American Cinematographer - July 2017 - 61

Unit photography by Darren Michaels, SMPSP and Merrick Morton, SMPSP, courtesy of Neon and Annapurna Pictures. Additional photos courtesy of Lyle Vincent.

Opposite:
Stranded on the
wrong side of a
towering fence,
Arlen (Suki
Waterhouse)
befriends
cannibal Miami
Man (Jason
Momoa) in the
postapocalyptic
feature The Bad
Batch. This page,
left: The Dream
(Keanu Reeves) is
the leader of the
town of Comfort.
Below:
Cinematographer
Lyle Vincent
surveys a setup at
the cannibals'
airplanegraveyard
encampment.

that's tattooed across the character's
chest.
To create the world of The Bad
Batch, which is distributed by Neon -
and inspired by everything from El Topo
and Sergio Leone Westerns to Repo
Man and Gummo - production traveled to the harsh environs of the
Lucerne Valley in the southern Mojave
desert, the Salton Sea, and a string of
nearby towns with names like Bombay
Beach and Slab City. To avoid the
unbearable summer heat, The Bad Batch
scheduled its six weeks of principal
photography in the spring.
"There's no way you could shoot
there in the summer," says Vincent.
"That whole area of the Salton Sea is
below sea level and it's just an absolutely
brutal environment. Even most of the
people who live there leave during the
summer."
Escaping the heat didn't mean
escaping the wrath of the desert,
however. Wind, sand and rattlesnakes
still had to be reckoned with. "Every day
ended with a 30-minute clean and desand of the gear," says A-camera opera-

tor Scott Dropkin. "It was kind of a
ritual. I remember when the first sandstorm hit on our way to lunch and you
couldn't see past a few feet. When we
finally made it to lunch, catering had all
the food outside. I'm still picking out
sand grains from my mouth after eating
the Caesar salad. Lunch was served
inside after that day."
www.theasc.com

The harsh desert conditions also
knocked one of the production's Arri
Alexa XTs out of commission, though
Vincent considered himself lucky it was
the only casualty. "I think if it was any
other camera than the Alexa, we would
have gone through many more," he says.
After using the Alexa Studio on A Girl
Walks Home Alone at Night, Vincent
July 2017

61


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
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
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American Cinematographer - July 2017 - 72
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 - 87
American Cinematographer - July 2017 - 88
American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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