinematographer - July 2013 - 1
American Cinematographer - July 2013 - 2
American Cinematographer - July 2013 - Contents
American Cinematographer - July 2013 - 4
American Cinematographer - July 2013 - 5
American Cinematographer - July 2013 - 6
American Cinematographer - July 2013 - 7
American Cinematographer - July 2013 - 8
American Cinematographer - July 2013 - 9
American Cinematographer - July 2013 - Editor’s Note
American Cinematographer - July 2013 - 11
American Cinematographer - July 2013 - President’s Desk
American Cinematographer - July 2013 - 13
American Cinematographer - July 2013 - Short Takes: Dreamland
American Cinematographer - July 2013 - 15
American Cinematographer - July 2013 - 16
American Cinematographer - July 2013 - 17
American Cinematographer - July 2013 - 18
American Cinematographer - July 2013 - 19
American Cinematographer - July 2013 - Production Slate: Laurence Anyways • Post Tenebras Lux
American Cinematographer - July 2013 - 21
American Cinematographer - July 2013 - 22
American Cinematographer - July 2013 - 23
American Cinematographer - July 2013 - 24
American Cinematographer - July 2013 - 25
American Cinematographer - July 2013 - 26
American Cinematographer - July 2013 - 27
American Cinematographer - July 2013 - 28
American Cinematographer - July 2013 - 29
American Cinematographer - July 2013 - 30
American Cinematographer - July 2013 - 31
American Cinematographer - July 2013 - Prime Target
American Cinematographer - July 2013 - 33
American Cinematographer - July 2013 - 34
American Cinematographer - July 2013 - 35
American Cinematographer - July 2013 - 36
American Cinematographer - July 2013 - 37
American Cinematographer - July 2013 - 38
American Cinematographer - July 2013 - 39
American Cinematographer - July 2013 - 40
American Cinematographer - July 2013 - 41
American Cinematographer - July 2013 - 42
American Cinematographer - July 2013 - 43
American Cinematographer - July 2013 - Wild Planet
American Cinematographer - July 2013 - 45
American Cinematographer - July 2013 - 46
American Cinematographer - July 2013 - 47
American Cinematographer - July 2013 - 48
American Cinematographer - July 2013 - 49
American Cinematographer - July 2013 - 50
American Cinematographer - July 2013 - 51
American Cinematographer - July 2013 - 52
American Cinematographer - July 2013 - 53
American Cinematographer - July 2013 - 54
American Cinematographer - July 2013 - 55
American Cinematographer - July 2013 - An Indie Twist on Shakespeare
American Cinematographer - July 2013 - 57
American Cinematographer - July 2013 - 58
American Cinematographer - July 2013 - 59
American Cinematographer - July 2013 - 60
American Cinematographer - July 2013 - 61
American Cinematographer - July 2013 - 62
American Cinematographer - July 2013 - 63
American Cinematographer - July 2013 - Tournament of Death
American Cinematographer - July 2013 - 65
American Cinematographer - July 2013 - 66
American Cinematographer - July 2013 - 67
American Cinematographer - July 2013 - 68
American Cinematographer - July 2013 - 69
American Cinematographer - July 2013 - 70
American Cinematographer - July 2013 - 71
American Cinematographer - July 2013 - 72
American Cinematographer - July 2013 - 73
American Cinematographer - July 2013 - 74
American Cinematographer - July 2013 - 75
American Cinematographer - July 2013 - New Products & Services
American Cinematographer - July 2013 - 77
American Cinematographer - July 2013 - 78
American Cinematographer - July 2013 - 79
American Cinematographer - July 2013 - 80
American Cinematographer - July 2013 - 81
American Cinematographer - July 2013 - International Marketplace
American Cinematographer - July 2013 - Classified Ads
American Cinematographer - July 2013 - Ad Index
American Cinematographer - July 2013 - 85
American Cinematographer - July 2013 - Clubhouse News
American Cinematographer - July 2013 - 87
American Cinematographer - July 2013 - ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - Cover3
American Cinematographer - July 2013 - Cover4
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