American Cinematographer - July 2015 - 66

◗

Harmony and Discord
Top: The
cinematographer
captures a closeup of Dano in
performance as
Wilson. Middle:
The Beach Boys
perform in their
iconic "candy
stripes." Bottom:
Steadicam
operator Chris
Haarhoff
captures a scene
with Dano and
Darke.

filmmakers opted for two Kodak
Vision3 stocks: 200T 5213 and 500T
5219. "We shot 3-perf Super 35mm to
give ourselves more running time on
each mag," Yeoman notes. Most of the
Super 35mm work was done with a
Panaflex Platinum on a dolly; the lighter
Panaflex Millennium XL was employed
for handheld and Steadicam shots. The
crew used Primo Prime lenses, favoring
wider focal lengths. "I'm a big fan of the
27mm and 40mm," Yeoman says. "We
shot almost entirely on location - and
there were some tight rooms - so we
needed the wider lenses to get our wide
shots." He says he preferred the 75mm
for close-ups, and on occasion he would
swap the primes for a Primo 17.575mm T2.3 or 24-275mm T2.8 zoom.
To help capture the look of the
'60s, Yeoman suggested shooting on
Super 16mm. "I'm a big believer in that
format," he says. "It has a quality you
can't achieve shooting 35mm or digitally. Even the way the handheld camera
moves creates a very distinct feeling. I
showed Bill some tests and he loved it."
Yeoman clarifies that the production shot "all of the '60s [recordingstudio] scenes in Super 16, and a few
other select scenes such as on the
airplane when Brian starts to freak out."
66

July 2015

American Cinematographer



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

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
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