American Cinematographer - July 2017 - 62

◗

Cannibal Run
Right: Arlen
fights to survive
in the desert
wasteland.
Below: Vincent
(manning the
camera), director
Ana Lily
Amirpour (second
from right) and
crew prepare a
scene with
Waterhouse.

opted for the XT on The Bad Batch, and
he also switched from Girl 's ProRes to
ArriRaw 2.8K in 4:3 full-sensor mode,
recording to XR Capture Drives.
A set of C Series Panavision
anamorphics, in their original housings,
served as the production's main lenses.
They
were
supplemented
by
Panavision's D Series 40mm, and quite
notably by the company's Macro Auto
Panatar 55mm - aka the MAP55.
At the start of production, the
MAP55 was supposed to be a specialty
lens pulled out occasionally for closefocus situations. Yet the more Amirpour
62

July 2017

and Vincent used the lens, the more
they were beguiled by its singular eccentricities. And by the time the movie
wrapped, the MAP55 was in play for
everything from actor close-ups to
extreme wide shots, and had earned the
nickname "The Bad Batch Lens."
"That lens became this iconic
aesthetic stamp for the film," Amirpour
says. "It has this distortion that sweeps
over the image and gives it a weirdness,
and I love the potential weirdness you
can get from each lens. I'm always looking for when [that aesthetic] fits the
style of the story I'm telling, and The Bad
American Cinematographer

Batch is definitely a weird little story."
Vincent adds, "The MAP55 is
slightly softer and more rounded on the
edges, and it has more of a dreamy,
impressionistic look. That became a goto for faces. Then we used the D Series
40mm for a lot of our super-wide shots
because it is a bit more contrasty and
sharper."
According
to
Panavision
Hollywood's manager of technical
marketing and optics, Guy McVicker
- who along with the company's Mike
Carter helped Vincent put together The
Bad Batch's lens package - the D Series
is the result of a project to make the C
Series lenses faster. The labor involved in
converting to the D Series proved so
extensive, however, that only a limited
number of 40mm and 50mm lenses
were produced.
Though Vincent and Amirpour
had previously tested the above lens
package during prep for A Girl Walks
Home Alone at Night, they retested them
for The Bad Batch specifically to see how
they would perform in the Salton Sea's
unique landscape. "The way that Lily
likes to test is to grab a camera, grab
some lenses, and go out to the actual
places we are going to shoot," Vincent
notes. "We don't just shoot test charts in
a checkout bay." The cinematographer



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 - 14
American Cinematographer - July 2017 - 15
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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
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American Cinematographer - July 2017 - 25
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American Cinematographer - July 2017 - 28
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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
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American Cinematographer - July 2017 - 49
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American Cinematographer - July 2017 - 62
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American Cinematographer - July 2017 - 88
American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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