American Cinematographer - July 2017 - 34

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A Warrior Rises

Right: Diana poses
as Trevor's secretary
when they reach
the docks at Dover.
Below: The camera
tracks alongside
Gadot and Pine as
they follow behind
Ewen Bremner
(portraying Charlie)
for a scene set on
the Belgian coast.

enough to pull one out, but as they were
testing it the motor blew up, so we
thought that was a good indication we
shouldn't use it."
The
Phantom
recorded
4096x2304 Cine Raw files to 2TB
CineMag IV media. The camera was
used for 500-fps slow-motion capture
for action scenes throughout the
production. "Some people say slo-mo is
out, but I'll use whatever is the right
tool to tell the story," Jenkins says. "I
didn't feel forced into a certain style, nor
34

July 2017

did I feel afraid of any style."
The Third Floor provided previs
for fight sequences, which the filmmakers designed to be from Diana's perspective. "A great approach is to always tell
the story from the character's point of
view, and action scenes are no different,"
Jenkins says. "You have to ask, 'How do
you want viewers to feel in that
moment?' There is no gratuitous fighting. We approached every action
sequence as an inevitable step in Diana's
journey."
American Cinematographer

U.K. aerials - such as those that
are visible behind Steve as he fires on an
enemy airfield after his fateful theft of
the German plane - were executed by
aerial cinematographer Jeremy Braben
and Helicopter Film Services (HFS),
with the camera on a Nettman Systems
Super-G stabilizer. This footage was
captured with Arri's Alexa 65 in the
camera's Open Gate mode at
6560x3100 ArriRaw, and recorded to
2TB Codex Capture Drives.
Arri's Alexa Mini was attached to
HFS' Aerigon heavy-lift drone to
follow Wonder Woman riding a horse
across a field - a sequence that was
shot at Luton Hoo estate.
"The Italian aerials used in
Themyscira were shot with an Arri
Alexa - not the 65 - in Open Gate,
and split between our second-unit
director of photography Tim Wooster
and operator Carlos De Carvalho,"
says visual-effects supervisor Bill
Westenhofer. "The pilot was Sergio
Franceschini." Westenhofer also notes
the contributions of Italian 1st AC
Alberto Torrecilla and digital-imaging
technician James Metcalfe.
The water work that was
captured on stage, including most of the



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
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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
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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
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American Cinematographer - July 2017 - 56
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