American Cinematographer - July 2017 - 31

prep. "The trickiest thing was making
this look like a comic-book movie," she
says. "We had to be careful to not
become a classic period movie. We
didn't want to make a BBC-documentary-style film. Matt and I worked hard
to come up with a look and tone that
was 10-percent pop - making it
period, but then looking at that with a
different eye that gives a modern edge."
She pointed the production
toward the paintings of American
portraitist John Singer Sargent, whose
work overlapped that era. "Patty liked
the way he painted faces and used soft
light," Jensen notes. "He would use big
blinds, curtains or tapestries to cut the
light. So you have this gorgeous soft
light on the face that would rapidly fall
off to very rich blacks. There wasn't a lot
of color in the frame, but if a piece of
tapestry, or a chair, or some bit of
wardrobe did have some color, it was
extremely vibrant.
"To emulate his style of lighting I
would have to use big sources and a lot
of soft light, but not a lot of backlight,
kickers and edge lights," he continues.
"I would have a natural look. I wouldn't
desaturate, blow out windows or use
diffusion filters or sepia to suggest
period. I was going to shoot clean, and
emphasize or saturate the colors that
were in the frame." Wonder Woman's
costume provides some of that color
amidst the wartime look.

Top: Diana's aunt, General Antiope (Robin Wright), leads the Amazonians into battle.
Above: Backed by greenscreens, the warriors charge into the fray.

Jensen worked with production
designer Aline Bonetto and costume
designer Lindy Hemming to perfect
looks. "I would have Aline build a little
bit of the set - just a flat with some of
the colors she talked about using - and
grab some period-correct practical
lamps," Jensen says. "Wardrobe would
put in their initial thoughts, and then I
would shoot a stand-in with costumes
against the flat with the color palette. I
would do different color timings and see
what Patty responded to. I was able to
lock in exact looks very early."
Those looks included Diana's
homeland with its marble caves overlooking the turquoise ocean, and sunny
blue skies and verdant landscape - and,
www.theasc.com

in stark contrast, a smoggy, industrial
London exemplifying "man's world."
Upon first seeing it, Diana observes, "It's
hideous!"
"We had a couple of reference
photos of paintings of London at that
time, and they are literally charcoal
black and gray," Jensen says. "We opted
for a bit more color."
More than 100 days of principal
photography began in November 2015,
based at Warner Bros. Studios
Leavesden, an hour outside London,
with nearly 20 U.K. locations also used.
The production moved to Italy for a
month in March 2016 for the
Themyscira exteriors, and then to Paris
for one day of exteriors outside the
July 2017

31


http://www.theasc.com

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

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
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American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
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American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
American Cinematographer - July 2017 - 32
American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
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American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
American Cinematographer - July 2017 - 56
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American Cinematographer - July 2017 - Cover3
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