American Cinematographer - July 2015 - 56

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The Boys Are Back

cameras during prep. "We shot a test
with the Arri Alexa and film [using
the] same lenses, same everything," he
says. "With 200 ISO film, I think it
would be very hard to say that film is
not better than any digital camera.
When you talk about [Kodak Vision3
500T] 5219, which is 500 ASA, you
could argue the Alexa has certain
advantages. But [Vision3 200T] 5213
is unparalleled." Fierberg shot with
both 5213 and 5219, using Arricam
Lite cameras rented from Otto
Nemenz.
Both Fierberg and Ellin had
strong opinions about how the movie
should look in comparison to the
series. "We both agreed we didn't want
this to be Episode 82 of the show," the
cinematographer says. "First of all, we
wanted to go widescreen - 2.39:1,
not 1.85:1. We try not to do a lot of
singles, and 2.39:1 is a good format if
you have four people, or even just two
people, composed in the frame. We
shot 3-perf 35mm, which saved
money over 4-perf, but also because
anamorphic felt too 'movie,' too
abstract. Entourage needs to feel real,
natural - so spherical felt right."
Fierberg chose his lenses both to
cement the movie's style and to distinguish it from the series. "We shot with
Cooke S4 primes, the Fuji 18-85mm
T2.0 zoom, and Angenieux Optimo
15-40mm [T2.6], 28-76mm [T2.6]

Top: Ari meets
with a film
financier (Billy
Bob Thornton,
left) and his son
Travis (Haley Joel
Osment). Middle:
A Steadicam
moves into
position outside
Ari's SUV. Bottom:
Ellin works
through a scene
with Thornton
and Piven.

56

July 2015

American Cinematographer



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

Contents
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American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
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