American Cinematographer - July 2017 - 33

fps for emotional moments, such as
when Wonder Woman sees something
for the first time or keys into things,"
Jensen notes. The second unit, run by
director Damon Caro and cinematographer Tim Wooster, occasionally used
the lightweight Arriflex 235 for battle
sequences in which they needed the
camera to move quickly.
Jenkins estimates that the chaotic
battle between the Amazonians and
Central Power soldiers on the beach
involved up to 1,000 performers, illustrating the mad, grand scale of war.
While the main unit captured dialogue
and reactions from the leads, second
unit was on an adjacent beach shooting
the mechanics of the fighting.
This is where digital cameras
came into play. The second unit had an
Arri Alexa Mini on a high-wire rig,
traveling behind the charging
Amazonians toward the enemy, capturing a drone-like shot. The Mini
recorded in UHD 3840x2160 ProRes
4:4:4:4 XQ format to 128GB SanDisk
CFast 2.0 memory cards.
For the moment when the opposing lines charge, second unit set up an
elaborate rig that Jensen describes as "a
rollercoaster of track and speed rail." A
Vision Research Phantom Flex4K on a
remote head starts high in profile, then
descends, making an S-turn in front of
the action and coming within 1' of the
ground, all while horses and riders
battle, explosions go off, and the two
sides exchange arrows and bullets.
The quick-moving Phantom
captured at 500 fps and the footage was
ramped up in post. "The camera was
moving very fast in conjunction with the
[high frame rate] in order for the move
to resolve itself in a timely manner while
the action moves in slow-motion," the
cinematographer explains. A half-dozen
layers were shot to capture all the
elements.
"We felt we couldn't get some
shots with film cameras," Jensen says.
"Inevitably, you're mixing formats on a
movie like this. I wanted to test the
Photo-Sonics 35mm high-speed
camera, and Panavision was kind

Above: Diana
says goodbye to
her mother on
the Themyscira
docks. Left and
below: Multiple
cameras frame
Diana and
Trevor's voyage
aboard an
Amazonian boat
on a greenscreen
set.

www.theasc.com

July 2017

33


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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
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
American Cinematographer - July 2017 - 12
American Cinematographer - July 2017 - 13
American Cinematographer - July 2017 - 14
American Cinematographer - July 2017 - 15
American Cinematographer - July 2017 - 16
American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
American Cinematographer - July 2017 - 23
American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
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
American Cinematographer - July 2017 - 52
American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
American Cinematographer - July 2017 - 56
American Cinematographer - July 2017 - 57
American Cinematographer - July 2017 - 58
American Cinematographer - July 2017 - 59
American Cinematographer - July 2017 - 60
American Cinematographer - July 2017 - 61
American Cinematographer - July 2017 - 62
American Cinematographer - July 2017 - 63
American Cinematographer - July 2017 - 64
American Cinematographer - July 2017 - 65
American Cinematographer - July 2017 - 66
American Cinematographer - July 2017 - 67
American Cinematographer - July 2017 - 68
American Cinematographer - July 2017 - 69
American Cinematographer - July 2017 - 70
American Cinematographer - July 2017 - 71
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American Cinematographer - July 2017 - 73
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American Cinematographer - July 2017 - 82
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American Cinematographer - July 2017 - 84
American Cinematographer - July 2017 - 85
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American Cinematographer - July 2017 - 88
American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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